"500 Bracelets: An Inspiring Collection of Extraordinary Designs" by Marthe Le Van.
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DESCRIPTION: Softcover. Publisher: Lark Books (2005). Pages: 408. Size: 8¼ x 8 x 1¼ inches; 2½ pounds. This entry in the “500” series features the most gorgeous bracelets you've ever seen. Lovingly crafted by renowned art jewelers from around the world, these one-of-a-kind pieces display technical excellence, diverse forming techniques, and unceasing beauty. Never before has such a diverse collection of fine contemporary bracelets been assembled, showcasing hundreds of renowned international jewelers. Materials range from the most precious metals and gems to paper and plastic, and the varied techniques include forging, casting, weaving, and and surface embellishments. Among the featured creators: Abrasha, who contributes a Royal Pachinko Ball Bracelet; Sharon Portelance, who called her work Wrist Corsage: Ever Present; and Felieke Van Der Leest's amusingly named Hare O'Harix and His 6 Carrots. Whether you're an expert jeweler, a collector, a student, or simply someone who loves beautiful objects, these one-of-kind pieces will astound you.
CONDITION: NEW. New oversized softcover. Lark Crafts (2005) 408 pages. Unblemished except for faint edge and corner shelfwear to the covers. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Shelfwear is principally in the form of very faint "crinkling" to the cover spine head and heel, as well as the cover "tips" (the four open corners of the covers, top and bottom, front and back). Condition is entirely consistent with new stock from a bookstore environment wherein new books might show minor signs of shelfwear, consequence of routine handling and simply being shelved and re-shelved. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 30 days! #8842a.
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: Hundreds of bracelets illustrate the versatility, diversity, and beauty of a simple form. As you look through this illustrated survey, you'll realize that the concept of what defines a bracelet is open to infinite interpretations. Knitter, beaders, wood carvers, ceramicists, and other artists from around the world join celebrated metalsmiths in these pages. Whether you are an artist, collector, or jewelry enthusiast, these designs will continue to fascinate you.
REVIEW: Never before has such a diverse collection of the best contemporary bracelets been assembled, showcasing the remarkable designs and craftsmanship of hundreds of renowned international jewelers. The materials include plastic, wood, paper, glass and found objects, and the techniques feature forging, casting, and weaving.
REVIEW: Never before has such a diverse collection of fine contemporary bracelets been assembled, showcasing hundreds of renowned international jewelers. Materials range from the most precious metals and gems to paper and plastic, and the varied techniques include forging, casting, weaving, and surface embellishments. These one-of-kind pieces will astound you.
REVIEW: This will serve as a great reference for me professionally. Terrific source to obtain creative ideas.
REVIEW: Features bracelets. Lovingly crafted by renowned jewelers from around the world, this title includes one-of-a-kind pieces that display technical excellence, diverse forming techniques, and unceasing beauty.
REVIEW: Photographs of more than 500 pieces of jewelry from 475 artists are showcased in this extraordinary international collection.
REVIEW: Presents a collection of five hundred bracelets crafted by renowned jewelers and made of a variety of materials, including metal, gemstones, antique glass, fabric, and plastic.
REVIEW: Contemporary jewelry is celebrated in this spectacular, inspiring, dramatic, and joyful collection of art bracelets from designers around the world.
REVIEW: Marthe Le Van is a jewelry editor and curator. She is also co-owner of Mora, a designer jewelry boutique in Asheville, North Carolina. From 2000 to 2011 Le Van was a senior editor for Lark Books, where she, edited, juried, or curated more than 60 titles. The books she's authored on making jewelry include 30-Minute Earrings, 30-Minute Necklaces, Stitched Jewels, Prefab Jewelry, Fabulous Jewelry from Found Objects, and The Art of Jewelry: Paper Jewelry. Marthe has also served as the editor for all jewelry books in Lark's popular "500" series, as well as the juror for 500 Wedding Rings and the curator for 21st Century Jewelry and Masters: Gold. She is a member of the Art Jewelry Forum and the Society of North American Goldsmiths. She lives in Asheville, North Carolina.
TABLE OF CONTENTS:
Juror's Statement.
Introduction.
The Bracelets.
Contributing Artists.
PROFESSIONAL REVIEWS:
REVIEW: Hundreds of renowned international jewelers are showcased in this volume. Whether the viewer is an expert jeweler, collector, student, or someone who loves beautiful objects, these one-of-a-kind pieces will be astounding.
REVIEW: "500 Bracelets" illustrates the versatility, diversity, and beauty of a simple form. Celebrated metalsmiths join with beaders, wood carvers, ceramicists, and knitters from around the world to fascinate and enthuse the artist and the collector.
REVIEW: This is the latest book in Lark's revisited 500 Series - renamed the Showcase 500 and soft bound (which I believe will stand the test of time much better than the hard bound covers). I know I sound like a broken record but I truly believe that the 500 Series and the new Showcase 500 will be the most valuable tool in the Appraisers' bookshelf - these tomes hold the work of hundreds of Art Jewelers whose names the future may not recall - but whose work and passion are evident in these pages.
This volume is an excellent example of the vast array of styles and techniques that make up the "Art Jewelry" movement. The publisher of course will claim that this collection is representative of the contemporary jewelry scene but take it from someone that is literally buried in both the fine jewelry and art jewelry worlds - this really is representative of today's Art Jewelers! I would order my copy today!!!
REVIEW: You all probably know how I feel about these Showcase series books by Lark Books by now...I drool over them for days. They sit endlessly on my coffee table, at least until the next one comes along. And sometimes, when they include my own work, they sit there even longer! Well, this time, my work was not included, but I am nonetheless thrilled with the selection that was chosen for 500 Bracelets. The examples range from the traditional and beautiful to the weird and bizarre. Some made me say "meh", but not very many! Being wearable is not always the issue, but technical excellence most certainly is.
REVIEW: "500 Bracelets" is a collection of art jewelry that works as a kind of book slash gallery exhibit. This book is meant to inspire versus inform. It is packed full of color photographs of finished bracelets that are hand-crafted to an artistic level. [Tammy Powley, About.com Jewelry Making].
REVIEW: The book is really stunning. The compact size packs quite a punch of art. This book is laid out very much like a gallery exhibit: each spread reminds me of a wall space where similar works of art are hung together, and sometimes the connections are surprising. The pieces range from high-end designer diamonds and gems incorporated into meticulously detailed settings to found object creations that look like experiments gone wild. The materials, colors, patterns and styles are fantastic and completely inspiring. A book like this helps me envision what is possible. [Erin Prais-Hintz, Professional Jewelry Designer].
REVIEW: These tomes hold the work of hundreds of art jewelers whose names the future may not recall, but whose work and passion are evident in these pages. This volume is an excellent example of the vast array of styles and techniques that make up the Art Jewelry movement. [Robyn Hawk, Metalsmith].
REVIEW: A wonderland of possibilities...page after page of inspiration. [American Craft Magazine].
REVIEW: These photo gallery books are part of a continuing series on contemporary crafts. All feature artistic, sometimes humorous examples of bracelets and other jewelry forms by many international artists. Captions include the artist's name, title, dimensions, medium, and photographer's credit. As compilations of the best work being done today, these visual delights are an inspiration for crafters; they do not include projects, nor do the previous series volumes. Recommended for specialized decorative arts collections. [Library Journal]].
REVIEW: A diverse collection of contemporary bracelets. Materials range from precious metals and gems to paper and plastic, and the varied techniques include forging, casting, weaving, and surface embellishments.
READER REVIEWS:
REVIEW: I like the format that Lark Books has chosen for this book and their other "500 Series" books. The Book contains full page pictures of the most contemporary, cutting edge jewelry one can find. Very few words are used, and the viewer is left to enjoy the images and let the art speak for its self. If you are a student of art or a working artist this and other books in the "500 series" are a must for ideas, inspiration, and just plain enjoyment. Those with just a casual interest in different medias and crafts will also enjoy this book.
REVIEW: I bought this book as it had been recommended to me and I'm really pleased I did. It's full of inspiration and great ideas, although quite a few of the ideas are completely out there. I'm a silversmither and was looking for ideas to get away from more conventional designs and it definately delivers on that score. Each bracelet also has a little bit of information on how it was made which is really useful. It wasn't quite what I was expecting but has given me lots to think about and is a great book just to peruse. Well worth the buy.
REVIEW: Wow again! 500 bracelets book contains many examples of photographs of bracelets created by various artists. This collection of books would be great for students to get inspiration for their projects.
REVIEW: What an inspiration! It would drop-kick you out of any creative slump just looking at half a dozen pages on the darkest day. It encourages thinking outside the box like no other book I've ever read or seen -- but I'm highly visual in my orientation. I treasure this book, and have emailed all of my industry colleagues and friends encouraging them to order the book.
REVIEW: Like 1000 Rings and 500 Brooches (both of which I have), Lark Books' 500 Bracelets is a must-have for anyone interested in the art jewelry scene today. The photos, materials and ideas presented in the wonderful pieces are amazing and so, so inspiring!
REVIEW: My professor highly recommends this series because this book has so many original and unique concepts. I've been thrilled with all of the books I have ordered from this series.
REVIEW: Many of the bracelets are purely conceptual and many look like they would be uncomfortable to wear, not to mention, too delicate to stand up to wear, however, I agree with the evaluation that the book is an excellent "spark for creativity" Especially if you are an artistic type and not someone who is looking for something to copy. I found myself challenged, when I found a design I liked, to translate the idea into my chosen medium. As for the criticism about including several nearly identical entries from the same artists, for the most part, I don't agree.
REVIEW: I was pleasantly surprised, however, to find several very interesting designs, including a few beadwork pieces, and a Plastic Body bracelet by Margeaux Lange. It was actually quite fun to look through all of the bracelets.
REVIEW: I'm a designer and jeweler and I found this book as a explosion of imagination and creativity; that bring me inspiration to develop my own ideas.
REVIEW: I love this series from Lark! It provides me with lots of inspiration and it is a wonderful tool to learn new artists and their work. I have almost the whole series!
REVIEW: Worth getting, good value for money. A varied, contemporary compendium of high quality images, of high quality work.
REVIEW: I have quite a few of the 500 series, and this did not disappoint, the photographs are excellent and leave you full of admiration for the artists who create these bracelets.
REVIEW: This "500 Bracelets" book by Marthe Le Van features some of the most interesting bracelet designs. Some of the designs present unconventional and sustainable approaches to jewelry design.
REVIEW: Five stars! Highly recommend for all student jewelers. Inspirational pictures, an amazing book!
REVIEW: It's an incredible book. I think it's a source of inspiration for beginners and advanced jewelers.
REVIEW: I loved the design ideas and the photography was clear.
REVIEW: Great book. Excellent for reference and for seeing how other's have challenged the boundary's of jewelry making.
REVIEW: Five stars! Great addition to my library.
REVIEW: Great reference. I always like the 500 series.
REVIEW: This is another gorgeous '500' title from Lark Books. More eye candy and inspiration for all kinds of creative people.
REVIEW: I bought this book because I thought it would be good for dipping into for inspiration to get going! It is. There are stacks of brilliant pictures. Quite often I have a pretty good idea of how things are made, but not always. Some are wow, some are delicate, original, witty, incredible - all depending on the eyes that view them- All in all, a good buy; although I freely admit that some pieces make me feel totally inadequate - but there you are - something to strive for. Inspiration or coffee table? Good for both. In any case a good buy.
REVIEW: Some of the bracelets are beautiful....some are thoughtful. Others are just strange. But all are creative and inspiring! As in the other 500 series, the photography is flawless. When my creative muse is on vacation, I only have to pick up this book to just about any page and find some little twist of wire, or unusual use of material and it sparks a wave of ideas to take into the studio.
REVIEW: This is a wonderful showcase of some stunning bracelets! This is a collection that moves from subtle enough for everyday to avant garde, show stoppers fit for red carpets and fashion week runways! When I first received my copy I couldn't put it down or leave home without it for weeks! It still seems that every time I open it up I find something new that I hadn't seen before!
REVIEW: Being a jewelry student I find books like 500 bracelets useful tools used to broaden my horizons on the designing and making of jewelry. There are many excellent examples of designer bracelets in this book, great photographs too. There are a few brief pieces of writing by some of the artists that appear in the book which are interesting but very short. Although there is a description of materials used under each piece, there are no technical notes. I understand that it is not a technical handbook and that some artists may not want to give away technical secrets. I still rate this book highly and recommend it to anyone who is interested in art and design. I find it a useful reference point where i can find designs and makers that interest me and see how materials can achieve unexpected effects. From this reference point one can then go on to research each designer and the materials used if desired.
REVIEW: A great snapshot of the creative jewelry of the early 2000. Looking through this book, one cannot help marvel at the creativity of the human mind. How can there be such a diversity and invention in an object as small as a brooch? This book is a great snapshot of where contemporary jewelry (bracelets) is at in the early 2000. The pictures are beautiful, there is just enough text to understand what you are seeing and know about the creator, and the way the pieces are presented is excellent. For the jewelry designer this is a fantastic resource book, and for anyone else, it is a great introduction to an art form not always known or appreciated and to the discovery that jewelry can be far more a craft.
REVIEW: This book is kind of part of a series ("500") by Lark. These books have served me and many people I know as a source of Inspiration. They show one of a kind, hand made pieces by artists from all over the world. Some of the pieces also have descriptions from the artist about what inspired the piece or the ideas behind it. In a classroom, students could look at these books for ideas and see where other artists take their ideas from.
REVIEW: The photography, the curating/jurying, the layouts, all are beautiful. All materials are identified for each piece. There are some gorgeous works of art in this book. A keeper for the art library. Highly recommend. There are lots of pictures from this book that are becoming very popular on Pinterest.
REVIEW: The bracelets shown here are very unusual, using a variety of materials, not usually incorporated into classic designs. The pictures are both wonderful and playful. If you have a curiosity about the way designers think and their designing methods, pick up a copy of this book!
REVIEW: This is one of the “500” series that I consider a 'dream' book. Shares lots of ideas and 'let's try this one'. The entire series are very worthwhile, some more than others. It's nice to see how many talented people there are.
REVIEW: Drool... More inspiration than one person can probably implement. There is plenty for the money.
REVIEW: Beautiful pictures, amazing designs. The book is a great reference for jewelry artists wanting to get inspiration for their work. Great book!
REVIEW: My husband has several of the 500 series books. He is a jeweler and teaches jewelry classes; he uses books to let his advance-level students find projects that they would like to attempt. Wonderful!
REVIEW: Wonderful inventive artists are creating more than jewelry. Many if not most are really art pieces. Photography excellent. Left me wanting more than 500.
REVIEW: This a series of books each featuring 500-1000 pieces in each book. I think I own most by now and they are ALWAYS out at this time of year as holiday gifts are made. This is a beauty as well.
REVIEW: This entire series (500 Necklaces, earrings, etc.) is amazing in the breadth of materials used and design styles displayed. If you can't find inspiration here, you're doomed.
REVIEW: I bought this as a gift for my jewelry making mother, as inspiration. She was very happy with it. Although she mostly works with beads, she liked seeing more complex techniques. 
REVIEW: The 500 series of books inspire even the very beginner jewelry maker. They pique your interest to learn advanced techniques to some day be able to make something as beautiful as anything in these books. Wonderful inspiration and excellent photography on beautiful quality paper.
REVIEW: Lark has a series of books presenting well photographed, contemporary fine crafts. This book is a good survey of what is being created in bracelets. If you are teaching in art history or fine crafts areas, this is an important resource for students, collectors, museums, and libraries.
REVIEW: I love the Lark Series books, I have all the jewelry ones, they are a non stop source of inspiration and great value for money. You simply can't go wrong if you buy these books.
REVIEW: Worth getting, good value for money. A varied, contemporary compendium of high quality images, of high quality work.
REVIEW: Excellent source of inspiration! Amazing examples of all kind of imaginable bracelets. You will start creating your own.
REVIEW: I have many of the 500 series books and always find them beautiful, informative, inspirational and a nice addition to my library.
REVIEW: Inspirational pictures of some of the most beautiful bracelets ever. Could be a coffee table book but I keep it handy to inspire me.
REVIEW: This entire 500 series is wonderful. I own over one-half dozen in the series and use them to inspire me.
REVIEW: I enjoy using it as reference. Try to collect all the 500 series that relate to jewelry ideas as well as unique ideas
REVIEW: This book contains a collection of various works which are quite amazing. A great deal of creativity to enjoy page after page!
REVIEW: I buy all of these kinds of books. This one is full of inspiration and awe. I'm thrilled to have it in my collection.
REVIEW: This is a great book. I revisit this book often for inspiration and ideas. A good book to add to your individual home art library.
REVIEW: Love this book. Amazing what people think up and then make in all sorts of materials and with an astonishing array of techniques. Small pieces of art and craft. Inspirational.
REVIEW: This is an excellent series of books, not just for jewelry buffs. Photos are excellent and clear and I will be referring to this again and again for inspiration
REVIEW: Lots of clear wonderful colorful pictures...some are more like art. A must have for people who are seeking inspiration.
REVIEW: One of my favorites in the Lark Books 500 series, a very nice showing of contemporary jewelry artistry
REVIEW: Some beautiful, others impractical and just weird. Fertile ground for the eye and the imagination.
REVIEW: Five stars! Beautiful and informative!
REVIEW: I saw this book while traveling, ordering a copy as soon as I returned home and it is great for inspiration and fascinating takes on neck adornment.
REVIEW: Great art is to be found in the series.
REVIEW: I like this book. Pictures' quality is good and I can find information I need.
REVIEW: A book for times when you need inspiration. You can return it repeatedly to find new ideas.
REVIEW: Like most of the Lark books in this series, this is wonderful creative eye-candy.
REVIEW: What a great and inspiring book! Visual creative candy all the way! Five Stars!
REVIEW: Five stars! Lots of ideas in this book.
REVIEW: Very useful. Excellent!
REVIEW: Five stars! Absolutely inspiring!
REVIEW: Lark Books have a winning formula with this series.
REVIEW: Five stars! Another good book from this series
ADDITIONAL BACKGROUND:
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 color, 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 accessorized 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 realize 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 disorganized 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)].
Gemstones In Ancient History: Throughout history, gemstones were believed capable of curing illness to providing protection. Found in Egypt dated 1500 B. C., the "Papyrus Ebers" offered one of most complete therapeutic manuscripts containing prescriptions using gemstones and minerals. In the eastern civilizations of China, India, and Tibet, gemstones were not only valued for their medicinal and protective properties, but also for educational and spiritual enhancement. Hereinbelow are a few examples of the uses for and beliefs concerning specific gemstone varieties in the ancient world.
Aquamarine: Aquamarine is a variety of the mineral beryl, as is emerald. It can be found in blue, blue-green, and green; though the blue color is by far the most valuable. The origin of the name "aquamarine" is Latin; "aqua", for water; "mare", for sea. Ancient Greeks believed Aquamarine held the essence and spirit of the sea. Wearing this stone as a talisman was believed to protect from adversities at sea, prevent sea sickness, and promote courage and a strong will, and to quicken the intellect. Ancient Greek jewelers made extensive use of aquamarine, which came to them via Arabian camel caravan and ocean-going Mediterranean galleys. The Romans also made extensive use of aquamarine in their jewelry. The ancient Romans believed aquamarine would bring victory in battles and legal disputes, and could render soldiers invincible.
Roman bridegrooms gave the aquamarine as a wedding gift to their brides the morning after the consummation of the marriage, believing that the stone absorbed the atmosphere of young love, and that it was also effective in reawakening the love of married couples, and that wearing aquamarine would bring a happy marriage, bringing the woman joy and wealth. According to Roman literature of the time, “when blessed and worn, aquamarine joins in love, and does great things.” The ancient (first century A.D.) Roman Naturalist and Historian Pliny wrote of aqumarine, “the lovely aquamarine, which seems to have come from some mermaid’s treasure house, in the depths of a summer sea, has charms not to be denied.” In addition ancient Romans believed that if the figure of a frog was carved onto an aquamarine it would help to reconcile enemies and make them friends.
The ancient Romans regarded aquamarine as sacred to Neptune, the god of the sea (“Poseidon” to the ancient Greeks), having fallen from the jewel boxes of sirens (mermaids) and washed onto shore (and of course aquamarine was also associated with the planet Neptune as well). So in addition to jewelry presented by bridegroom to bride, Roman mariners, fishermen, and those traveling over the sea wore aquamarine talismans, engraved with the likeness of Neptune on his chariot (or with trident in hand or in the company of a dolphin), as protection against dangers at sea such as storms, sea monsters, etc. Greek mariners of course did the same, but Neptune was known to them as “Poseidon”. Ancient Egyptian Mariners shared similar beliefs. Ancient fishermen believed that in addition to protecting them from the perils of sea, an aquamarine talisman would also increase the size of their catch.
The ancient Romans believed aquamarine also had medicinal uses as well, regarded as useful in curing illnesses of the stomach, liver, jaws and throat (including coughing, hiccups, and toothaches). The association with water led to the belief that aquamarine was particularly powerful when immersed. In fact, immersing the aquamarine gemstone in water and then allowing it to soak up sunshine was believed to greatly magnify the strength of the gemstone. The medicinal attributes of aquamarine were first recorded by the Latin Historian Damigeron in the second century B.C. “This stone is good besides for damage to the eyes, and for all sickness, if it is put in water and given as a drink.” Pliny also listed the stone in his treatise “Natural History” as an excellent cure for eye diseases. The eye was supposed to be washed in water in which an aquamarine was immersed. To cure serious eye ailments, it was recommended to place the powder of the gem in the eyes each morning.
Ancient Roman accounts recorded that the Emperor Nero used aquamarine as an eyeglass. Far-fetched as that may seem, in Germany at one time aquamarine was used to produce eyeglasses to correct shortsightedness. In fact, the German name for eyeglasses, “brille”, is derived from the German name for the mineral, beryl (aquamarine is a variety of beryl). Water in which aquamarine had been submerged was used in throughout the ancient world to heal a variety of illnesses of the heart, liver, stomach, kidneys, and mouth. The gem was also credited with curing belching and yawning and was considered especially effective for curing ailments of the jaws including toothaches. When worn as an amulet, it was believed to bring relief of pain and to make the wearer friendlier, quicken the intellect and cure laziness.
The ancient Sumerians, Egyptians, and Hebrews all also valued aquamarine greatly. It was a regarded as a symbol of happiness and everlasting youth. Aquamarine was also used in ceremonies in the belief that it would bring rain when needed, or visit drought upon enemies. The first written descriptions of aquamarine date back to the fourth century B.C., and aquamarine amulets have been unearthed by archaeologists dating back to 500 B.C. There was also mention of aquamarine in the Bible as one of the foundations of the post-apocalyptic New Jerusalem, as well as being described as one of the twelve stones in the breastplate of Aaron, the High Priest, representing the twelve tribes of ancient Israel. To Christians from the earliest times through the Medieval era aquamarine was identified with the Apostle St. Thomas, and symbolized harmony, happiness, innocence, youthfulness, purity, moderation and control of the passion.
Ancient Christians also wore aquamarine for its amuletic properties, believed to help protect against evil and conquer wickedness, and also to ward off Satan. In the Middle Ages aquamarine was also believed to give the wearer insight and foresight. And if a person held an aquamarine in his mouth, it was said that he could call a devil from hell and receive answers to any questions he might ask. During the Middle Ages the use of aquamarine as an antidote for poison was widespread throughout Europe. William Langland’s “The Vision Concerning Piers and the Plowman,” written in 1377 A.D., mentions the aquamarine as an antidote for poison. Because royal successions were so often hastened and brought forward by the poisoning of the reigning monarch, aquamarine was in great demand and fetched enormous prices.
As an antidote to poisoning it was not necessary to pulverize the stone, as it was with other gemstones. Simply wearing the stone as a pendant or in a ring was believed just as effective. Wearing the gemstone as a talisman was also believed to protect against evil spirits. Writers of the Middle Ages also claimed aquamarine was the most popular and effective of the “oracle” crystals. When cut as a crystal ball, it was thought to be a superior stone for fortune telling. Many methods of using the stone as a divining tool were described in ancient literature. quamarine’s powers of revelation were also said to help one in search for lost or hidden things. It was also believed that an aquamarine gemstone’s powers could be “recharged” and the color deepened by allowing it to sit in the light of a full moon for one night, but only one night.
Byzantine and medieval soldiers also carried aquamarine as a talisman, believing that as did the Romans before them, it rendered them invincible. In the Middle Ages aquamarine was still considered an effective remedy for problems involving visions, coughing, or toothaches; but it was also believed to relieve insomnia, melancholy, and act as a digestive aid and remedy for hearing problems. It was also believed helpful in attracting a compatible spouse, and was thought to reveal true friends versus false, by changing color. In the ancient world aquamarine was believed to provide emotional and intellectual stability and enhance the connection to higher self. It was believed to enhance one’s ability to think quickly, and to always be prepared. It was also believed to help judgmental people to be more tolerant, to help bring order to those who were overwhelmed with responsibility, and to help individuals take responsibility for their actions. Aquamarine was also believed to have a soothing influence on married couples, helping husbands and wives work out their differences and ensuring a long and happy marriage.
Aquamarine was also believed to be beneficial in connection with emotional ailments such as disorientation and fear, providing a calming effect for those suffering from both spiritual and psychological disturbances, as well as those suffering from grief. Intellectually it was believed to enhance communication and mental clarity, and was also regarded conducive for meditation as it was believed to quiet the mind and facilitate communication from higher planes. Wearing aquamarine as a talisman was believed to improve the wearer’s overall sense of well-being, and to aid those for whom procrastination was problematic. As a talisman, it was also reputed to bring to the wearer courage, and provide motivation and reassurance in times of intense physical and emotional stress. It was also believed to promote the wearer’s spiritual and psychic awareness, and to bring visions of the future.
Medicinally aquamarine was believed to assist in "cleansing" internal organs, to aid in digestion, and to cure sore throats, tooth aches, pain in the neck or jaw, headaches, glandular disorders (including lymph nodes), and was used to treat illnesses involving the lungs and eyes. Aquamarine was also used to treat arthritis and varicose veins. Reflecting the association between water and aquamarine, the gemstone was also believed to be an aid to fluid retention. Contemporary practitioners and astrologists hold that since aquamarine symbolizes the natural element of water, aquamarine possesses the quality and energy of cleansing and purification, and strengthens the immune system. It is also held that it is useful for treating eating disorders because of its ability to help heal the emotional problems that lie behind bulimia and anorexia. It is also claimed as useful in the treatment of post traumatic stress syndrome [AncientGifts].
Iolite: Known as the gemstone of the Vikings, Iolite is a blue-violet colored gemstone often mistaken for sapphire or tanzanite. Unknown to classical ancient Mediterranean cultures, it was used by Norse and Viking explorers to navigate. Mined from deposits in Norway and Greenland, this exceptional gemstone changes colors depending up the direction it is oriented, thus allowing crude navigator even without a fix on the sun or stars, vital in the fog-enshrouded northern Atlantic waters where the direction of the sun was otherwise impossible to discern. Iolite is usually a very richly textured purplish blue when cut properly. Called “water sapphire” by some as it is clear from one direction, light blue from another, and from the third direction, light yellow or gray.
Its darkest blue-violet shade is seen when held 90 degrees from the sun. It is also believed that the Vikings would use thin slices of iolite as polarizing filters, allowing them to look directly at the sun and determine its exact location in the sky. During the Middle Ages there exist accounts that Iolite was used by shamans to help achieve a deep trance state, stimulate visions, and stimulate astral travel. In some Medieval cultures Iolite was held sacred to the Mother Goddess, and in other Medieval cultures it was held to be sacred to the Father God or King of Gods (especially the Roman deity Jupiter).
The name iolite comes from the Greek ios, which means violet. In the 19th century it was known as "cordierite", after a French geologist, Pierre L. Cordier, who had “(re)discovered” the gemstone for the benefit of Western Europe. It was very popular during that century, but then drifted in obscurity. It is presently mined in Russia, India, Sri Lanka, Mozambique, Madagascar, Zimbabwe, and Brazil. The largest iolite ever discovered is a 1714 carat nodule discovered at Palmer Canyon, Wyoming, and is known as the “Palmer Canyon Blue Star”. However typically pieces of rough over 8 carats are quite uncommon, and gemstone quality faceted gemstones over 1 carat are likewise fairly uncommon.
In the ancient world it was believed that iolite would help balance the various aspects of the personality, especially those characteristics within an individual considered "female" and "male". As well iolite was believed to bring harmony to interpersonal relationships, to help determine the truth, and as well to energize athletes. Iolite was also held to help purify the body of wastes. Iolite was also been used by mystics as an aid in bringing visions. In the Victorian era it was believed that wearing iolite would enhance one’s ability to manage money and avoid debt.
Iolite was also used to relieve headaches, and it was believed to enhance liver function, eliminating systemic toxicity. Modern practitioners believe that iolite gives its wearers a better understanding of themselves and their special purpose, helping them find direction that has been missing in their lives. It’s also believed to help wearers "let go" of feelings of helplessness and victimization related to circumstances, gently nurturing growth and maturity. Iolite is also reputed to increase spiritual insight and help in seeing both sides of an issue more clearly. On a more practical level, iolite is presently used in the manufacture of catalytic converters [AncientGifts].
Peridot: The name “peridot” was coined by the French, but the root is from the Arabic word "faridat" meaning "gem". Due to its yellow green color it was known in the ancient world as the "gem of the sun". Peridot was mined on St. John's Island (also called “Zebirget” or “Zabargad”) in the Red Sea, 45 shark-infested miles off the coast of Aswan, Egypt, as early as 3,000 B.C. Many pieces of ancient Egyptian jewelry (some as much as 4,000 years old) featuring peridot have been uncovered by archaeologists. The first century Roman Historian and Naturalist “Pliny the Elder”, in his "Natural History" (circa 70 A.D.) mentions both the island as well as its gemstones, referring to the Red Sea Island as "Chitis".
Legend has it that ancient pirates discovered peridot on Zebirget, but the island was often hidden by heavy fog and its location was lost for centuries. Another ancient legend pertaining to the island is that for thousands of years the thick fog typically enveloping the island protected the peridot from potential poachers, as if unsuspecting sailors approached, their ship would either be wrecked on a reef or captured and, either way, the crew enslaved to work in the mines so no one could go back and tell others. This barren little mound of land was one of the most heavily guarded locations of the ancient world. It is documented that the ancient Egyptians valued peridot so highly that guards stationed on the island were given orders to kill anyone approaching the shore without permission.
When originally discovered, the island was known as the ‘Isle of Serpents’. Supposedly, the island was so infested with pit vipers and mining so potentially deadly that the ancient Egyptian military was given the job of eliminating the viper population. According to ancient Egyptian legend miners searched for peridot crystals at night (when their glow gave away their location; ancient Egyptians believed the "jewel of the sun" became invisible under the sun’s rays), marked the spot, then returned to dig them up in daylight. Thousands of years later during the Middle Ages, this legend had evolved into the belief that peridot only showed its true beauty after nightfall.
To the ancient Egyptians, the glow of Peridot symbolized "Ra", their sun god. According to some accounts, peridot gemstones were a traditional “gift” given by the Pharaohs of Ancient Egypt to their High Priests, ensuring according to one source, that the priests might "keep their minds free from envious thoughts and jealousies" concerning the pharaoh's powers and wealth. According to some ancient accounts, peridot was Cleopatra's favorite gemstone. Throughout the ancient Mediterranean peridot was believed to afford protection against the “evil eye”, that ancient belief that some evil sorcerers or witches had the ability to transmit evil with just a glance. The ancient Romans referred to peridot as “emerald of the evening”, and wore it for protection against enchantments, melancholy and illusion.
There are as well Old Testament references to peridot, though the gemstone was referred to as "pitdah", typically translated as ‘chrysolite’. According to biblical accounts, a peridot was one of the twelve stones adorning the breastplate of the high priest, Aaron, the twelve stones representing the twelve tribes of ancient Israel. During the Crusades it is believed that at some point the island came under Crusader control, and the island became known as “Saint John's Island” (its previous name, “Zabargad”, is the name for peridot in the Egyptian language). Although it's not known how long the Crusaders remained in control of the island, it is clear that they did engage in mining operations, stockpiling peridot.
At the end of the Crusades (after the final defeat of Crusaders forces and the capture of Acre by the Muslim Mameluks in 1291 A.D.), the Crusaders brought back to Europe large quantities of peridot. However true to form, the exact whereabouts of the island was then again lost to history, and and it was not until the early twentieth century that Zebirget and the peridot mines were rediscovered. The mines were worked up until the outbreak of World War II. Mining resumed again after the conclusion of World War II, but the mines were abandoned several decades ago. In Medieval Europe many powers were ascribed to this gem, and it was worn by many as a talisman so as to gain foresight and divine inspiration.
It was believed that peridot would dissolve as well as protect against the effects of enchantments and spells. To develop its full strength as a talisman, so as to enhance its potential to ward off evil spirits, peridot was set in gold or strung on donkey hair and tied around the left arm. One Medieval source (dated to about 1502 A.D.) cited the belief that using a piece of peridot upon which was carved an ass would enhance a sorcerer’s powers of prophecy, and that the engraving of a vulture onto the stone allowed control over various demonic spirits as well as the winds. Peridot brought into Europe as Crusader “booty” was also used in Medieval through Baroque Europe as an adornment for ecclesiastical treasures.
A particularly significant example of such ecclesiastical treasure would be that of one of the shrines in the Cologne Cathedral (the “Treasury of the Three Magi”). Acknowledged to be the largest and most valuable piece of medieval goldsmithing in existence, the reliquary was designed by Nicholas of Verdun (actively producing from about 1150-1210 A.D.), reputed to be the greatest goldsmith of his day. The reliquary is six feet long, four and one-half feet high, and three and one-half feet wide. Containing more than one thousand precious stones and an uncounted number of pearls, among the gems are three large peridots, each more than 200 carats in size. The precious stone and jewelry collection in the Tower of London also contains large peridot gems, as does the collection at the Vatican in Rome and the Diamond Treasury in Moscow.
Today peridot, also referred to not only as chrysolite, but also as “evening emerald” and olivine, is found in Norway, Germany, Russia, the Canary Islands, Saudi Arabia, Burma, Ceylon, Vietnam, Afghanistan, Pakistan, Ethiopia, Kenya, Tanzania, South Africa, Australia, the United States, Mexico, and Brazil. Peridot gemstones have also been found within meteorites. The world's largest cut peridot, 319 carats, was found on Zagbargad Island. It now resides in the Smithsonian, Washington, D.C. Peridot was also found on Oahu in Hawaii. Native Hawaiians at one time believed peridot to be the tears of Pele, the Polynesian goddess of fire.
Given the ancient legends that the glow from peridot only “showed” to miners at night, and that peridot gemstones only showed their true beauty at night, peridot has always been magically linked to dreams and the astral realms, and the subconscious mind. In the ancient world peridot was used by ancient shamans and sorcerers for dream magic, for undertaking mystical journeys, and encouraging astral travel. Ancient physicians prescribed powdered peridot for asthma. The stone was also believed to lessen thirst in fever when held under the tongue (particularly effective for fever victims), and was also used as a cure for liver disease and dropsy. It was also believed that medicines taken from a goblet containing peridot enhanced the medicinal value and quickened the treatment. In the medieval world physicians used peridot to treat stomach ulcers, and to facilitate the birthing process wherein it was believed to stimulate contractions and dilation. It was also believed that peridot should be worn at night (or kept under your pillow) to protect against nightmares, night hags and vampires.
Wearing peridot is also said to help you keep your wits about you, especially in challenging situations, and protect you from foolishness, tactlessness and madness. Contemporary practitioners believe that peridot amulets possess magical powers which include the ability to improve the wearer’s intuition and the confidence to trust their intuitive insights (“gut feelings”). Peridot is believed to be a powerful crystal for emotional healing, able to help restore the missing or damaged fragments of a person's soul so that they can enjoy inner peace and contentment. Contemporary accounts also claim that peridot may be used to bring inspiration to poets and artists, along with the confidence and self-belief needed to realize creative dreams. Peridot is also said to be able to guide the wearer toward a happy marriage or true, loving friendships with like-minded people.
Peridot has also traditionally been used to heal bruised egos, lessen anger, and prevent jealousy, and is recommend by contemporary natural healers for those who feel hurt or angry. Wearing a peridot talisman is also believed to help speech by increasing one’s eloquence, as well as to remove impediments such as stutters and other speech-related handicaps. Natural Healers believe that peridot provides a protective shield around the entire body, and is useful in treating a damaged heart or lungs, pancreas, spleen, liver, and adrenal glands. Peridot is also believed to be effective in slowing the aging process, both physically and mentally. It is also believed to help alleviate stress, and has the power to enable the wearer to understand their destiny and spiritual purpose, helping the wearer to attain their full potential [AncientGifts].
Beryl: There are many members to the beryl family, including emerald (green beryl), aquamarine (blue-green beryl), heliodore (yellow beryl), morganite (pink beryl), red beryl (bixbite), and goshenite (colorless beryl). There’s also a very rare red-pink variety of Beryl found in Russia’s Ural Mountains known as “vorobyevite”, and there are several other very uncommon beryls. Two of those varieties are darker blue colored and known as “true blue” beryl (from Canada) and Maxixe beryl (from Brazil). Yet another uncommon variety is known as riesling beryl (from Germany), best described as pale green colored with a warm, golden yellow flash.
Most forms of beryl have to varying degrees been known throughout the history of mankind, but generally been identified as separate gemstones (such as emerald and aquamarine for example), and thus have unique histories. When the term “beryl” is used to describe a specific gemstone (and not a family of gemstones), it is generally meant to denote a gemstone quality beryl which is not one of the afore-mentioned named species (e.g., aquamarine, emerald, etc.), and usually in reference to green beryl, although sometimes the term “precious beryl” is used, and it is not uncommon to find some jewelers who use the simple term “beryl” to refer to heliodore (also known as “golden beryl”).
Beryl's name is derived from the Greek word “beryllus” (and the Persian “belur”), the term originally used in the ancient world to describe any green stone, and only later assigned to the beryl family as we know it today. The name “beryllus” in turn was derived from the Sanskrit word veruliyam. The name “heliodore” is Greek for “gift of the sun”. Beryl was actually used as far back as the Upper Paleolithic (Late Stone Age) period (about 40,000 to 100,000 years ago) to produce cutting tools. Ancient legends state that beryl was used to ward off demons and evil spirits, to protect against psychic manipulation or “spells” cast by magicians or shamans, and that it was used as a ceremonial stone in the rites of magic, as well as (when worn as an amulet or in a ring) to protect travelers and pilgrims from danger during their journeys.
Pliny the Elder, first century Roman Historian and Naturalist, recorded that powdered beryl was used by the ancient Romans to cure eye injuries and to treat disorders of the heart and spine. Beryl was also described by the fourth century B.C. Greek naturalist, physicist, and philosopher “Theophrastus” (who was a student of Plato and Socrates). An elixir of water in which beryl was dipped was used by the ancient Greeks to cure bladder infections and kidney stones. A medieval cure for asthma also involved the use of beryl, and the physicians of the Middle Ages regarded beryl as a remedy for liver disease and jaundice. The Bible even mentions beryl in the Song of Solomon, where it is said, "O daughters of Jerusalem, this is my beloved and this is my friend; his hands are as gold rings set with the beryl."
Other ancient legends pertaining to beryl indicate that beryl was used in the ancient world to promote cheerfulness and marital love, to retard laziness, and maintain youthfulness. Heliodore in particular was also believed to make one sympathetic and increase sincerity. Goshenite (colorless beryl) is believed to have been the first material used in the ancient world to produce eye spectacles (and accounts for the German name for glasses, “brille”). For well over a thousand years in the ancient and medieval world colorless beryl was used as a “crystal ball”, or “scrying stone”. Beryl was renowned for its (perceived) ability to induce magical visions in the minds of receptive people. One technique used by seers was to place a beryl gemstone in a bowl of water. When sunlight was reflected from the water, the reflections were believed to produce visions.
Beryl spheres were particularly popular with seers during the Middle Ages, particularly in early medieval Ireland. The mystical powers of beryl and its transparency made it a medium for seeing and predicting the future throughout much of mankind’s recorded history. Ancient populations also believed that a beryl engraved with a frog glyptograph magically possessed the power to turn opponents into friends, and when carved with a bird (according to a book published in 1685), the spirit of a deceased person could be invoked. Beryl was also used by ancient populations to bring rain during conditions of drought.
Beryl is found worldwide, most notably in Argentina, Afghanistan, Russia (both in Siberia and the Urals), the Ukraine, Kazakhstan, South Africa, Madagascar, Zimbabwe, Ethiopia, Mozambique, Namibia, India, the United States, Norway, Sweden, Austria, Germany, Greenland, and Brazil. The largest faceted golden beryl, 2,054 carats, is on display at the Smithsonian Institution in Washington D.C. Australia and Russia both produce very high-quality light green beryl, not to be confused with emerald, although in Australia the light green beryl produced there is in fact often referred to as “Australian Emerald” (though it is not actually emerald).
In the ancient world it was believed that beryl could bring the wearer eternal youthfulness, and it was also used as a remedy for nausea, obesity, ulcers and seasickness. It was also believed to strengthen the wearer’s memory, and to stimulate innovative ideas. In the ancient East beryl was conduct life-giving energy into the body, and was also known as the “composure” stone, believed to help wearers maintain good spirits. Present-day practitioners of alternative medicine believe that beryl helps strengthen the circulatory and pulmonary systems, making them more resistant to toxins and pollutants, and that beryl is also helpful to the eyes, throat, for curing gynecological disorders, and useful in easing a stressed mental state, and can even be used as a sedative. It is also believed to enhance the function of the kidney and liver.
Present-day mystics believe, as did the magi of the ancient world, that beryl remains the best stone available for crystal gazing. A mirror of polished beryl is said to be able to reveal other people's secrets, no matter how well hidden or private they are. Beryl is also believed by present-day practitioners to make the idle industrious, to increase the wearer’s energy levels, determination and motivation, particularly when the wearer is required to tackle boring, repetitive, or time-consuming work. The stone is also reputed to quicken the wit and sharpen intellectual skills. It is believed that wearing beryl while reading or studying will ensure that the information is understood and remembered [AncientGifts].
Bixbite: Bixbite is the orange-red to purple-red variety of beryl. The most valuable bixbite is that with a deep "raspberry" red color. Bixbite's color is permanent and impervious to heat or light. The red color of Bixbite is thought to be due to the element manganese substituting for aluminum in the beryl structure. Bixbite crystal are generally very small, and as a result the average faceted bixbite gemstone is only about 0.15 carat. Rarely are stones cut larger than 1 carat. Maynard Bixby discovered the original red beryl deposit in 1897 in the Thomas Mountain range of Juab County in western Utah. Since then only two other locations have been confirmed to possess red beryl deposits; the Wah Wah Mountains of Beaver County, Utah, and the Black Mountain range in New Mexico [AncientGifts].
Heliodor: The term “heliodor” is used to describe a golden, yellow, or yellow-green beryl, though there is some debate regarding whether “helidor” and “golden beryl” are terms which can be used interchangeably to describe the same gemstone, or if they are different gemstones; and if so, how they differ. Iron and uranium together are also responsible for the fresh, stimulating yellow, golden, and yellow-green color of heliodor. The name “heliodore” is Greek for “gift of the sun”. The ancient Greeks believed the sun to be a fiery chariot driven by the God Helios, and drawn by four fiery horses across the sky each day. At night Helios joined his sisters Selena (the Goddess of Night) and Eos (Goddess f the Dawn). Heliodor is mined in Brazil, Namibia, Madagascar, the USA, Russia (in the Ural Mountains), and the Ukraine. The largest faceted golden beryl, 2,054 carats, is on display at the Smithsonian Institution in Washington D.C. [AncientGifts].
Morganite: Pink beryl is known in Russia as pink emerald – which is an apt description as emerald is beryl – as the only difference between them is that pink beryl is colored by manganese impurities; whereas other varieties of beryl are colored blue to green by impurities of iron (aquamarine), chromium (emerald), and vanadium (green beryl). For those few Americans who have never heard of pink beryl, they might know it better as “Morganite”, so named for the gemstone collector and capitalist J. P. Morgan. Just when exactly pink beryl (or if you prefer, “pink emerald” or “Morganite”) was first discovered is a source of contention. An American gemologist by the name of George Kunz is officially credited with the first “discovery” of pink beryl in California, and subsequently named it “Morganite” in 1911 for the financier and gemstone collector extraordinaire J.P. Morgan.
Pink beryl was also discovered “for the first time” (probably about the fifth time, actually) in Madagascar in 1908. Even the Natural History Museum of Los Angeles is confused, claiming that pink beryl was “first” discovered in the early 1900’s nearby (in California)…while at the same time displaying a large pink beryl which was donated to the museum in 1888. In Europe, pink beryl has been produced from Elba Island, Italy, since the 1880’s. Pink beryl was also produced from deposits in Siberia since the 1800’s as well, though it is not certain when it is first claimed to have been discovered or produced.
In any event there are no ancient beliefs pertaining to the medicinal or metaphysical uses of the stone. But in the past century practitioners have postulated that pink beryl, like its cousin aquamarine, provides relief from stress, helping wearers to maintain a positive attitude during times of crisis. It is also believed to enhance attributes such as patience, diligence, and communication skills. It is also believed to strengthen the bond between lovers and spouses. Like aquamarine, morganite is also believed to assist the cure of respiratory system ailments. Modern astrologers promote wearing morganite as an antidote to the chaos of modern life, suggesting that it provides peace at mind, body and soul and enhances the clarity of thoughts [AncientGifts].
SHIPPING & RETURNS/REFUNDS: We always ship books domestically (within the USA) via USPS INSURED media mail (“book rate”). Most international orders cost an additional $17.99 to $48.99 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 non-refundable eBay payment processing fees. Please note that eBay does NOT refund payment processing fees. Even if you “accidentally” purchase something and then cancel the purchase before it is shipped, eBay will not refund their processing fees. So all refunds for any reason, without exception, do not include eBay payment processing fees (typically between 5% and 15%) and shipping/insurance costs (if any). If you’re unhappy with eBay’s “no fee refund” policy, and we are EXTREMELY unhappy, please voice your displeasure by contacting eBay. 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.
