Antique Ancient Jade Neolithic - 17thC Weapons Jewelry Carving China Maori Mayan

Description: Antique Jade by Oscar Luzzatto-Bilitz. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Hardcover with dustjacket. Publisher: Hamlyn Publishing (1969). Pages: 158. Size: 7¾ x 5½ x 1 inch; 1 pound. Summary: The word “jade” conjures up an image of strange carvings in a smooth green stone. In fact jade comes in many different colors, all of which have a delicate beauty which has always appealed to the connoisseur and craftsman alike. In China, jade was carved as far back as the Neolithic, even before the discovery of metals. To cut and shape such a hard material using only bone or bamboo with an abrasive must have demanded extraordinary patience. No wonder the Chinese regarded it as more precious than gold. The objects made were often symbolic, since jade was thought to have magical properties, and the shapes often represent deities such as the earth or the sun. Owing to the hardness of jade, it was frequently used to make knives, daggers, and small axes, generally with carved ornamentation. Later, cups and vases, sometimes of immense size, were laboriously hollowed out. In contrast, in the seventeenth century when snuff became fashionable, tiny snuff bottles of carved jade appeared. Figures of animals and mythical beasts were always popular in the ancient past, and there exist many finely observed tortoises, horses, and birds. The seventy-one illustrations herein include examples from all these periods, and the expert text, by Oscar Luzzatto-Bilitz, gives a fascinating account of the background of jade carving, not only in China, but also in Pre-Columbian America and New Zealand. CONDITION: VERY GOOD. Lightly read/unread hardcover w/dustjacket. Hamlyn Publishing (1969) 158 pages. Book appears as if someone flipped through the first 15 pages, then put the book away never to be taken back up and finished. There is a very faint inked price stamp near the upper open corner of the first free page in the book (the very first unprinted, blank page immediately beneath the front cover). Except for that faint ink stamp the inside the book is pristine. The pages are clean, crisp, unmarked, unmutilated, tightly bound, and beyond page 15, seemingly entirely unread. I would only add that of course it is always possible that the book was flipped through once or twice by someone - the book is after all over 50 years old. However I can find absolutely no evidence that the book was ever even flipped through beyond the first 15 pages. From the outside the dustjacket evidences very mild edge and corner shelfwear, principally in the form of a bit of abrasive rubbing to the upper open corner of the back side of the dustjacket (which we touched up with an oil-based sharpie), and a little bit of edge crinkling to the top edge of the back side of the dustjacket near the spine head. The only other blemish to the dustjacket are half-dozen, tiny little stains to the front side of the dustjacket, centered near the top edge. These are little stains of 1-2 millimeters in diameter (16th of an inch) which appear to be a spray of coffee cup droplets. They are very light, not at all prominent, you have to look pretty closely to spot them. Beneath the dustjacket the full cloth covers are absolutely clean. There is very mild shelfwear in the form of faint crinkling at the top open corner of the front cover (likely a very faint bump probably the result of the book being carelessly shelved and bumped against a book shelf edge). And I'd add that the edges of the covers are very lightly age tanned. Except for this slight age-tanning to the cover edges, the faint edge wear to the dustjacket, and the fact that the first 15 pages of the book have been flipped through the overall condition of the book is not too terribly far removed from what might pass as "new" from an open-shelf book store (such as Barnes & Noble, Borders, or B. Dalton, for example) wherein patrons are permitted to browse open stock, and so otherwise "new" books often exhibit mild handling/shelf/browsing wear. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 30 days! #2042k. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: The best grades of jade are rarely found and highly valuable. Of the two varieties of jade, high quality jadeite is rarer and more valuable than high quality nephrite. Jadeite is found in Central America, California and Japan, but northern Burma has the best quality and most plentiful supply. Unfortunately, you would have a tough time beating the Chinese dealers to the best rough jade sold in Burma. China is world famous for the finest jade carvings ever produced. The artistry from the Chou Dynasty from 1122 BC to the end of the Han Dynasty in 220 AD has never been surpassed. Archaeologists were surprised me to learn that there are no known or historic sources of jadeite in China, and that most of the ancient Chinese carvings are nephrite jade from Turkistan. The jade of Burma is jadeite. One deposit was estimated at 1,500 feet long by 600 feet wide. If it is 500 feet deep, it would weigh four and one-half million pounds. This hardly sounds rare, but Burmese jadeite comes in all grades and many colors. The best material is not common. The few other world locations are quite limited in quantity and the quality is also poorer. Chinese importation of jade from Turkistan continued amid the mid-18th Century when Burmese jade first began to show up in large quantities. Jade and the color green are so inexorably linked that many people believe all jade to be green. Theoretically, pure jade, both nephrite and jadeite, should be white. Metallic salts in the form of oxides and silicates present, either alone or in combinations, and in varying degrees, are responsible for the vast array of colors, hues, shades, tints and tones, including multi-colors possible in jade. In rare instances, four or five colors may appear in a single stone. The green of jadeite is produced by chromium, the green of nephrite by iron. In common with jades of other colors, white jade can be of many shades. While the near-whites and off-whites are not extremely scarce, a true, pure-white jade is rare. Such unusual jade colors as red, lavender, blue, mauve and purple are also rare. PROFESSIONAL REVIEWS: REVIEW: This is part of the Cameo series of books on art and antiques originally published in 1966 in Italy; and eventually republished in 1969 by Octopus Books of London. Printed on a heavy coated stock, it includes 71 full color plates. Visually spectacular, it is also a very intellectually gratifying and educational read. It contains a remarkable survey of the ancient art of jade carvings, from the Neolithic to the 17th century; from jade axes and daggers to jewelry and snuff bottles. REVIEW: This book includes 71 illustrations with accompanying text, providing examples of jade and jade carvings not only from China but also pre-Columbian America and New Zealand. Featured pieces hail from Maori and Mayan cultures as well as the Ch'ing, Ming, Sung, T'ang, Han & Chou periods. Authoritative with excellent photography.READER REVIEWS: REVIEW: Magnificent! Perhaps too small be to called a “coffee table” book, but the quality and content are certainly in that realm. This is a wonderful, high quality book produced in the U.K. in English for distribution world wide. A compact and highly readable introduction to jade carving in antiquity, with well chosen examples and the full color plates are simply magnificent. A real visual extravaganza. High quality binding and great color prints! It is a wonderful reference for those interested in the history of ancient art and antiquities, with wonderful pictures even for whose who just want to admire the incredible richness of ancient jade artifacts. Still a wonderful reference despite being produced in 1966 (the art remains absolutely unchanged). Truly enlightening with rapturous photographs, this was considered a classic and authoritative source when it was first published, and it remains so today. REVIEW: Excellent resource with wonderful examples in full color. The author gives a fascinating account of the background of jade carving, not only in China but also in Pre-Columbian America and in New Zealand. REVIEW: I wanted a book that gave me good information and illustrations this book covers both and is an excellent purchase. JADE HISTORY: The highest quality and rarest form of jade is known as “jadeite”, and is found almost exclusively in Burma, Tibet and southern China (and in small amounts in Japan and Guatemala). Jadeite ranges in color from dark green to nearly white, but can also be found in shades of pink, purple, blue, yellow, orange, red, gray, brown and black. The highest grade of jadeite is known as “imperial jade”, because in ancient China, all imperial jade was owned by the emperor. What differentiates imperial jade from ordinary jadeite is its light to medium “emerald” green color, the homogeneity of its color, and its translucent to transparent character. Nephrite, the more common and less valuable form of jade is found in many parts of the world from California to Siberia. Nephrite is creamier in color and less translucent than Jadeite and possesses an oily luster. Jade was used in ancient times for weapons, utensils, and ornaments, and has always been especially valued by the Chinese and Japanese as the most precious of all stones. Many beautiful hand carved jadeite vases, bowls, tablets, and statues produced in ancient China now reside in museums world-wide. The less valuable form of jade, “nephrite” was widely used by primitive peoples as tools and weapons in the Neolithic, especially in Europe, Mexico, Asia, New Zealand, and North Africa (including ancient Egypt). Both nephrite as well as the more valuable jadeite were worked into implements by Neolithic peoples in many parts of the world, however nephrite was most often used for tools and weapons. The best-known finds are from the lake dwellings of Switzerland, western France, and China. The source for Neolithic jade in Europe remains undiscovered, but it was probably from a deposit in the Alps. Nephrite is very hard and was prized for keeping a sharp edge. One such variety was used by the natives of the South Sea Islands for making hatchets. Jade was mined in China since at least as far back as 6,000 B.C. Records of its use in China as jewelry goes back at least 5,000 years. Jade jewelry can be found in emperor’s tombs dating back to the fourth millennium B.C. Jade bangles date backward at least 4,000 years. Jade was extremely valuable in ancient China, there are records of an entire city being traded for a carved ornamental jade piece. The Chinese have valued this gem more than any other, using it for currency, ceremonial vessels, and marriage bowls. Since at least 2950 B.C., jade has been treasured in China as the imperial gemstone, "yu". The word "yu" is used in Chinese to call something precious, as in English we use the term "golden". Indeed the cost of jade in ancient China exceeded that of gold. In addition to their own sources of jade, from the Kingdom of Khotan, on the southern leg of the Silk Road (present-day Turkestan), yearly tribute payments consisting of the most precious white jade (a creamy white form of nephrite known in China as "mutton fat" jade) were made to the Chinese Imperial court. In the Neolithic the Chinese were carving jade into tools and simple cult objects (amulets). By about 1800 B.C., they began making small carved ornamental plaques with decorative designs of animals. The introduction of iron tools (about 500 B.C.) made more intricate carvings possible, and jade began to be made into a wide variety of utilitarian and luxury objects, such as belt hooks and ornaments, sword and scabbard accoutrements, hollow vessels, and, most importantly, sculpture in the round. The craft of jade carving in China attained maturity toward the close of the Chou dynasty in 255 B.C., with designs of unsurpassed excellence and beauty. The ancient Chinese believed jade to preserve the body after death. One royal tomb contained an entire suit made out of jade, to assure the physical immortality of its owner. Emperors slept upon pillows of jade believing that it preserved vitality and youth. In Chinese mythology the Moon Hare made an elixir of immortality from crushed Jade. So of course jade was ground up and drunken as an “elixir of immortality”, believed to preserve vitality and youth. Even merely eating from Jade dishes was believed to ensure a long and fortunate life. It was also believed that jade could predict the stages of the wearer’s life. If a jade ornament appeared more brilliant and transparent, good fortune lay ahead. If it became dull, then bad luck was inevitable. In Chinese athletic competitions, ivory was given for third place and gold for second. Jade was reserved solely for the winners, including high officials in the imperial court. For thousands of years, up through the middle of the second millennium, the Chinese only had access to nephrite jade. Occasionally a piece of two of fine Burmese jadeite tantalized ancient China, but for 500 years the actual source of jadeite proved elusive. According to legend sometime in the thirteenth century a Chinese trader traveling through northern Burma picked up a boulder to balance the load on his mule. Much later when it happened to break open, the brown-skinned rock revealed a vivid, “emerald” green jade. The Chinese were captivated by this stone, and sent expeditions to find the source the 13th and 14th centuries, but they were unsuccessful. Although occasional small pieces of green jadeite would appear in China over the next 500 years, their origin remained a mystery until the late 18th century. Finally in the eighteenth century Chinese adventurers discovered the source of the green stone. From that time onwards considerable amounts of jadeite were transported to Beijing and the workshops of China’s foremost jade carvers. Both Japanese and Chinese cultures traditionally associated jade with the five cardinal virtues; charity, modesty, courage, justice, and wisdom. Jade was also popular in other regions of ancient Asia. A temple in Andhra Pradesh, India is home to a 5-foot high sculpture of an especially revered sage that is carved entirely out of jade, the largest sculpture made from a single jade rock in the world. The ancient East Indians called jade the “divine stone” and used it to treat asthma, epilepsy and heartburn. The Emerald Buddha, enshrined in a temple in Bangkok, Thailand’s Grand Palace, said to have been created in 43 B.C., is also actually made of emerald-green jadeite. Jade is found in ancient Korean burials dating back to about 1,000 B.C. The ancient Turks and Mongols considered jade to be the “stone of victory”, and used it to decorate swords and belts. In ancient Egypt, jade was admired as the stone of love, inner peace, harmony and balance. The Aztecs, Mayas, Olmecs, Toltecs, and other Pre-Columbian peoples of Mexico and Central America carved jadeite for use as ornaments, amulets, badges of rank, plaques, figurines, small masks, pendants, and of course tools and weapons. Nearly all of these Meso-American jades are of various shades of green, with emerald green the most highly prized color among the Aztecs. Archaeologists believe that all ancient Meso-American jade came from deposits in Guatemala. Its cost and rarity dictated that its use was confined to the elite elements of society. As was the case with the Chinese, the Aztecs placed a higher value on jade than on gold. Medieval Europe was unfamiliar with jade as a gemstone for jewelry use until the sixteenth century when jade objects were imported from China and, later, Central America. The Portuguese imported jade from their colony at Canton, China. The Portuguese called jade "piedre de ilharga", or stone of the loins, because they believed it to be strong medicine for kidney ailments and to relieve back pain. Jade jewelry was regarded as symbolic of perfection and purity, and was also a favorite of Medieval Alchemists. With contact between Spain and Meso-America established, jade objects brought back to Spain from the New World were called by the Spanish version of this phrase, "piedra de hijada". This became to the French ejade, and then, finally, "jade". With respect to the name "nephrite" jade, the word nephrite comes from the Greek word for kidney, "nephros". The widespread use of jade died out in Meso-America after the Spanish conquest in the 16th century. Whether simply folklore or not, it’s still indicative of the high regard for gold in Meso-America: as Cortez cut his swath through the Aztec empire, pillaging gold, silver and emeralds, Montezuma is said to have remarked to his followers: “Thank god they don’t know about the jade.” Jade remains today, particularly in Asia, a highly valued gemstone used in the manufacture of jewelry. Throughout the history of the ancient world, gemstones were believed capable of curing illness, possessed of valuable metaphysical properties, and to provide protection. Found in Egypt dated 1500 B. C., the "Papyrus Ebers" offered one of most complete therapeutic manuscripts containing prescriptions using gemstones and minerals. Gemstones were not only valued for their medicinal and protective properties, but also for educational and spiritual enhancement. In ancient Asia cultures jade was believed to help one access the spiritual world, and was perceived as a sacred substance. Jade was known as the "dream stone". The ancient Chinese believe that the secret virtue of jade was absorbed into the body. It was also believed to provide self-confidence, to enhance fertility, and to re-energize the love between married couples. Jade was said to contain the concentrated essence of love, to relieve thirst, bring rain, and to protect against lightning. Jade drove off evil beasts, helped warriors, strengthened the wearer, enhanced the immune system, and prolonged life. Jade bangles were of particular significance to the ancient Chinese. It was widely believed in ancient China that a bangle would protect its wearer from disaster by absorbing negative influences. For example, if the wearer were caught in an accident, the bangle would break so that its owner would remain unharmed. Another common belief was that a spot of fine color in a bangle would spread across the entire stone, depending upon the good fortune of the owner. Bangles and rings were often made in pairs, in the belief that good things always come in twos. In addition to its use in the production of jewelry and great works of art, Jade was also used as well for medicinal purposes. It was used to ease pain from the kidneys and groin area, and aided in childbirth. In addition to the association with long-life, jade is also regarded as a "lucky charm", and jade charms are a favorite accessory for gamblers to this day. Even Confucius expounded on the virtues of jade. "Like Intelligence, it is smooth and shining. Like Justice, its edges seem sharp but do not cut. Like Humility, it hangs down toward the ground as a pendant. Like Music, it gives a clear ringing sound. Like Truthfulness, it does not hide its faults, and this only adds to its beauty. Like the Earth, its firmness is born of the mountain and the water." Modern practitioners recommend jade as a talisman for those who are trying to change or redirect their lives. As a “stone of change”, it is believed to empower the wearer to break through deadlocks. Jade is also believed to promote family unity, and still believed to prolong long as well. Wearing a jade talisman is believed to attract wealth and prosperity, and to increases the wearer’s sense of self worth and confidence. Meditating with jade is said to sharpen concentration, increase comprehension, and aid in absorbing and retaining intellectual knowledge. The wearing of a talisman by gardening enthusiasts is said to benefit their plants as well as the wearer. Some believe that jade can helps to control the content of our dreams or their focus. Jade is also thought by some to be a very protective stone, particularly good for protecting children against illness or for protection on long journeys. In present-day Asia jade is believed effective in regulating high blood pressure, and in calming emotional outbursts. It is believed an effective treatment for infertility, heart disease, and various disorders of the eye. Contemporary crystal healers believe that jade protects the kidneys, liver, spleen, heart and thyroid gland. Mystics hold that jade is associated with the elemental power of Dragons, and can be used in magic to attract and communicate with them. They believe that jade can help bring visions of Dragons when scrying (with a crystal ball), and that sleeping with the stone can bring magical dreams and help subconscious, intuitive messages rise to the forefront of the user’s mind. [AncientGifts] VINTAGE JEWELRY: How vintage jewelry brings old-time glamour to the red carpet. Among all the gemstones paraded on the red carpets of Cannes, Venice, Hollywood and New York, some pieces leave an indelible impression. At this year’s Manus X Machina-themed Met Gala, the award for best supporting accessory went to a majestic diamond peacock, its tail curving over one strap of Uma Thurman’s custom-made Ralph Lauren ivory gown. Created as a special order by Cartier in 1948 and comprising 83.89ct of diamonds, the brooch demonstrated the power of vintage when it comes to making a statement on the red carpet. "Vintage jewelry brings character and a sense of nostalgia to a look," says LA-based British stylist Tanya Gill, who dresses stars such as Kate Winslet, Julie Christie and Jane Fonda. "I love the craftsmanship, the history and the patina. Sometimes I’ll build characters through the jewelry as though I am creating a look for a film." Gill was responsible for the eye-catching vintage Bulgari bib necklace that Minnie Driver wore to the Vanity Fair Oscars party in 2014. Made in 1965, the necklace caught Gill’s eye at Bulgari’s Decades of Glamour pre-Oscar event. "It struck me as so exquisite in design and colour, with the craftsmanship of the turquoise, cabochon emeralds, cabochon amethysts and diamonds, that it would be a unique statement for the right personality," she says. "It was perfect for the statuesque beauty of Minnie Driver." It’s not only Hollywood’s grandes dames who carry off vintage glamour. At the Met Gala, Anna Wintour’s 29-year-old daughter, Bee Shaffer, was every inch the ingénue in 19th-century diamond chandelier earrings and a slim diamond headband by the New York-based vintage-jewelry specialist Fred Leighton, while at the reopening of Cartier’s Fifth Avenue mansion in September, Sienna Miller accessorised a fresh, floaty Valentino dress with a suite of diamond and emerald Cartier jewels from the 1920s. The trend for vintage jewelry on the red carpet was kick-started in 1996, when Prada borrowed a 19th-century opal choker from Fred Leighton for a then-29-year-old Nicole Kidman. "It was a wonderful moment for us," recalls Rebecca Selva, Fred Leighton’s chief creative officer and public relations director. "It commanded tremendous attention because it was so different." The collaboration sparked a long-term relationship with Kidman and began two decades of "beautiful and iconic moments" for Fred Leighton. Selva cites Charlize Theron’s appearance at the Vanity Fair Oscars party in 2000 as one of her favorites: clasped to the 25-year-old’s tangerine Vera Wang dress were two art-deco diamond clips. "Vera fell in love with the clips and then created the dress around them," says Selva. "The whole image was beautiful; it was Hollywood glamour in the most sophisticated and refined way." Nowadays, as celebrity outfits are dissected on social media in real time, red-carpet appearances have even more effect on what used to be a very private, elitist market. "The internet has been great in spreading the message about vintage jewelry," says Selva. "There’s so much to discover – people realise it’s not what they thought it was. It’s not your grandmother’s jewelry, and nothing is so rarefied that it can’t be worn. Even our tiaras can be worn as headbands." For Selva, increased visibility helps to dispel the myth that antique jewelry is outdated. "We have an unbelievable 19th-century diamond snake necklace that looks like the coolest piece anyone could wear, yet it’s almost 120 years old," she says. "It’s waiting for its red carpet moment." Vintage jewelry’s reputation in the fashion world has been elevated further by Fred Leighton’s collaboration with Net-a-Porter, which began in 2014. Both antique jewels and new pieces from the Fred Leighton Collection (which are inspired by vintage designs) are available online, with prices ranging from £1,500 for a simple pair of drop earrings to tens of thousands for signed vintage pieces by the likes of Cartier, David Webb or Buccellati. "We’ve had a really positive response, with jewelry often selling out within minutes," says Sophie Quy, fine-jewelry buyer at Net-a-Porter, who travels to the Fred Leighton store in New York up to four times a year to look for pieces. Diamonds, pearls and turquoise are bestsellers, along with chunky gold chain bracelets that customers wear stacked with modern designs. The site also works with Fred Leighton to source vintage pieces on demand. Antique jewelry has also found a place in uber-fashionable department store Dover Street Market, which carries a selection of vintage rings and Victorian and Georgian tiaras by British jeweler Bentley & Skinner alongside its roster of modern brands. This departure from the notion of dusty vintage emporiums reflects an increasing desire to own something one-of-a-kind. "Vintage jewelry is much more interesting than anything you can buy now," says Max Michelson of the London vintage specialist SJ Phillips. "Instead of being tied to this year’s range, we have 400 years’ worth of ranges, so you’ll always find something that fits." He says 20th-century pieces are far and away the most popular. "Everyone wants art deco because it’s stylish and nicely made, and being set in platinum it looks closer to modern jewelry than earlier pieces, which are set in silver. There’s also interest in bold pieces from the 1950s and ’60s." Unlike its American counterpart, SJ Phillips doesn’t shout about red-carpet appearances. "That type of advertising works in the States but not here," Michelson says. "Even if a piece has been worn by someone famous, we don’t tell people." While signed vintage pieces carry a price premium, there are smart buys to be found. "There are some under-appreciated American makers such as Raymond Yard," says Michelson. "But there are also unsigned pieces that are a match to the big names but half the price." The main thing is that it speaks to the wearer. "We never claim that anything is going to be a good investment. It might be, but we’re not an investment broker." Rebecca Selva agrees: "If jewelry is fine and fabricated beautifully, it will hold its value, but I would certainly never sell it as an investment. It’s more about the joy you get from it." [Telegraph (UK)]. VINTAGE JEWELRY: Dust off your old jewelry boxes and open-up the family vault because you might just be sitting on a fortune. That’s the message from London auctioneer Bonhams this week, as they announced new figures showing the soaring value of vintage jewels. Bonhams say the value of antique and period jewelry has increased by over 80% in the last decade - outdoing average house prices in England, which increased by 47% over the same period. Estimates have been abandoned on auction days, as items have been fetching double, sometimes triple, their predictions amid fierce bidding wars. And it’s prompted the auctioneer to launch a campaign urging the public to seek valuations for any forgotten gems they might have stashed away. “An Art Deco Cartier emerald and diamond bracelet that we sold in December was estimated at £80,000-£100,000 and it made £210,000,” says Jean Ghika, head of jewelry at Bonhams UK and Europe. “These types of instances are our key indicators of a gain in momentum. It’s the quality of craftsmanship that is resonating with buyers, the types of stones that were used back then, compared to a modern piece, are special.” Vogue’s jewelry editor Carol Woolton isn’t surprised by the jewelry market’s strength in the current economic climate. “There are so few investments that are reliable right now - stocks are in a state of insecurity, but gold and diamonds will never be a risky purchase for a rich person trying to maintain their wealth,” she says. “There are limited resources in the world, mines will run out and there is a finite number of precious stones - that’s what gives it a rarity value.” Even if you haven’t got a spare Cartier brooch in the attic to auction off, it’s worth noting that the trend described extends beyond designer names, and applies to specific stones, metals and eras, too. If the catwalks are revisiting silhouettes from a particular decade, the interest will echo through the jewelry world. “Signed items from the Art Deco period and antiques over 100 years old will always be in demand,” says Ghika. “But we’re now seeing post-war period, 1950s jewelry, as well as pieces from the 1960s and 1970s really performing well too.” The thing that often prevents people from having their jewelry valued is the assumption that family heirlooms have been set aside because they’re no longer fashionable won’t be worth anything. “People often look at their items without understanding their importance in the context of jewelry history,” says Ghika. “We recently discovered a wonderful and rare Chanel Twist necklace, which a client had brought to a valuation day, but had thought it was just a piece of costume jewelry. But Chanel did make real jewelry as well as pieces in non-precious materials.” This 1950s necklace had a discreet engraving on the inside, indicating that it was actually designed by Coco herself, and it subsequently smashed its estimate of £6,000, fetching £68,500 on auction day. So how can you tell if something is valuable when digging through an old jewelry stash? Start with the logos and hallmarks, suggests Ghika, noting that the big names (Cartier, Tiffany, Bulgari, Boucheron and Van Cleef and Arpels) will always be winners, but that key names from modern eras (like Andrew Grima of the 1960s, or John Donald of the 1970s) will have equally held their value. Next you should assess the piece’s construction; do the stones have rough edges, are they generously packed in, or was its maker trying to scrimp by using more metal, less diamonds? Even the battered and broken is not entirely beyond hope. “It’s not necessarily the end of the world if something has had some damage,” says Ghika. “Professional repairs, if done well, can be discreet. We have had items come into us in two pieces before and, after it is mended, it hasn’t greatly impacted on the value.” The best way to truly know what something might be worth is, of course, to get it valued by a professional. Because it is unlikely that you will be able to tell that the sapphires in granny’s heirloom ring were super-desirable specimens from the Kashmir region or the product of a rare mining community that was only operational for a ten years at the end of the 19th Century. “The Bonhams website offers the option to submit photos if you want to get an initial impression from our experts, then we hold regular valuation days all over the UK,” advises Ghika. What you can do for yourself, though, is take care of the stocks you’ve got - whether you’re ready to sell them or not. “If you ever think you might sell jewelry on, then you must keep the boxes,” urges Woolton. “The boxes and the paperwork for stones will really add to their value and save a lot of confusion as to what something is when you sell.” The worst thing you can do is to let your old jewelry rattle around in a disorganised box. “Don’t over-clean old pieces,” Ghika also warns. “Part of the history is the pattern that it has and if it’s stripped off then it lacks some of its soul.” Other expert tips include not keeping hard and soft stones together to prevent erosion, wiping pearls with a cloth after every wear to remove any oils or perfume, and even splitting pairs of earrings into individual soft pouches so that they don’t rub together. If you’re keen to run with 'gems over property’ as your new investment mantra, the experts say you may have to wait a while for the dividends if you choose more recent pieces. “jewelry takes a long time to appreciate,” says Ghika, who suggests buying classics distinct to particular makers, like Cartier’s Panthère collection. Woolton, meanwhile, tips Dior’s fine jeweler Victoire de Castellane as one who will create the “masterpieces of our time.” One thing all experts agree on however, is that primarily jewelry should be worn and enjoyed, with any increase in value seen as an added bonus. “It’s all very well owning these wonderful things,” says Woolton. “But if investors lock them away and don’t wear them then you have to ask; where’s the fun in that?” [Telegraph (UK)]. VINTAGE JEWELRY: The rise of online vintage jewelry auctions. As the Blue Moon diamond gets set for auction, our expert has the lowdown on the growing popularity of online sales which is making it easier than ever to bid for precious pieces. The global reach of the internet has raised the profiles of local salerooms and consumer confidence with it. When I was an auctioneer for Sotheby’s it was a one-person show; quite the adrenaline rush, the aim was to keep the “room” engaged in enthusiastic bidding. Today, with online sales increasing, auctions are just as busy but with fewer people actually in the room. Some of the thrill has gone but the benefit of online auctions is that they’ve boosted the profile of provincial salerooms, making them a force to be reckoned with. At Woolley & Wallis Salisbury Salerooms, for instance, an Art Nouveau Lalique haircomb came up for auction last year. The piece was notable for two reasons: highly collectable names such as Lalique were once the preserve of well-known auction houses. Now, the global reach of the internet has raised the profiles of local salerooms and consumer confidence with it. But the haircomb made a particular impact because it had previously been bought at an auction in Wellington, New Zealand, where it was erroneously catalogued as plastic and sold for around £2,000. Woolley & Wallis’s sale attributed its genuine provenance as horn, and sold it for £29,000. Here’s my guide to noted provincial auction houses which also offer online auctions. According to Jonathan Edwards, associate director at Woolley & Wallis auctioneers in Wiltshire, underbidders are making a big impact on prices being realized at auction today. There is also the fact that bids are coming not only from the UK but internationally, too. In May last year a natural pearl necklace was sold to an online bidder at the Wiltshire auctioneers for a staggering £89,000, against an estimate of £50,000-70,000. It is the highest-priced jewel sold online at Woolley & Wallis to date. Fellows auctioneers, which offers more than 40 specialist jewelry sales a year, is witnessing a substantial annual increase in its online sales, which represents around 45 per cent of its turnover now. “Rare pieces are going out to a global marketplace and there is no snobbery about which auction house you bid in any more,” says Geoff Whitefield, insurance manager at Fellows. A client who thought a pair of earrings were costume jewelry was staggered when they went under the hammer for £25,000 this year. Fellows is holding jewelry auctions throughout November and December Bellmans recently sold a pair of Twenties French platinum-and-diamond bracelets, which linked together to also form a necklace, for £14,000. Jonathan Pratt, managing director at Bellmans, advises that anyone considering buying from an online auction should first check the saleroom’s professional accreditation. “Look for trade-association endorsement, such as the Society of Fine Art Auctioneers and Valuers (SOFAA), and the Association of Accredited Auctioneers (AAA),” he says. It’s also worth checking that auction jewelry specialists are qualified and have obtained a recognized gemological certificate. Bellmans is holding a jewelry auction on 4 December The-saleroom.com started its live webcast auctions in 2006. Visitors to the site can browse auction catalogues and place bids over the internet in real time, with live audio and video feeds direct from the auction rooms. The site hosts jewelry auctions throughout the year, so if you are looking for a particular item, simply type keywords into the search engine and it will list suitable lots. The most important sales are still the preserve of international auction houses Sotheby’s, Christie’s and Bonhams, not least because of their global reach and relationships with leading collectors and dealers. These are the sales where you will see jewels that will take your breath away, including the Blue Moon diamond going on sale at Sotheby’s Geneva on 11 November. The largest fancy vivid blue, internally flawless 12.03ct diamond ever to come up for auction, with an estimate of US$35-55million, looks likely to break all previous records. “Auctioneers have adapted quickly to the demand for online bidding,” says Keith Penton, head of Christie’s London jewelry department. “It brings added interest and excitement to the atmosphere of the saleroom, particularly when the prospective buyer’s location is revealed to be in a far-flung location; it’s not unusual nowadays to hear: ‘sold to you on the internet in Bogota’.” (Note: Sotheby’s, Christie’s and Bonhams are not part of a sourcing portal platform so you will need to go to the individual websites to watch live auctions.) For Bonhams, which last year conducted 43 jewelry sales around the world, online bidding has encouraged a new clientele. “It’s about bringing the auction experience to millions of people who have never set foot in a saleroom before,” explains Matthew Girling, global CEO and director of jewelry. Online bidders accounted for more than £5m of Bonhams jewelry sales in 2014. This is also reinforced by the increase in volume of registrations it is seeing at Bonhams monthly Knightsbridge jewelry sales. Sotheby’s has also witnessed an increase in the number of online buyers participating in their worldwide jewelry sales over the past five years. In a 12-month period between 2013 and 2014, it saw a staggering 42 per cent increase in online bidding. So when that “Blue Moon” diamond goes up for auction at Sotheby’s Geneva, make sure you switch on your computer, get out the champagne, and witness a unique gem making history. Anyone can listen to or watch a live auction by simply clicking on “view as a guest”, although for data protection reasons you will not be able to see anyone bidding in the room. At Sotheby’s and Christie’s major Geneva, New York and Hong Kong sales, both auction houses have their own facility where you need to register on the website to follow the action, which can make for compulsive viewing. If you want to register to bid, you’ll be required to answer a series of security questions and, ultimately, it is still the individual auction houses that will accept your application if you’re registering interest through a sourcing portal. Once you’ve bid you have entered a binding contract with the auction house and if you are bidding via a sourcing portal such as thesaleroom.com there is a 3 per cent handling charge added to the final price after the buyer’s premium. Make sure you take a good hard look at all the images – including at the reverse image – as well as at the hallmarks. If the auctioneer has stipulated what the item is, then that is their guarantee. Also make sure you’ve checked dimensions so that there are no surprises when your item arrives and is much smaller or bigger than you’d hoped. View the items first and build a relationship with the auction house: it is always reassuring if you know who you are talking to at the other end of the phone when advice is needed. [Telegraph (UK)]. SHIPPING & RETURNS/REFUNDS: We always ship books domestically (within the USA) via USPS INSURED media mail (“book rate”). Most international orders cost an additional $19.99 to $53.99 for an insured shipment in a heavily padded mailer. There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Our postage charges are as reasonable as USPS rates allow. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are fully insured against loss, and our shipping rates include the cost of this coverage (through stamps.com, Shipsaver.com, the USPS, UPS, or Fed-Ex). International tracking is provided free by the USPS for certain countries, other countries are at additional cost. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. Please note for international purchasers we will do everything we can to minimize your liability for VAT and/or duties. But we cannot assume any responsibility or liability for whatever taxes or duties may be levied on your purchase by the country of your residence. If you don’t like the tax and duty schemes your government imposes, please complain to them. We have no ability to influence or moderate your country’s tax/duty schemes. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked 30-day return policy. Send it back, I will give you a complete refund of the purchase price; 1) less our original shipping/insurance costs, 2) less any non-refundable fees imposed by eBay Please note that though they generally do, eBay may not always refund payment processing fees on returns beyond a 30-day purchase window. So except for shipping costs and any payment processing fees not refunded by eBay, we will refund all proceeds from the sale of a return item. Obviously we have no ability to influence, modify or waive eBay policies. ABOUT US: Prior to our retirement we used to travel to Eastern Europe and Central Asia several times a year seeking antique gemstones and jewelry from the globe’s most prolific gemstone producing and cutting centers. Most of the items we offer came from acquisitions we made in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) during these years from various institutions and dealers. Much of what we generate on Etsy, Amazon and Ebay goes to support worthy institutions in Europe and Asia connected with Anthropology and Archaeology. Though we have a collection of ancient coins numbering in the tens of thousands, our primary interests are ancient/antique jewelry and gemstones, a reflection of our academic backgrounds. Though perhaps difficult to find in the USA, in Eastern Europe and Central Asia antique gemstones are commonly dismounted from old, broken settings – the gold reused – the gemstones recut and reset. Before these gorgeous antique gemstones are recut, we try to acquire the best of them in their original, antique, hand-finished state – most of them originally crafted a century or more ago. We believe that the work created by these long-gone master artisans is worth protecting and preserving rather than destroying this heritage of antique gemstones by recutting the original work out of existence. That by preserving their work, in a sense, we are preserving their lives and the legacy they left for modern times. Far better to appreciate their craft than to destroy it with modern cutting. Not everyone agrees – fully 95% or more of the antique gemstones which come into these marketplaces are recut, and the heritage of the past lost. But if you agree with us that the past is worth protecting, and that past lives and the produce of those lives still matters today, consider buying an antique, hand cut, natural gemstone rather than one of the mass-produced machine cut (often synthetic or “lab produced”) gemstones which dominate the market today. We can set most any antique gemstone you purchase from us in your choice of styles and metals ranging from rings to pendants to earrings and bracelets; in sterling silver, 14kt solid gold, and 14kt gold fill. When you purchase from us, you can count on quick shipping and careful, secure packaging. We would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from us. There is a $3 fee for mailing under separate cover. I will always respond to every inquiry whether via email or eBay message, so please feel free to write.

Price: 41.99 USD

Location: Lummi Island, Washington

End Time: 2025-01-10T03:31:23.000Z

Shipping Cost: 5.99 USD