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This important standard work of reference covers the general development of jewellery designs both in relation to Europe as well as in worldwide context. Shirley Bury deals with jewellery tanging from costly royal commissions to mass-produced wares for the popular market. The extensive illustrations are reinforced by original designs, pattern books, cartoons, portraits and photographs.
In this study of Victorian jewels and their representation, Jean Arnold explores the role material objects play in the cultural cohesion of the West. Diamonds and other gems, Arnold argues, symbolized the most closely held beliefs of the Victorians and thus can be considered "prisms of culture." Mined in the far reaches of the empire, they traversed geographical space and cultural boundaries, representing monetary value and evoking empire, class lineage, class membership, gender relations, and aesthetics. Arnold analyzes the many roles material objects fill in Western culture and surveys the cross-cultural history of the Victorian diamond, uncovering how this object became both preeminent and representative of Victorian values. Her close readings of Wilkie Collins's The Moonstone, George Eliot's Middlemarch, William Makepeace Thackeray's The Great Hoggarty Diamond, and Anthony Trollope's The Eustace Diamonds show gendered, aesthetic, economic, fetishistic, colonial, legal, and culturally symbolic interpretations of jewelry as they are enacted through narrative. Taken together, these divergent interpretations offer a holistic view of a material culture's affective attachment to objects. As the assigned meanings of jewels turn them into symbols of power, personal relationships, and valued ideas, human interactions with gems elicit emotional responses that bind the materialist culture together.
Queen Victoria of Great Britain made a tremendous impact on the world, so much so that the era of her reign was given her name. Items from the Victorian period have a reputation for beauty and elegance, which is why they are such popular collectibles. This one-of-a-kind reference covers the beautiful jewelry of the Victorian Age, from 1837 to 1901. Gemologist C. Jeanenne Bell offers collectors this fascinating all-color exploration of the illustrious age and the elegant jewelry that is produced. Decade by decade, Bell reveals how the fashion of the time influenced the style of jewelry, and how innovations in manufacturing affected jewelry production. Jewelry listings provide current marketplace values, and also cover American and French jewelry styles from the time. Over 1,000 color pictures and illustrations convey the true beauty of Victorian era jewelry it produced.
This literary and cultural study explores the practice in nineteenth-century Britain of treasuring objects that had belonged to the dead.
Admiral Lord Horatio Nelson was a colourful and complex character, whose supremely successful naval career quickly attained legendary status. By 1803 he was Britain's paramount hero and already maimed with the loss of an arm and blind in one eye. He returned to war when called back in May and spent a further two years at sea before dying at the battle of Trafalgar in 1805. Today, two centuries after his death, the 'immortal memory' of Nelson endures. In this book, leading historians provide a radical reappraisal of his life and times.
Galia Ofek's wide-ranging study elucidates the historical, artistic, literary, and theoretical meanings of the Victorians' preoccupation with hair. Victorian writers and artists, Ofek argues, had a well-developed awareness of fetishism as an overinvestment of value in a specific body part and were fully cognizant of hair's symbolic resonance and its value as an object of commerce. In particular, they were increasingly alert to the symbolic significance of hairstyling. Among the writers and artists Ofek considers are Elizabeth Gaskell, George Eliot, Margaret Oliphant, Charles Darwin, Anthony Trollope, Elizabeth Barrett Browning, Eliza Lynn Linton, Mary Elizabeth Braddon, Herbert Spencer, Dante Gabriel Rossetti, Edward Burne-Jones, Charles Dickens, Thomas Hardy, and Aubrey Beardsley. By examining fiction, poetry, anthropological and scientific works, newspaper reviews and advertisements, correspondence, jewellery, paintings, and cartoons, Ofek shows how changing patterns of power relations between women and patriarchy are rendered anew when viewed through the lens of Victorian hair codes and imagery during the second half of the nineteenth century.
"The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities - both authentic and fake - that emerged from the Victorian culture of forgery."--BOOK JACKET.
'Remarkably intimate... Full and revealing... Princesses opens an invaluable new window into the often troubled private world of these royal women' LA Times 'Riveting and wonderfully detailed....Thanks to Flora Fraser's new book, George III's daughters can step out of the shadows of history and take their rightful places with the rest of the House of Hanover' Washington Times Drawing on their extraordinary private correspondence, acclaimed biographer Flora Fraser gives voice to the daughters of 'Mad' King George III. Six handsome, accomplished, extremely well-educated women: Princess Royal, the eldest, constantly at odds with her mother; home-loving, family-minded Augusta; plump Elizabeth, a gifted amateur artist; Mary the bland beauty of the family; Sophia, emotional and prone to take refuge in illness; and Amelia, 'the most turbulent and tempestuous of all the princesses.' In this sumptuous group portrait, Fraser takes us into the heart of the British Royal family during the tumultuous period of the American and French revolutions. Never before has the historical searchlight been turned with such sympathy and acuity on George III and his family.