1000 Contemporary Custom Designer Rings Gold Silver Diamond Sapphire Ruby Pearls

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Seller: ancientgifts ✉️ (5,439) 100%, Location: Lummi Island, Washington, US, Ships to: US & many other countries, Item: 384984172191 1000 Contemporary Custom Designer Rings Gold Silver Diamond Sapphire Ruby Pearls. REVIEW : Diverse, extensive, and incredibly beautiful, this awe-inspiring collection features the most magnificent rings ever. With designs that range from the traditional to the very avant-garde, each of the 1,000 examples is an exceptional work of art, finely crafted by the best contemporary jewelers.

1000 Rings: Inspiring Adornments for the Hand by Marthe Le Van and Robert W. Ebendorf.

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DESCRIPTION:  Softcover.  Publisher: Lark Crafts (2004).  Pages: 416.  Size:  8 x 8 x 1 inches; 2¾ pounds. A ring today is much more than a band to house a finger. The examples in this book, the best of contemporary ring design, are miniature sculptures, compact platforms on which ring-makers display their art. Rough hewn or precisely cut and polished, meticulous or improvised, stark in their simplicity or extravagant in their complexity, these designs will astound and delight you with their originality and beauty.

CONDITION: NEW. New oversized softcover. Lark Crafts (2004) 416 pages. Unblemished except for faint edge and corner shelfwear to the covers. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. 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! #8643b.

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:  Diverse, extensive, and incredibly beautiful, this awe-inspiring collection features the most magnificent rings ever. With designs that range from the traditional to the very avant-garde, each of the 1,000 examples is an exceptional work of art, finely crafted by the best contemporary jewelers. Rob Jackson mixes antique industrial elements (a 100-year-old wrought iron nail) with radiant 20-karat gold and a glowing ruby for a dynamic visual contrast. Tomomi Arat’s collection, Treasure from Under the Sea, captures the exoticism of ocean life: he uses pearls, enamel, and sand to create rings that look as if they were chiseled directly out of a coral reef. Among the prestigious artisans represented: Arline M. Fisch, Michael Zobel, Katja Prins, Paul Preston, and Bruce Metcalf.

REVIEW:  With designs that range from traditional to the very avant-garde, each of the 1,000 examples is an exceptional work of art, finely crafted by the best contemporary jewelers. A ring today is much more than a band to house a finger. The examples are miniature sculptures, compact platforms on which ring-makers display their art. Whatever their inspiration, the artists in this book adorn the hand with reverence and enthusiasm. Rough hewn or precisely cut and polished, meticulous or improvised, stark in their simplicity or extravagant in their complexity, these designs will astound and delight you with their originality and beauty.

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.

PROFESSIONAL REVIEWS: 

REVIEW:  Offers examples of the best of contemporary ring design--each is a miniature sculpture, a compact platform on which ring-makers display their art. From the stark to the extravagant, these designs will delight and inspire. Fully illustrated in color.

REVIEW:  A beautifully photographed book of 1000 ring designs by designers from around the world. They range from the ludicrous, whimsical and frivolous to the elegant, glamorous and wearable, and everything inbetween.

REVIEW:  Through the connection of precious metals, stones, and unconventional materials, here are unique objects, which make the extraordinary wearable.

REVIEW:  "1000 Rings". A Smorgasbord of Styles. The wonderful and diverse variety of the rings featured in this book is both imaginative and engaging. I was delighted with the whimsical feathers incorporated into Serena Van Rensselaer's "Isadora Ring." Hope her client checked on the weather report before venturing outside. Eva Werner's ring reminded me of a hamster's wheel. Thought it would be fun to take a spin around town with this on my finger.

Bruce Clark's "Scratch That Itch" ring demonstrated in my mind that on design day he was warning people that they had better not get too close. Inasmuch as my primary interest is "textile techniques in metal," I loved Cathy Chotard's gold and nylon thread ring. Sergey Jivetin's "Volume" ring elicited that same kind of response. Michael Boyd's rings were very captivating with their encrusted gemstone shanks. This "Poison Rings" group would certainly come in handy if one was in a tight spot.

Jeffery Taylor's ring would be helpful on the cleaning lady's day off. Junghyun Woo's "Something Container" with ring was beautifully simplistic. Each complimented the other. All rings featured in this book illustrate the creative nature of the designers. Their choice of material is endless which range from every day items found in the home, and field, to gold, silver, platinum, titanium, gemstones, pearls, etc. The designs run from the ridiculous to the sublime. They are great conversation starters which don't belong in gallery drawers, but on fingers for all to examine, question, and enjoy.

REVIEW:  What a wonderful book for the "artist"! This book truly captures the artistic side of rings. It is not meant for the practicing jeweler who is looking for a how-to-book. With hardly any writing except an introduction, this book is filled with wonderful pictures w/basic descriptions & artists' names of contemporary ring designs. From the perspective of a professional sculptor and jeweler, I find inspiration, direction and quality from the 1000 works captured in beautiful photography. Strong elements of design are used for these works of art that adorn the body. This book is not for instructional purposes, but can instead show any artist or jeweler at any level how art, whether practical or not, can truly interact with the body! What a book for the price!

REVIEW:  I'm a Jeweler living and working in rural Australia. I was so excited by this book. I am participating in an exhibition in Perth later this month called The Ring . The book “1000 Rings” was perfect for me. I design and make works for exhibition. This book has some exceptional wearable works in it and some wonderful interpretations of what is or isn't. Still a great platform for my work. Believe me I can't afford to spend days on a piece exhibit it and have it come back a month later! So yes it’s a great book for the open minded jeweler or otherwise. Beautifully put together and the images are very good. I'm glad there isn't a lot of wording allowing more room for more images.

REVIEW:  I am a fine metals/jewelry student and I recently saw this book at the Northwest Metals Association Symposium. The moment I opened the cover, I knew I had to own it. It's a huge variety of rings by some of the most important jewelry artists alive. I was very much inspired and enchanted by this book. There are some whose narrow view of the art and craft world makes them believe that this book is not good. Craft is no longer limited to what is useful or utilitarian. I wish those people would open their eyes to this fantastic world where art and craft blend seamlessly.

REVIEW:  This book is complete eye candy. I refer to it before I sit at my bench to begin a new project. The photos are stunning, and is a great reference altogether. Cautionary note: photos only, this is not for the newby to the jewelry making craft. For those in the know however, the photos have such clarity that you should be able to visually dissect each piece on your own. 

REVIEW:  I approach this book purely seeking inspiration for my own jewelry designs, and for this I give 1000 Rings five stars. The photography is beautifully clear and sharp. I have to say this book fulfills all of my expectations and is well worth the price.

REVIEW:  Inspiring is the best definition to this book. I am a designer and jeweler and I love rings. I found 1000 original rings as a fabulous source of inspiration to spur the development of new design concepts.

REVIEW:  I love this book, I love lots of the books from this series. But since I am a metalsmith and concentrate on rings this book is so inspiring.

READER REVIEWS: 

REVIEW:  Rings are the great markers of time, celebrating many of life's most poignant moments; love and marriage, rites of passage such as graduations, bar mitzvahs and retirement, and bonds of friendship. A beautiful ring is often the first thing someone notices about us. We dress our digits in high style, embellishing our most expressive and dynamic body part, the hands, for the whole world to see. It is not surprising that the ring has been chosen to star in this superb coffee table-style book, titled, "1,000 Rings, Inspiring Ornaments for the Hand" edited by Marthe Le Van.

"1,000 Rings" displays 1,000 rings in lavish photos with intricate details of the materials used in their creation. The artists themselves provide thoughtful commentary about the piece they created, weaving an important story about the process of creation throughout the book. While some rings are magnificent and awe-inspiring, others are fun and more than a little over the top. They are all exceptional works of art created by the best contemporary jewelers, and vividly represent each artist's relationship to their craft while reflecting the impact rings as jewelry have made on society.

Among the prestigious artisans represented are Arline M. Fisch, Michael Zobel, Katja Prins, Paul Preston and Bruce Metcalf. Rings are compelling pieces of jewelry, especially so in this book which is as extensive as one could imagine a tome about rings would ever be. Here we find rings, from the traditional to the extremely avant-garde, creating visual and textural contrast with hundreds of diverse elements. There are rings made with precious metals, base metals, precious metal clay, porcelain, Brazilian rosewood, steel springs, pumice and even meteorites and brush bristles. There's rings made with feathers, tagua nut, shells, plastic, sand, enamel and a 100-year-old wrought iron nail. Gemstones represented in the designs include diamonds, pearls, rock crystal and other precious and semi-precious gemstones and botanical or organic gemstones.

As fascinating as the materials used in these extraordinary designs are the jewelry-making methods and laborious steps employed in executing them. The results are exotic, elegant, pure glamour and glitz, with more than a dash of humor. Big, bold, colorful, subtle, gutsy, strange and sublime, here are 1,000 rings that make a powerful and dramatic statement. Artist Michael Zobel comments, "Through the connection of precious metals, stones and unconventional materials, I create unique objects, which make the extraordinary wearable." This statement perfectly describes every one of the 1,000 rings in this book.

Artist Reina Mia Brill gives us, "Giddey Up", a double ring of such surprising exuberance and joy that it gleefully jumps off the page with life. Brightly-colored, coated copper wire is hand knit into this playful animated piece. "Cosmic Connection", by Joe Reyes Apodaca, is a luscious sculpture in 14-karat gold featuring Australian opal, diamond brilliant and meteorite. Tamara Clark's "Starry Galaxy" features a sterling silver platform dotted with 18-karat gold balls and a big star sapphire, all hand-forged and hammered into an astronomer's dream.

Functional jewelry or outrageous art, Ellen Cheek's "Back to Basics" is a big wide cuff of a ring made in fine silver, sterling silver and 18-karat gold to which is attached a 9B drawing pencil--very handy for jotting notes! K. Dana Kagrise created "Exodus" in response to the tragic events of September 11, 2001. The accompanying comments reveal how deeply affected the artist was by the photographs of people fleeing the city. She fabricated her ring from sterling silver, pumice, powder enamel and plastic N-scale model train figures.

For pet lovers, or perhaps for those who would like something furry that doesn't need to be fed or walked, Heather White has created "Circle Ring - Pet", a big, soft, circular, white puff of fur set onto a ring of gold and sterling silver. Another ring is entitled, "Dog's Faith" by Becky van den Brink, it's a real sculpture of a dog with leash and collar that sits obediently on one's finger. One of the largest, and most hauntingly beautiful pieces is Seo Yoon Choi's "Desire". Created in 1999, this 106x16x19 cm ring is fashioned in sterling silver, stainless steel and a flowing arc of soft, white feathers.

While some of the rings featured are pure art and not realistically "wearable", there are many that are elegant, high-fashion and very wearable. Some notable ones are; Jaclyn Davidson's "Zebra Ring," a gorgeous 18-karat, gold and black, enamel zebra head with it's neck gracefully curled into a ring. Another is Lee Carper's, "Vortex Ring," a stunning, 14-karat yellow gold setting holds a Tahitian pearl. Junghyun Woo's, "Something Sweet," made entirely of sterling silver that is die formed, etched and fabricated to look like the most delicious chocolate, its square surface drizzled with a traditional chocolate pattern--it even comes in it's own sterling silver chocolate box with an elegant design etched on top, inset with an 18-karat gold chocolate cup.

This book is impressive in its brilliant concept, attractive presentation and introduction by Robert W. Ebendorf, the Carol Brotnes Belk Distinguished Professor in the Department of Art at East Carolina University. Professor Ebendorf juried this incredibly beautiful ring collection and his passionate appreciation of art is tangible. Unlike many of the big, unwieldy coffee table books, "1,000 Rings" is a a soft-covered, tablet-style book, 8" square and about 1-1/2" thick. It's matte black cover comes alive with a large photo of Patty L. Cokus' "Articulated Frusta: Ring #1", an exquisite spiral ring that resembles a brushed gold, soft ice cream cone with the familiar swirl on top. A hard cover would have been a nice finishing touch for this book, giving it a longer browsing life, a weightier feel, and a deserved place in the company of fine art books.

Firmly anchored in the philosophy that jewelry is art, "1,000 Rings" celebrates rings as the most important wearable art. Rings are, after all, miniature sculptures, compact platforms on which ring-makers display their art. Ultimately, this book is a grand celebration of creativity, it would make a wonderful gift for any ring enthusiast, jewelry lover, jewelry designer or anyone who collects books about contemporary art.

REVIEW:  This book is the "best buy" of the year! The 1000 rings are beautifully photographed and printed on rich, glossy paper. Some rings are wild and wacky, some are more traditional, but all are well designed and finely crafted. If you are a jewelry artist, you will undoubtedly be inspired by this book. Each time I look through it, I see something new. It is not intended to be a how-to book; it is a fun and informative look at the work of contemporary jewelry artists from all over the world.

REVIEW:  I bought this book for inspiration. As an aspiring jewelry maker I have a love of the unique and unusual and little understanding of some of the alternate methods out there. When I'm stuck for an idea or just in the mood to chill and look at pretties, I pull out this book. The rings are beautifully photographed and the media is detailed well. I recommend the book to any art lover and any person needing inspiration!

REVIEW:  As has been the usual in this series from Lark Books this book is magnificently put together physically, great photos and great presentation. This book also has the usual weird and completely unwearable selection of jewelry that most of this Lark series has, rings that could never be worn but most of the rings in this book at least are well constructed and thought out, beautiful and believable rings.

REVIEW:  “1000 Rings” contains creative creations for rings made 1 of a kind by various popular artists. Rings, including non-traditional materials such as pencils, were used in various creations. This book would be a good resource for this book-set to give students various ideas for making rings, and to step out of the box.

REVIEW:  This book part of a series by Lark Crafts. 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:  This book is literally what it says it is, a 1000 pictures of rings with the names of the designer and some with a few words regarding the inspiration behind the making.. I'm a student silversmith and sometimes find it difficult to come up with new ideas, so this book definitely helps and shows endless possibilities of what can be achieved and often ideas that you wouldn't necessarily consider or think of. Iit's been a big help to me :0)))

REVIEW:  What a wonderful book, for anyone who is interested in jewelry, you don't have to be a designer or jeweler to appreciate it. If you love rings, buy this book, there really are 1000 designs, and no matter how many times you turn the pages, there still seem to be pictures that you missed on previous viewings.

REVIEW:  This book is a good reference for different designs, different material uses and also nice to use a as a "coffee table book" as they call them. Inspiring work and well put together. As a metalsmith. I appreciate a book as fine as this. You will enjoy having this book as part of your collection.

REVIEW:  This series of Lark books is awesome. They are visual essays on a theme. I bought this book for my own information as a jewelry designer and bought one for a friend who is a silversmith. We are both very happy. The book is fresh and visually exciting.

REVIEW:  This was my first introduction to art jewelry. All the work is beautiful, but some of it makes you think and question the role of jewelry in our society and in the art world. A great collection of what is happening on the contemporary metals world.

REVIEW:  This book is wonderful as a point of reference for ideas. The artists creativity is magnificent. The ability to think out of the box is so pleasurable. This is truly a book showing works of art.

REVIEW:  This is a beautiful book, This book is like a gallery of miniature art, and tiny sculptures. You don’t have to like jewelry to enjoy looking at all the different interpretations of the 'ring'.

REVIEW:  Rings are my favorite form of jewelry, and I love this book so much. The rings depicted are skillfully designed and crafted masterpieces.

REVIEW:  This book is absolutely beautiful, with all types of rings from wearable to completely wild. It was so inspirational that after looking at this book I took a metal jewelry class in order to make my own ring!

REVIEW:  I found an excellent selection of contemporary rings from various artists. This really is a great source of inspiration as well as a joy for the eye and the hearth.

REVIEW:  This book contains an amazing collection of "jewelry as sculpture" that is both beautiful and inspiring.

REVIEW:  This is an excellent jewelry design book! It includes mixed media, found objects, textiles and, of course, metals.

REVIEW:  Bought this for my girlfriend (who is a jeweler). She loves it. Great diversity of jewelry design is gathered here, and presented in a professional way.

REVIEW:  This book offers you a large number of rings to view. Quite a lot are just show-case works, but the pleasure, you get from looking at the pictures, is just a great.

REVIEW:  Displays a wonderful and diverse selection of styles and materials. An excellent visual reference tool.

REVIEW:  It's an incredible book. I think it's a source of inspiration for beginners and advanced jewelers.

REVIEW:  Great book, so inspiring. If you're making your rings, this is the book you want to have. Every single one of the 1,000 rings will give you inspiration.

REVIEW:  If definitely is an inspiring book - makes me want to continue making jewelry - push the limits.

REVIEW:  This book will help progress me in my work and give me a level to reach of known quality around the world in just one book

REVIEW:  The designs are far out. It was a gift to a silversmith friend. While she may never attempt any of these far out designs it is a very inspirational and beautiful book. We both liked it.

REVIEW:  I love rings. I like the way the rings are shown. Gives me inspiration to go on designing rings myself.

REVIEW:  1,000 times great! To know what is going on in the land of jewelry, you need this book. Great inspiration!!

REVIEW:  Talk about weird and wacky! - great selection of some of the more unusual designs of rings around. Definitely a source of inspiration - I keep going back to it to get ideas for different things to make (and not just for rings either!), whether it be to look at the shapes, or look at the actual metals/materials used.

REVIEW:  Worth getting, good value for money. A varied, contemporary compendium of high quality images, of high quality work.

REVIEW:  I bought this for inspiration, fantastic designs.

REVIEW:  Bought as a present - for an aspiring jeweler - and it is already well loved.

REVIEW:  I've had this book about a year and I keep coming back to it. I still find things in it which astound me and my friends love to look through for inspiration when they want something unusual made.

REVIEW:  Lots of great design ideas love it I wish that it was larger in format, but I pour through this book almost every day !!! Get it !

REVIEW:  Great book with incredible pictures! I have to buy it for my sister... I really like it!

REVIEW:  Some very unique rings in here.

REVIEW:  One of the best in the 500 series, great inspiration for metalworkers on any education level.

REVIEW:  I got this for Christmas in 2006, and I'm always inspired thumbing through it.

REVIEW:  Terrific stuff. You can stare at this for ages.

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)].

A History of Gold: Gold, chemical symbol Au (from the Latin aurum meaning ‘shining dawn’), is a precious metal which has been used since antiquity in the production of jewelry, coinage, sculpture, vessels and as a decoration for buildings, monuments and statues. Gold does not corrode and so it became a symbol of immortality and power in many ancient cultures. Its rarity and aesthetic qualities made it an ideal material for ruling classes to demonstrate their power and position.

First found at surface level near rivers in Asia Minor such as the Pactolus in Lydia, gold was also mined underground from 2000 B.C. by the Egyptians and later by the Romans in Africa, Portugal and Spain. There is also evidence that the Romans smelted gold particles from ores such as iron pyrites. Easily worked and mixed with other metals such as silver and copper to increase its strength and change its color, gold was used for a wide range of purposes.

In most ancient cultures gold was popular in jewelry and art because of its value, aesthetic qualities, ductility and malleability. Electrum (the natural alloy of gold and silver) was used in jewelry by the Egyptians from 5000 B.C. Gold jewelry was worn by both men and women in the Sumer civilization around 3000 B.C. and gold chains were first produced in the city of Ur in 2500 B.C. The Minoan civilization on Crete in the early 2nd millennium B.C. is credited with producing the first cable chain jewelry and the Minoans made a vast array of jewelry items using an extensive range of techniques.

Gold jewelry took the form of necklaces, bracelets, earrings, rings, diadems, pendants, pins and brooches. Techniques and shapes included filigree (a technique known to the Egyptians from 2500 B.C.) where the gold is pulled into wire and twisted into different designs), beaten thin shapes, granulation (surface decoration with small, soldered granules of gold), embossing, chasing, inlaying, molding and engraving. In South America, gold was similarly worked by the Chavin civilization of Peru around 1200 B.C. and gold casting was perfected by the Nazca society from 500 B.C. The Romans used gold as a setting for precious and semi-precious gemstones, a fashion continued into the Byzantine era with the use of pearls, gems and enamels.

Gold was first used as coinage in the late 8th century B.C. in Asia Minor. Irregular in shape and often with only one side stamped, the coins were usually made of electrum. The first pure gold coins with stamped images are credited to king Croesus of Lydia, 561-546 B.C. and a contemporary gold refinery has been excavated at the capital, Sardis. Even the purest naturally occurring gold can contain 5% silver but the Lydians were able to refine their gold using salt and furnace temperatures of between 600 and 800°C.

The salt mixed with the silver and formed a vapor of silver chloride leaving behind pure gold which could be used to create a standardized coinage of guaranteed gold content. The Mycenaean civilization also widely used gold coins, as did the later Greek and Roman Empires, although silver was the more usual material used. One of the most famous gold coins in antiquity was the Roman bezant. First introduced in the reign of Emperor Constantine it weighed up to 70 Troy grains and was in currency from the 4th to the 12th centuries A.D.

The value and beauty of solid gold made it an ideal material for particularly important political and religious objects such as crowns, scepters, symbolic statues, libation vessels and votive offerings. Gold items were sometimes buried with the dead as a symbol of the deceased’s status and the conspicuous (and non-profitable) consumption of such a rare and valuable material must surely have been designed to impress. Perhaps the most famous example is the so-called mask of Agamemnon found at Mycenae.

In the Inca civilization of Peru gold was considered the sweat of the sun god Inti and so was used to manufacture all manner of objects of religious significance, especially masks and sun disks. In ancient Colombia gold was similarly revered for its luster and association with the sun and in powdered form was used to cover the body of the future king in a lavish coronation ceremony which gave rise to the legend of El Dorado.

As a decorative covering, gold plate and gold leaf (gold beaten into extremely thin sheets) have been used to decorate shrines, temples, tombs, sarcophagi, statues, ornamental weapons and armor, ceramics, glassware and jewelry since Egyptian times. Perhaps the most famous example of gold leaf from antiquity is the death mask of King Tutankhamun.

Gold, with its malleability and incorruptibility, has also been used in dental work for over 3000 years. The Etruscans in the 7th century B.C. used gold wire to fix in place substitute animal teeth. As thread, gold was also woven into fabrics. Gold has also been used in medicine, for example, Pliny in the 1st century B.C. suggests gold should be applied to wounds as a defense to ‘magic potions’.

Concerns over the authenticity of gold led the Egyptians to devise a method to determine the purity of gold around 1500 B.C. (or earlier). This method is called fire assaying and involves taking a small sample of the material under test and firing it in a small crucible with a quantity of lead. The crucible was made of bone ash and absorbed the lead and any other base metals during the firing process leaving only gold and silver. The silver was removed using nitric acid and the remaining pure gold was weighed and compared to the weight before firing.

Archimedes was also aware that the specific gravity of gold is altered depending on the percentage content of base metals, pure gold having twice the gravity of silver for example. Gold is such a precious material that for centuries various attempts were made to produce it through alchemy - that is the chemical transformation of base metals into gold using the philosopher’s stone (lapis philosophorum). First attempts were made in China in the 4th century B.C. and also in ancient Greece and although unsuccessful, nevertheless, the activity laid the foundations of modern chemistry. [Ancient History Encyclopedia].

Gold in the Ancient World: From the earliest of times, gold was often held in awe as the symbol of divinity and was therefore the material of choice for religious objects. Gold was among the first metals to be mined because it commonly occurs in pure form (not combined with other elements), because it is beautiful and imperishable, and because exquisite objects can be made from it. Since gold is found uncombined in nature, early goldsmiths would collect small nuggets of gold from stream beds etc., and then weld them together by hammering. It was oftentimes discovered alloyed with 10%-20% silver, the mixture known as “electrum”. Gold was "discovered" well before 6,000 B.C., most likely in Mesopotamia, though some of the oldest gold objects made by mankind were discovered by archaeologists in present-day Bulgaria (ancient Thrace) and in the Balkans, such as at the Varna Necropolis.

In ancient Egypt all gold was the property of the pharaoh. Artifacts and jewelry of gold over 5,000 years old have been uncovered by archaeologists in Egyptian tombs. Around 3,600 B.C. Egyptian goldsmiths carried out the first smelting of ores using blowpipes made from fire-resistant clay to heat the smelting furnace. Ancient Egyptian hieroglyphs describe gold as the brilliance of the sun. In the Near East, by 2,500 B.C., Sumerian goldsmiths were using sophisticated metalworking techniques; cold hammering, casting, soldering, cloisonné, and particularly filigree (fine-wire ornamentation) and granulation (the use of minute drops of gold). The tomb of the Sumerian Queen Puabi, from the city of Ur in about the 26th century B.C., was one of the richest tombs ever uncovered by archaeologists.

Queen Puabi was buried with five soldiers and thirteen "ladies in waiting" who had apparently poisoned themselves (or been poisoned) to serve their mistress in the next world. The grave goods she was buried with included a magnificent, heavy, gold headdress made of golden leaves, rings, and plates; a superb lyre complete with a gold and lapis-lazuli encrusted bearded bulls head; a profusion of gold tablewear; cylindrical beads of gold, carnelian, and lapis lazuli woven into extravagant necklaces and belts; a chariot adorned with lioness' heads in silver, and an abundance of silver, lapis lazuli, and gold rings and bracelets.

Another of the most famous tombs uncovered by archaeologists was that of 14th century B.C. Tutankhamun. The pharaohs of Egypt insisted on being buried in gold, which they believed was the "flesh of the gods." The boy-king Tutankhamun was enshrined in three gold coffins. The third and final coffin was made of 243 pounds (110 kilograms) of solid gold. As well, gold artifacts and jewelry abounded, including the solid gold mask which weighed 10 kilos (24 pounds). It’s worth noting that Tutankhamun was a minor, almost unknown and forgotten pharaoh. One can only imagine the wealth of gold some of ancient Egypt’s more significant pharaohs (such as Ramses the Great) must have been buried with.

The art of fashioning gold jewelry reached the Mediterranean island of Crete (the ancient Minoans) about 2400 B.C. Diadems, hair ornaments, beads, bracelets, and complex chains have been found in Minoan tombs. Near Eastern techniques of filigree and granulation were introduced to Crete about 2000 B.C., and evidence also indicates that Egyptian styles influenced Minoan jewelry. Minoan culture and its jewelry styles spread to the mainland of Greece, then dominated by the city-state of Mycenae, about 1550 B.C. The graves of nobles at the ancient Citadel of Mycenae discovered by Heinrich Schliemann in 1876 likewise yielded a great variety of gold figurines, masks, cups, diadems, and jewelry, plus hundreds of decorated beads and buttons. These elegant works of art were created by skilled craftsmen more than 3,500 years ago.

Metalworking techniques reached northern Europe by about 2000 B.C., and the earliest jewelry found there dates from between 1800 and 1400 B.C. These artifacts include lunulae (spectacular, crescent-shaped neck ornaments of beaten gold), most of which were found in graves in Ireland, where gold was once plentiful. There is evidence that the Celtic and early British people were trading with the Eastern Mediterranean races by this time, exchanging gold for faience beads. By 1200 B.C. jewelry making was flourishing in Central and Western Europe, where bronze as well as gold was frequently used to make jewelry, and the spiral was the most common motif of decoration. The fibula-brooch seems to have been invented at about this time.

Twisted gold torcs, modeled on Scandinavian bronze prototypes, were made in the British Isles and northern France from the fifth to the first century B.C. These massive circlets for the necks and arms were the characteristic ornaments of the chiefs of the Celtic race, and were symbols of wealth, power and courage across Celtic Europe. Celtic craftsmen also used enamel and inlay to decorate jewelry. By the seventh century B.C. the Etruscans of Central Italy were also making fine gold jewelry. These people may have migrated from Anatolia (present-day Turkey), from where their metalworking skills seem to have been derived. The Etruscans brought to perfection the difficult technique of granulation, whereby the surface of the metal is covered with tiny gold grains.

Gold was plentiful in Greece during the Hellenistic Age (323-30 B.C.), and Greek jewelry of this period is characterized by its great variety of forms and fine workmanship. Naturalistic wreaths and diadems were made for the head, and a variety of miniature human, animal, and plant forms were made up into necklaces and earrings. The so-called Heracles-knot, of amuletic origin, was introduced, and remained a popular motif into Roman times. The ancient Mediterranean civilizations appear to have obtained most their supplies of gold from various deposits in the Middle East, as well as gold which came through the Middle East from Southern Africa, and perhaps a minor amount from the Ural Mountains of present-day Russia.

Mines in the region of the Upper Nile (south of Egypt) near the Red Sea and in the Nubian Desert area supplied much of the gold used by the Egyptian Pharaohs (the area was known to the ancient Egyptians as “Punt”, and to the ancient Christians as “Sheba” or “Saba”). When these mines could no longer meet Egypt’s demand for gold, deposits elsewhere were exploited, likely including deposits thousands of miles away in Southern Africa. Archaeological evidence indicates that most of the gold in Ancient Egypt and even in the ancient Mediterranean from perhaps 1700 B.C. onwards came from the Himyarites in present-day Yemen (across the Red Sea from Nubia), who in addition to exploiting their own deposits, may in turn have obtained much of the gold they exported to the ancient Egyptians from present day Rhodesia/Zimbabwe.

In fact the Himyarites likely controlled most of the east coast of Africa, including Rhodesia/Zimbabwe, and is most likely the area referred to as Monomotapa in ancient texts (known also as the Biblical city of Ophir, from which the Bible records that King Solomon received shipments of gold, silver, ivory, gemstones, and peacocks). Artisans in Mesopotamia and Palestine probably obtained their supplies either directly from the Himyarites or indirectly through (middleman) Egypt. As well, recent studies of the ancient mines in the present Kingdom of Saudi Arabia (directly to the north of Yemen) reveal that gold, silver, and copper were recovered from the Red Sea region, across the Red Sea from the Nubian deposits, during the reign of King Solomon (961-922 B.C.).

Around 1500 B.C. artisans of the ancient world developed the “lost wax” method of producing jewelry, allowing for the “mass production” of gold jewelry. At the same time, gold had already become the recognized medium of exchange for international trade. The sixth century B.C. saw the first use of gold in dentistry by the ancient Egyptians, and the introduction of the first gold coinage in Asia Minor by King Croesus of Lydia. By this time, much of the gold in the Classical Mediterranean cultures came from Spain, where extensive deposits of gold and silver were mined and then acquired by the ancient Phoenicians in trade, and then brought from the Western Mediterranean and traded through the ancient Mediterranean world.

Eventually the Phoenician colony of Carthage became the leading power of the Eastern Mediterranean, and gained control over these valuable Spanish deposits. In turn the Carthaginians engaged the Romans in three wars before Spain was lost to the Romans. Spanish gold and silver to a great extent allowed the Romans to expand their empire. The “other” great power of the Classical Mediterranean were the Hellenic Greeks, who by 325 B.C. were mining gold from Gibraltar to Asia Minor. When the gold in Spain began to play out, the Romans turned their attention toward the gold mines in Dacia (modern Romania). The Dacians had historically traded this gold to the Greeks for pottery and to the Scythians for amber. About 100 A.D. the Roman Emperor Trajan conquered Dacia, mainly in order to gain control of these gold mines.

The Romans also exploited smaller gold deposits found in the British Isles. The Romans used very sophisticated extraction and mining techniques as detailed by the first-century historian and naturalist Pliny the Elder. The Romans were also the first to mass-produce coinage on a monumental scale, the first truly monetized society. Between the second and fourth centuries A.D., the Romans produced millions of gold aureus coins, and billions of silver and bronze coins. At the height of the Roman Empire, there were over 400 mints producing coinage in locations scattered through their dominion. Gold was fashioned into Greek style jewelry during the early Roman Empire, when the chief centers of production were Alexandria, Antioch, and Rome, to which Greek craftsmen had migrated.

There was an increasing emphasis in producing gold jewelry on incorporating decorative stones; at first garnets, chalcedonies, and carnelians, but later uncut but polished hard gemstones such as diamonds, sapphires, and, notably, emeralds from “Cleopatra’s Mines” in Egypt. Colorful gemstone jewelry was common during the Early Middle Ages in the centuries immediately following the collapse of the Roman Empire. Mediterranean goldsmiths continued to produce jewelry of great refinement, but the jewelry of the European Celtic tribes dominated this period. They produced abstract styles of great splendor which were worked in enamels and inlaid stones. The fibula-brooch reached extremes of size and elaboration. During the High Middle Ages the technique of cloisonné enameling on gold was widespread, the finest pieces emanating from the workshops at Constantinople, the capital of the Byzantine Empire.

After the creation of Charlemagne's empire in 800 A.D. and the Holy Roman Empire in 962 A.D., a fusion of northern and Mediterranean cultures occurred. The principal patrons of the arts became the emperor and the church, and jewelers worked in courts and monasteries. Jewelry design was based on the setting in gold of precious stones and pearls in colorful patterns. Gold was used widely for crosses, altars, doors, chalices, and reliquaries. This association with divinity naturally developed into an association with royalty. Even in modern times the accoutrements of royalty are predominantly gold. However there was a critical shortage of gold which developed in the High Middle Ages. During the years 1370-1420 A.D. as various major mines around Europe become completely exhausted. Mining and production of gold declined sharply throughout the region in a period known as 'The Great Bullion Famine'.

However by about 1433 A.D. this spurred the Portuguese to start sailing to Ghana in Western Africa and thus enabling them to trade for gold without having to cross the Sahara Desert into Muslim northern Africa. By 1471 A.D., the Portuguese were even calling West Africa the "Gold Coast", and a reliable source of gold was again available to Western Europe. In the “New World”, archaeologists believe that the gold in the Aztec and Inca treasuries of Mexico and Peru came from Colombia, although some undoubtedly was obtained from other sources. The Aztecs regarded gold as literally the product of the gods, calling it "god excrement". The Conquistadores plundered the treasuries of these civilizations during their explorations of the New World, and many gold and silver objects were melted and re-cast into coins and bars, destroying the priceless artifacts of these MesoAmerican cultures.

Gold is widely dispersed through the earth's crust (and even in seawater) and is found in two types of deposits; lode deposits, which are found in solid rock and are mined using conventional mining techniques, and placer deposits which are gravelly deposits found in stream beds and are the products of eroding lode deposits. The largest gold nugget ever found was in 19th century Australia weighing over 70 kilograms (150 pounds). Gold is quite unique in its malleability. No other metal compares with it. A single ounce can be stretched into a wire 60 kilometers long (40 miles), or pounded into a sheet of 300 square feet (the size of two typical suburban bedrooms).

Because of its chemical inertness, gold retains its brilliant color even after centuries of exposure to corrosive elements. The most workable of all metals, gold has been forged, chased, embossed, engraved, inlayed, cast, and in the form of gold leaf, used to gild metals, woods, leather, and parchment. Gold wire has found wide uses in brocades and ornamentation of other materials. Throughout at least five millennia of recorded history it has been used to fashion sculpture, vessels, jewelry, ornamentation, and coinage. 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 the ancient world, gold was regarded to symbolize power, strength, wealth, warmth, happiness, love, hope, optimism, intelligence, perfection, summer, harvest and the sun. Gold was also believed to possess curative and “magical” properties. During justice, balance, the Middle Ages it was believed that something as rare and beautiful as gold could not be anything but healthy, so gold was regarded as beneficial for health and was not only worn but also ingested.

In fact, some gold salts do have anti-inflammatory properties, and in modern times, injectable gold has been proven to help to reduce the pain and swelling of rheumatoid arthritis and tuberculosis. The isotope gold-198 is also used in some cancer treatments and for treating other diseases. Gold flake was used by the nobility in Medieval Europe as a decoration in food and drinks, in the form of leaf, flakes or dust, either to demonstrate the host's wealth or in the belief that something that valuable and rare must be beneficial for one's health. Even today gold leaf, flake or dust is used on and in some gourmet foods, notably sweets (particularly in India and the Middle East) and drinks as decorative ingredient [AncientGifts].

A History of Silver: After gold, silver is the metal most widely used in jewelry and the most malleable. The oldest silver artifacts found by archaeologists date from ancient Sumeria about 4,000 B.C. At many points in the ancient world, it was actually more costly than gold, particularly in ancient Egypt. Silver is found in native form (i.e., in nuggets), as an alloy with gold (electrum), and in ores containing sulfur, arsenic, antimony or chlorine. Much of the silver originally found in the ancient world was actually a natural alloy of gold and silver (in nugget form) known as “electrum”.

The first large-scale silver mines were in Anatolia (ancient Turkey) and Armenia, where as early as 4,000 B.C. silver was extracted from lead ores by means of a complicated process known as “smelting”. Even then the process was not perfect, as ancient silver does contain trace elements, typically lead, gold, bismuth and other metals, and as much as a third of the silver was left behind in the slag. However measuring the concentrations of the “impurities” in ancient silver can help the forensic jewelry historian in determining the authenticity of classical items. From Turkey and Armenia silver refining technology spread to the rest of Asia Minor and Europe.

By about 2,500 B.C. the Babylonians were one of the major refiners of silver. Silver “treasures” recovered by archaeologists from the second and third millenniums demonstrate the high value the ancient Mediterranean and Near East placed upon silver. Some of the richest burials in history uncovered by archaeologists have been from this time frame, that of Queen Puabi of Ur, Sumeria (26th century B.C.); Tutankhamun (14th century B.C.), and the rich Trojan (25th century B.C.) and Mycenaean (18th century B.C.) treasures uncovered by Heinrich Schliemann.

The ancient Egyptians believed that the skin of their gods was composed of gold, and their bones were thought to be of silver. When silver was introduced into Egypt, it probably was more valuable than gold (silver was rarer and more valuable than gold in many Mesoamerican cultures as well). In surviving inventories of valuables, items of silver were listed above those of gold during the Old Kingdom. Jewelry made of silver was almost always thinner than gold pieces, as indicated by the bracelets of the 4th Dynasty (about 2,500 B.C.) Queen Hetephere I, in marked contrast to the extravagance of her heavy gold jewelry.

A silver treasure excavated by archaeologists and attributable to the reign of Amenemhat II who ruled during the 12th Dynasty (about 1900 B.C.), contained fine silver items which were actually produced in Crete, by the ancient Minoans. When the price of silver finally did fall due to more readily available supplies, for at least another thousand years (through at least the 19th dynasty, about 1,200 B.C.) the price of silver seems to have been fixed at half that of gold. Several royal mummies attributable to about 1,000 B.C. were even entombed in solid silver coffins.

Around 1,000 B.C. Greek Athenians began producing silver from the Laurium mines, and would supply much of the ancient Mediterranean world with its silver for almost 1,000 years. This ancient source was eventually supplemented around 800 B.C. (and then eventually supplanted) by the massive silver mines found in Spain by the Phoenicians and their colony (and ultimate successors) the Carthaginians (operated in part by Hannibal’s family). With the defeat of Carthage by Rome, the Romans gained control of these vast deposits, and mined massive amounts of silver from Spain, stripping entire forests regions for timber to fuel smelting operations. In fact, it was not until the Middle Ages that Spain’s silver mines (and her forests) were finally exhausted.

Although known during the Copper Age, silver made only rare appearances in jewelry before the classical age. Despite its infrequent use as jewelry however, silver was widely used as coinage due to its softness, brilliant color, and resistance to oxidation. Silver alloyed with gold in the form of “electrum” was coined to produce money around 700 B.C. by the Lydians of present-day Turkey. Having access to silver deposits and being able to mine them played a big role in the classical world. Actual silver coins were first produced in Lydia about 610 B.C., and subsequently in Athens in about 580 B.C.

Many historians have argued that it was the possession and exploitation of the Laurium mines by the Athenians that allowed them to become the most powerful city state in Greece. The Athenians were well aware of the significance of the mining operations to the prosperity of their city, as every citizen had shares in the mines. Enough silver was mined and refined at Laurium to finance the expansion of Athens as a trading and naval power. One estimate is that Laurium produced 160 million ounces of silver, worth six billion dollars today (when silver is by comparison relatively cheap and abundant). As the production of silver from the Laurium mines ultimately diminished, Greek silver production shifted to mines in Macedonia.

Silver coinage played a significant role in the ancient world. Macedonia’s coinage during the reign of Philip II (359-336 B.C.) circulated widely throughout the Hellenic world. His famous son, Alexander the Great (336-323 B.C.), spread the concept of coinage throughout the lands he conquered. For both Philip II and Alexander silver coins became an essential way of paying their armies and meeting other military expenses. They also used coins to make a realistic portrait of the ruler of the country. The Romans also used silver coins to pay their legions. These coins were used for most daily transactions by administrators and traders throughout the empire.

Roman silver coins also served as an important means of political propaganda, extolling the virtues of Rome and her emperors, and continued in the Greek tradition of realistic portraiture. As well, many public works and architectural achievements were also depicted (among them the Coliseum, the Circus Maximus). In addition many important political events were recorded on the coinage. Roman coins depicted the assassination of Julius Caesar, alliances between cities, between emperors, between armies, etc. And many contenders for the throne of Rome are known only through their coinage.

Silver was also widely used as ornamental work and in other metal wares. In ancient cultures, especially in Rome, silver was highly prized for the making of plate ware, household utensils, and ornamental work. The stability of Rome’s economy and currency depended primarily on the output of the silver mines in Spain which they had wrested from the Carthaginians. In fact many historians would say that it was the control of the wealth of these silver mines which enabled Rome to conquer most of the Mediterranean world. When in 55 B.C. the Romans invaded Britain they were quick to discover and exploit the lead-silver deposits there as well.

Only six years later they had established many mines and Britain became another major source of silver for the Roman Empire. It is estimated that by the second century A.D., 10,000 tons of Roman silver coins were in circulation within the empire. That’s about 3½ billion silver coins (at the height of the empire, there were over 400 mints throughout the empire producing coinage). That’s ten times the total amount of silver available to Medieval Europe and the Islamic world combined as of about 800 A.D. Silver later lost its position of dominance to gold, particularly in the chaos following the fall of Rome. Large-scale mining in Spain petered out, and when large-scale silver mining finally resumed four centuries after the fall of Rome, most of the mining activity was in Central Europe.

By the time of the European High Middle Ages, silver once again became the principal material used for metal artwork. Huge quantities of silver from the New World also encouraged eager buyers in Europe, and enabled the Spanish to become major players in the late Medieval and Renaissance periods. Unlike the ores in Europe which required laborious extraction and refining methods to result in pure silver, solid silver was frequently found as placer deposits in stream beds in Spain’s “New World” colonies, reportedly in some instances solid slabs weighing as much as 2,500 pounds. Prior to the discovery of massive silver deposits in the New World, silver had been valued during the Middle Ages at about 10%-15% of the value of gold.

In 15th century the price of silver is estimated to have been around $1200 per ounce, based on 2010 dollars. The discovery of massive silver deposits in the New World during the succeeding centuries has caused the price to diminish greatly, falling to only 1-2% of the value of gold. The art of silver work flourished in the Renaissance, finding expression in virtually every imaginable form. Silver was often plated with gold and other decorative materials. Although silver sheets had been used to overlay wood and other metals since ancient Greece, an 18th-century technique of fusing thin silver sheets to copper brought silver goods called Sheffield plate within the reach of most people.

At the same time the use of silver in jewelry making had also started gaining popularity in the 17th century. It was often as support in settings for diamonds and other transparent precious stones, in order to encourage the reflection of light. Silver continued to gain in popularity throughout the 18th and 19th centuries, and by the 20th century competed with gold as the principal metal used in the manufacture of jewelry. Silver has the highest thermal and electrical conductivity of any metal, and one of the highest optical reflectivity values. It has a brilliant metallic luster, is very ductile and malleable, only slightly harder than gold, and is easily worked and polished.

When used in jewelry, silver is commonly alloyed to include 7.5% copper, known as “sterling silver”, to increase the hardness and reduce the melting temperature. Silver jewelry may be plated with 99.9% pure ‘Fine Silver’ to increase the shine when polished. It may also be plated with rhodium to prevent tarnish. Virtually all gold, with the exception of 24 carat gold, includes silver. Most gold alloys are primarily composed of only gold and silver. 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. Precious minerals were likewise considered to have medicinal and “magical” properties in the ancient world. In its pure form silver is non toxic, and when mixed with other elements is used in a wide variety of medicines. Silver ions and silver compounds show a toxic effect on some bacteria, viruses, algae and fungi. Silver was widely used before the advent of antibiotics to prevent and treat infections, silver nitrate being the prevalent form. Silver Iodide was used in babies' eyes upon birth to prevent blinding as the result of bacterial contamination.

Silver is still widely used in topical gels and impregnated into bandages because of its wide-spectrum antimicrobial activity. The recorded use of silver to prevent infection dates to ancient Greece and Rome. Hippocrates, the ancient (5th century B.C.) Greek "father of medicine" wrote that silver had beneficial healing and anti-disease properties. The ancient Phoenicians stored water, wine, and vinegar in silver bottles to prevent spoiling. These uses were “rediscovered” in the Middle Ages, when silver was used for several purposes; such as to disinfect water and food during storage, and also for the treatment of burns and wounds as a wound dressing.

The ingestion of colloidal silver was also believed to help restore the body's “electromagnetic balance” to a state of equilibrium, and it was believed to detoxify the liver and spleen. In the 19th century sailors on long ocean voyages would put silver coins in barrels of water and wine to keep the liquid potable. Silver (and gold) foil is also used through the world as a food decoration. Traditional Indian dishes sometimes include the use of decorative silver foil, and in various cultures silver dragée (silver coated sugar balls) are used to decorate cakes, cookies, and other dessert items. [AncientGifts].

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.

Topaz: It is believed that topaz was known during the early Bronze Age, as the mining of topaz is strongly associated with tin mining, a mineral needed to create bronze (an alloy of copper and tin). Archaeologists are certain that the people in the Middle-Eastern Bronze Age would have known about this gemstone. However the first historical descriptions of topaz were from the classical Mediterranean. The origin of topaz in the ancient Mediterranean was a small island in the Red Sea known as “Topazion”, a Greek term meaning “to guess”. In Arabic the same term means “"the subject of the search". This reflects the fact that the island was typically obscured by fog, making it difficult for early navigators to find. Typically yellow, topaz in the ancient world was held as a talisman to protect against evil and was used to treat many different physical ailments including asthma.

The Greeks and Romans greatly valued topaz as a gemstone, even believing that the gemstone would improve the wearer’s eyesight. Ancient Romans also credited topaz with preventing sickness of the chest and it was also used to treat abdominal pain. The ancient Greeks believed topaz would give great strength to whomsoever wore the stone, and was also worn as an amulet to ward off enchantment (“spells” or “curses”). The ancient Greeks also believed that wearing topaz would dispel sadness and strengthen the wearer’s intellect. There are also frequent references from ancient Greek sources which claim that wearing topaz rendered the wearer invisible.

In Rome and the Early Medieval world, topaz was associated with Apollo and/or Jupiter, as Topaz was associated with the sun, and both Jupiter and Apollo were solar deities. Both Julius Caesar and his heir Octavian Augustus held Apollo in special reverence. Augustus credited Apollo with his victory over Marc Antony, and erected a magnificent temple to Apollo at Actium overlooking the site of the famous naval battle, as well as an even grander temple on the Palatine in Rome. The gemstone was also described by the first century Roman historian and naturalist “Pliny the Elder”.

There are also many biblical references to "topaz". Topaz was one of the twelve stones selected by Aaron for his priestly breastplate, representing the twelve tribes of ancient Israel. He placed it there as the second stone in the first row of stones. Topaz is also found as one of the stones in the book of Revelations as one of the stones of the apocalypse (one of the gemstones which form the foundations of the twelve gates to the Holy City of the New Jerusalem). To ancient Christians topaz was regarded as a symbol of uprightness and virtue. In ancient Egypt the golden glow of yellow topaz symbolized "Ra", their sun god. This made topaz a very powerful amulet that protected the faithful against harm.

Further to the east, in ancient India, topaz was regarded as a sacred gemstone. Ancient Hindus believe that worn as a pendant above the heart topaz assured long life, beauty and intelligence (and would also alleviate thirst). Centuries later in Medieval Europe small wine-yellow Saxonian Topaz were mined at Schneckenstein in the Erzgebirge Mountains in Saxony, Germany, and several rulers wore these specimens in jewelry. The Germans believed that the yellow topaz prevented bad dreams, calmed passions, ensured faithfulness and, when taken in wine, cured asthma and insomnia. It was also believed that the figure of a falcon engraved upon a topaz talisman would bring the wearer the goodwill and kindness of the gods.

During the Middle Ages wearing topaz in a ring was believed to lengthen one’s life and forestall death (or alternatively to prevent sudden death). Worn around the neck, topaz was also thought to cure madness. If also mounted in gold and worn around the neck, it was believed to dispel enchantments and calm nocturnal fears. Worn as a protective talisman topaz was said to instantly lose its color to indicate that poisoned food or drink was present, thus protecting its owner. It was also believed to be an effective talisman against accidents. Topaz was also regarded as a talisman for travelers, protecting them from homesickness and danger.

In the Medieval World it was also believed that wearing a topaz talisman conferred to the wearer special powers over animals. Topaz was also used by shamans and seers who believed that topaz and encouraged clairvoyance and psychic skills, and enabled the wearer to perceive the intentions and motives of the people around them. It was also believed to make men handsome and intelligent and sterile women fertile and happy. There were as well medicinal uses for topaz in the Middle Ages. Topaz was believed to be able to actually absorb the heat of a fever. Topaz was also believed to ease the inflammations, discomfort and pain associated with arthritis. However the curative powers of topaz were believed to weaken and strengthen in response to changing phases of the moon.

Topaz is found in yellow, orange, green, blue, red, and white (colorless) hues. The highest grade topaz comes from Sri Lanka and India, the Ural Mountains in Russia, Brazil, and in the U.S.; from Maine, Colorado, California, and Utah. The most popular color for topaz gemstones is light blue, and the most costly is a rich orange-yellow, resembling the color of sherry wine, known as “imperial” topaz (sometimes referred to as “precious topaz”). Sherry-colored topaz is called “imperial” topaz in honor of the Russian Tsar who owned the mining fields of topaz in the Urals Mountain range (in Siberia, Russia), and the best quality topaz were reserved for the emperor and his family. Topaz is one of the hardest minerals in nature, and for that reason, highly valued as a gemstone.

In the ancient world topaz was thought to heal both physical and mental disorders, and to prevent death. Topaz was also believed to assure beauty, fidelity and long life. Topaz was also used to treat medical ailments. Topaz powdered and drunk in wine, cured asthma, tuberculosis, insomnia, burns and hemorrhages. The twelfth century German Prophetess/Visionary Mystic/Catholic Saint "Hildegard" had an unusual prescription for improving failing vision which involved soaking a topaz in wine, then rubbing the eyes with the gemstone and drinking the wine. Topaz was also regarded effective against bleeding and heart disease, as well as a cure for rheumatism, gout, and soreness in the joints. Wearing topaz was believed to aid the spinal column and help steady and regulate the action of the heart. It was used to treat bleeding and believed helpful to promote health in the glandular systems of the body. It was also believed to improve eyesight.

Topaz was also used in treating infections, deafness, goiter, hemorrhage, circulatory problems, digestive problems, combating anorexia, restoring the sense of taste, stimulating metabolism and more. I was regarded as especially effective in treating hemorrhoids if it were worn on the left arm. Last (but certainly not least), men were believed to become more virile when wearing topaz! On the metaphysical plane, the ancient world regarded topaz as a stone of true love and capable of attracting success in all endeavors. Topaz was believed to promote creativity and individuality, and was thought excellent for promoting concentration. It was also attributed with the power to replace negativity with love and joy, stimulating a brighter outlook on life.

Topaz was also known as the “lover of gold,” as it is used to bring wealth and money. It is traditionally known as a stone of love and good fortune, bringing successful attainment of goals. It was said to be especially effective when set in gold and bound to the left arm. When worn as an amulet, topaz drove away sadness, added intelligence and gave courage. On the emotional plane, topaz was believed to be useful for treating depression. It was believed to help people alleviate their fears, and was used to treat psychosomatic illnesses. It was regarded as useful in balancing emotions, helping those who go from one extreme to another.

Topaz was also highly recommended for healing a person who was suffering from shock or trauma, and was regarded as a panacea for those whose lives contained abnormal amounts of stress or tension. In particular, blue topaz was believed extremely helpful to those who were angry. Blue topaz was regarded as possessing the power of the moon and elemental water. Blue topaz was believed effective in helping the wearer to release their anger, and to bring one’s emotional pain to the surface. Modern practitioners believe that topaz assists in general tissue regeneration and in the treatment of hemorrhages. It also believed to stimulate poor appetite and aid in the treatment of blood disorders. In India topaz is still used to treat tonsillitis, whooping cough, and mumps [AncientGifts].

Imperial Topaz: Russian Imperial Topaz, also known as “precious topaz”, is a very rare naturally colored gemstone, the most costly variety of topaz. The color ranges from yellow to orange, pink and peach to purple, and occasionally even red. Most pink imperial topaz is produced by heating yellow or orange imperial topaz. Discovered in the 19th century in the Ural Mountains of Russia, together with alexandrite, it was mined and produced exclusively for the royal family. By imperial decree only the Czars of Russia were permitted to own or to gift this rare gemstone. With the revolution in 1917 came a total export ban on imperial topaz – it was not until post-Soviet Russia that a small amount of imperial topaz was exported from Russia in the 1990’s.

By the year 2000, the mines were played out and abandoned. Today imperial topaz is mined in Brazil, and some very small quantities in Afghanistan and Sri Lanka (Ceylon). Even the imperial topaz mined in Brazil, Sri Lanka, and Afghanistan is expensive – prices of $1,000 per carat are not unusual. But Russia Imperial Topaz is gone, available in limited quantities here and there, typically in the form of antique gemstones. Though the Southern Ural Mountains of Russia have been producing topaz for centuries, this remains nonetheless a rare and uncommon gemstone. [AncientGifts].

Tanzanite: The 1960’s saw the discovery of many new gemstone varieties in East Africa. It seems likely that the most significant of these discoveries was the discovery of Tanzanite in 1967 by Portuguese-Indian prospector (originally from Goa, India) Manuel d'Souza in the Merelani Hills of Tanzania, in the shadow of majestic Mount Kilimanjaro. This breathtaking location is the only known mining site on earth for the exotic gemstone which would come to be named “tanzanite”. The stone was so named after its country of origin by Tiffany & Co. in New York, which introduced the gemstone to the marketplace in 1969. Tanzanite is the blue to violet gem variety of the mineral zoisite, the color provided by traces of vanadium. No gemstone discovered in East Africa has had more of an impact on the world gemstone market than tanzanite.

By the turn of the century, only a few decades after from its introduction, tanzanite had become one of the most popular gemstones in the world today after the “big four” (diamond, ruby, sapphire, and emerald). Acute shortages have developed from time-to-time, as there is really but one source of this exotic gemstone. Very small deposits have been found in Kenya, but until recently were not considered large enough for commercial purposes. With the insatiable demand for and short supplies of tanzanite, even these small deposits are now being mined and have even been the source of armed disputes. But they contribute insignificant amounts of material compared to the demand for this rare gemstone. New mining techniques and the liberalization of the Tanzanian economy has helped to boost production in the past few years to make tanzanite more available than ever before in the history of the gemstone.

Nonetheless tanzanite remains relatively rare, significant production coming from only one place in the world. Geologists estimate that the entire present source of tanzanite will be exhausted within the next fifteen to twenty years. Geologists say the chemical environment required to form tanzanite is so unique, chances of finding the same conditions elsewhere are next to impossible, the odds of discovering another tanzanite deposit is put at less than one in a million. The rich purples and blues of tanzanite often have a depth comparable to the finest sapphire. Paler tanzanite has a delicate periwinkle color. Tanzanite is occasionally found in green and less often yellow. Tanzanite is trichroic; that is, it shows different colors when viewed in different directions. One direction is blue, another purple, and another bronze, adding subtle depths to the color. When tanzanite is found in the ground, the bronze color dominates.

However, with gentle heating, the blue color blooms and deepens within the stone. Tanzanite can also appear differently when viewed under alternate lighting conditions. The blues appear more evident when subjected to fluorescent light, and the violet hues can be seen readily when viewed under incandescent light. According to legend, the affect of heat on tanzanite was first discovered when some brown zoisite crystals lying on the ground among other rocks were caught in a fire started by lightning that swept through the grass-covered Merelani Hills. Masai cattle herders in the area noticed the beautiful blue color of the crystals and picked them up, becoming the first tanzanite collectors. The most valuable tanzanite is medium dark in tone, vivid in saturation, and slightly violet-blue. Some people desire the more purplish to violet Tanzanite shades which are more available and affordable.

Rarely pure blue, the gem almost always displays signature overtones of purple. In smaller sizes, it tends toward lighter tones, with lavender the most common. In larger sizes, the gem typically displays deeper, richer blues and purples. It is this mesmerizing saturation of color that has made tanzanite so sought after. Beauty is in the eye of the beholder, and Tanzanite delivers. If you can appreciate a gem that is unique, less known, and rare, since it is found commercially in only one place, tanzanite is the colored gem for you. Ranging in color from a "sapphire blue" to an "amethyst purple", this very special member of the gem family delights its owner, and provides a great conversation piece with friends. A notable 122.7-carat faceted stone is on display at the Smithsonian Institution in Washington, D.C.

Tanzanite was unknown in the ancient world, however contemporary practitioners believe that tanzanite can encourage recovery from severe illness or stress. It is believed to be a detoxifier, to strengthen the immune system, regenerates cells, and treat ailments of the heart, spleen, pancreas, lungs, head, throat, and chest. Tanzanite is also is believed to neutralize over acidification, reduce inflammation, stimulates fertility, and heal diseases of the reproductive organs. On the metaphysical plane, tanzanite is said to facilitate raising consciousness, aid in realizing one’s own ideas, and transform destructive urges into constructive ones. The gemstone is said to encourage awareness of the comparison between how one lives and how one could choose to live more consciously.

Bringing together communication and psychic power, tanzanite is believed to aid the wearer connect with their clairvoyant powers and stimulate their ability to see visions of higher spiritual realms and to accurately communicate them. Tanzanite is said to open channels to the spiritual world of ancient tribal communities, and to elicit revelations of the primeval collective consciousness. On a more practical level, tanzanite is said to dispel lethargy and bring repressed feelings to the surface so that they can be expressed. It is believed to help enable the wearer to transform negative energies into positive ones, and assist the wearer in manifesting their own true self rather than being influenced by others or trying to conform to the norm [AncientGifts].

Tourmaline: Tourmaline's name comes from the Dutch traders who purchased gemstones from the Celanese (i.e., Ceylon or Sri Lanka). The word "turmali," meant "mixed", and the bright rainbow collections of gemstone varieties which the Dutch purchased were called "turmali" parcels. Tourmaline has been used as gem material for more than 2,000 years. Since tourmaline occurred in many of the ancient mines that yielded other precious stones, tourmaline was most likely known by the ancient Romans, but called other names such as emerald or topaz. In fact, through the sixteenth or seventeenth century, red and pink tourmaline were thought to be ruby.

However one accurate reference to tourmaline in ancient history was by Theophrastus of Ancient Greece (student and successor of Plato and Aristotle) who in 314 B.C. accurately described tourmaline as becoming electromagnetically charged when it heated, noting that it would collect dust particles, straw and pieces of wood. In fact tourmaline can also become electromagnetically charged simply by rubbing it against one’s clothing, and the charge can remain for hours. There is also historical evidence which suggests that tourmaline was exported from Ceylon to ancient Israel as early as the time of King Solomon, and may have adorned the crown of the Queen of Sheba.

In the medieval world, alchemists believed tourmaline to be related to the philosopher’s stone, and as such could grant enlightenment, give power over spiritual affairs, reconcile opposites and change base metals to gold. Tourmaline was also used by medieval shamans who regarded it a “receptive stone,” which means it was soothing, calming, inward, and magnetic, and thus promoted meditation, spirituality, wisdom and mystical powers. During the Middle Ages tourmaline was also thought to heal physical and mental disorders as well as prevent death. Ancient mystical ceremonies in India included the use of the gem as a tool to bring insight and help in the discovery of that which is good, and to make known who or what was the cause of troubles or evil deeds. As well, various aboriginal tribes such as the American Indians, Australian Aborigines, and various African tribes, believed tourmaline to be a talisman which could protect against all dangers.

Tourmaline occurs in more colors and combinations of colors than any other gemstone variety. In fact an ancient legend says that tourmaline is found in all colors because it traveled along a rainbow and gathered all the rainbow's colors. Green or "chrome" tourmaline was "rediscovered" in the seventeenth century. This striking green gemstone is colored by the mineral chromium; hence the name "chrome" tourmaline. German miners in Brazil exported green tourmalines to bedazzled seventeenth century Europe, calling them "Brazilian emeralds". Within a few decades tourmaline was also rediscovered in the country of Tanzania on the African continent. In the eighteenth century, it was eventually realized that the "Brazilian emeralds" had unusual electromagnetic qualities, and were not emeralds at all.

Pink tourmaline was held in such high regard in Ancient China that Empress Tz'u Hsi, the last Empress of China, who loved pink tourmaline, bought almost a ton of it from the Himalaya Mine in California, and was eventually laid to rest (eternally) on a carved tourmaline pillow. In fact the Chinese have engraved and carved figures and snuff bottles from tourmaline for many centuries, and ancient examples are displayed in museums around the world. Many stones in the Russian Crown jewels from the 17th Century once thought to be rubies and emeralds are actually tourmalines. Chrome tourmalines are relatively uncommon gemstones, costly, and in scarce supply. They were considered the rarest variety of tourmaline until in 1989 very small quantities of even rarer Paraiba neon blue-green was discovered in Brazil, which sells for as much as $20,000 per carat. The most popular color is peach (or pink) tourmaline, and one of the most famous mines in the world, played out and closed in 1913, was in California.

The ancient world regarded tourmaline helpful to artists, authors, actors and those in creative fields, enhancing their creative powers. Tourmaline was believed to possess many medicinal properties, including its ability to cleanse, maintain, and stimulate the energy centers of the body. It was also reported in an 18th century Dutch medical journal that tourmaline wrapped in silk and placed against the cheek of a feverish child would induce sleep. Tourmaline is still regarded as an aid for keeping the digestive system healthy as well as strengthening teeth and bones. It is also recommended for adrenal disorders, heart disease, arthritis, and used to treat stress and trauma.

In regards to its metaphysical properties, tourmaline was believed to attract inspiration, to diminish fear, and encourage self confidence, enthusiasm, constructive thinking, and to assist the wearer avoid bad luck and negativity. It was regarded as conducive to promoting peaceful communication between the conscious and unconscious minds, allowing psychic awareness to blossom. Tourmaline was regarded as a stone of reconciliation, a stone that fostered compassion and cool headedness, radiated the energy that attracted money, healing and friendship, and was used for “grounding” purposes, to stabilize, and reaffirm one’s “roots”.

Pink tourmaline in particular was believed to be of great value to people that had difficulty dealing with fear who had panic attacks or who were in need of something to help them heal their inner chaos and dread. It was regarded as a heart protector as well as an aphrodisiac, and was believed to provide reassurance that it was safe to love and therefore instilled confidence [AncientGifts].

Zircon: Not to be confused with synthetic “cubic zirconium”, zircon is a natural gemstone known to mankind for thousands of years. The word “zircon” originated in the 18th century from the Persian word "zargon", which means "gold colored", due to the yellow color of the zircon gemstones found there. In ancient history the first references zircon are in Hindu mythology, many thousands of years ago in a poem about the “Kalpa” tree, described as a glowing tree draped with gemstones, with leaves made of zircons. In the ancient world yellow zircon was called "hyacinth", from the flower. In ancient Greek Mythology Hyacinth was a young and beautiful young man and was loved by the God Apollo. One day Apollo and Hyacinth were throwing a discus.

Forgetting Hyacinth was merely mortal, Apollo threw the discus with all his strength. When Hyacinth tried to catch the discus it killed him. Drops of Hyacinth’s blood fell to the ground and colored by Apollo’s tears, became hyacinth flowers. Petrified, the flowers became hyacinth (zircon) gemstones. Zircon was frequently referred to as hyacinth in the Bible as well, particularly as one of the twelve gemstones on the breastplate of the High Priest Aaron, representing the twelve tribes of ancient Israel. Zircon was also mentioned in the Bible as the stone given to Moses in Ezekiel, and as one of the "foundation stones" of post-apocalyptic Jerusalem's city walls in Revelations. According to Jewish legend, the angel sent to the Garden of Eden to watch over Adam and Eve was named Zircon.

Many ancient medical texts from quite a number of Mediterranean cultures refer to zircon as a sleeping aid, and that it was used to prevent nightmares. It was also believed to lose it sparkle and luster at the approach of danger, thus warning the wearer of peril. In the Middle Ages red zircon was believed to prevent pregnancy, and was worn as a talisman in the ancient world by artists, travelers, and merchants. In Medieval Europe zircon was also worn by travelers as a protective amulet, and was believed to ward off lightning strikes. It was also believed to drive away plagues, evil spirits, and nightmares, and in the Middle Ages, zircon was worn to promote riches, honor and wisdom.

Zircon has been mined in Ceylon since classical antiquity (at least 2,000 years), and there are records of its use in sixth century B.C. Italy and Greece. Zircon occurs in a rainbow of colors including blue, yellow, green, brown, orange, red and colorless. Blue zircon and colorless zircon remain the most sought after and costly forms of zircon. Blue zircon was immensely popular in the 1880's and was used extensively in Victorian jewelry. Historically the colorless form of zircon, known as “Matara diamond”, has been the most popular and the most costly. This colorless form of zircon looks more like diamond than any other natural stone due the high refractive index of zircon. These physical properties cause zircon to come very close to diamonds in fire and brilliancy. Colorless zircon is occasionally confused with "cubic zirconium" due to the fact that both have been used a substitutes for diamonds. Cubic zirconium is a man-made synthetic gemstone. Zircon is a natural gemstone.

Zircons are currently mined in Norway, Austria, Germany, France, the Ural Mountains of Russia, Ceylon, Cambodia, Burma, Thailand, Viet Nam, Korea, India, Pakistan, Tanzania, Nigeria, Madagascar, Mozambique, New Zealand, Australia, Brazil, and also in the United States and Canada. Testing of zircons from Western Australia indicate they formed (in a water rich environment) 4.4 billion years ago, making them the oldest material ever dated on Earth. An even older example was found in a large meteorite in Chile. The oldest thing scientists have ever examined, that zircon formed at least 4.6 billion years ago in the swirl of dust and rocks that became the planets within our solar system.

In the ancient world it was believed that zircon enhanced emotional health, helped to heal grief, remove melancholy, restore appetite, cure insomnia, prevent nightmares, and enhance self-esteem. Its healing properties, though principally associated with emotional and physical balance, also was believed to increase ones hardiness and to facilitate continuity in all endeavors. It was used as a talisman for travelers to protect them from all sickness and evils during the long journey. Modern practitioners still “prescribe” zircon as a talisman to protect air travelers, and is still believed helpful to those suffering from low self-esteem come to better accept themselves, and to cleanse the wearer of old traumas, doubts and sadness without being overwhelmed by the accompanying emotions.

Along those lines zircon is said to bestow upon its wearers confidence, optimism, and good spirits. It is also used to improve mental abilities, and is believed to encourage interest in science. Zircon is said to be of help for varicose veins, relieving pain, blisters and issues pertaining to male reproductive organs. It is also believed to stimulate appetite, and so considered useful for those afflicted with eating disorders; as well as aid with gastric and intestinal disorders, including constipation [AncientGifts].

Garnet: The name Garnet is derived from the Latin for pomegranate, "grantum", because crystals in rock reminded early aficionados of pomegranate seeds. However in ancient times garnet was also known as “carbuncle”. Mankind has used garnet as ornamentation for many thousands of years. Archaeologists recently found a garnet bead necklace worn by a young man in a grave that dates back to 3000 B.C. Garnet was used in earliest pre-dynastic Ancient Egypt. Excavations in Egypt have uncovered garnet jewelry dating back to 3100 B.C., garnet being used to construct necklaces for the ancient pharaohs and royal families. In the ancient Roman world, it was not only popular with the Romans themselves (particularly for the carving of intaglios for signet rings), but also with the Germanic (“barbarian”) tribes in Northern Europe bordering the Roman Empire.

Garnet was also prominently featured in the magnificent cloisonné inlay jewelry found in sixth and seventh century burials in England at the Anglo-Saxon site of Sutto Hoo, and was also popular with the other peoples of ancient Britannia, including the Celts, Franks, and Normans. According to historical accounts, the King of Saxony is said to have had a garnet of over 465 carats. Due to its red color, ancient cultures associated garnet with blood, and thus garnet was thought to stop bleeding or bloodshed between enemies. Some primitive cultures believed that garnets could not only be used to stop bleeding, but would also cure inflammation. Ancients also believed that garnet was useful to resist melancholy and warn off evil spirits, especially spirits of the night, which were referred to as demons and night phantoms.

The ancients also believed that a garnet could give its wearer guidance in the night, allowing them to see when others could not. Garnet was worn for protection when traveling, as garnet was believed to warn the wearer of approaching danger. The Persians considered garnet a royal stone, as did the Russians in Imperial times. Asian and North American Indian tribes used garnets as bullets, believing the stone would inflict fatal wounds. According to ancient Hebrew mythology, a giant garnet provided interior lighting for Noah's Ark. It is also believed that garnet, described as “nopek”, was one of the twelve gemstones described in the Bible in Exodus 28:17-20 as adorning Aaron’s breastplate, representing the twelve tribes of ancient Israel. Ancient Christians regarded the blood-red garnet to be symbolic of Christ’s sacrifice. The Koran holds that the garnet illuminates the Fourth Heaven of Islam. The Greeks said it guarded children from drowning, and it was also thought to be a potent antidote against poisons.

According to historical accounts, the Greek Philosopher Plato had his portrait engraved on a garnet by a Roman engraver. And according to Greek myth, garnet is symbolic of a quick return and separated love, since Hades had given a pomegranate to Persephone before she left him to ensure her speedy return. Therefore, Garnet was often given to a beloved one before embarking on a trip, as it was believed to heal the broken bonds of lovers. In medieval times, garnet was thought to cure depression, protect against bad dreams, and relieve diseases of the liver, as well as hemorrhages. It was also believed that a garnet engraved with the figure of a lion was an all around effective charm that would protect and preserve health, cure the wearer of all disease, bring honors, and guard from all the possible perils of traveling. The wearing of a garnet talisman was also believed to protect against the plague (“Black Death”), lightening strikes, and was believed to change color so as to warn the wearer of impending danger.

The Crusaders set Garnets into their body armor, believing the protective power of the stones would lead them to safety. From the 16th through 19th centuries, Bohemia, now a part of Czechoslovakia, was a tremendous source of garnet, and at one time, particularly in the Victorian Era, cutting, polishing, and mounting garnets was a very rich industry in that country. Many Bohemian castles and churches had magnificent interiors decorated with garnet. The different varieties of garnet are found in almost all colors except blue. Brown, red, green, yellow, black, and colorless stones are the most common. Darker gemstones are usually opaque, and light ones may be transparent or translucent.

The best known members of the Garnet family are the deep red varieties, the Pyrope and Alamandite. The Pyrope derives its name from the Greek word meaning "firelike". It was the Pyrope Garnet that figured in the ancient Talmudic legend, which held that the only light in Noah's Ark was supplied by an enormous red garnet. In he ancient world garnet was regarded as a stone of "good health", capable of balancing an individual's energy, stimulate desires, uplift attitude, and increase popularity.

Medicinally garnet was long believed to cure heart palpitations, varicose veins, lung diseases, and various diseases of the blood. It was believed to stimulate metabolism, purify and reenergize the blood, heart and lungs, and was used to treat spinal disorders and arthritis. Garnets were also worn to enhance bodily strength, endurance and vigor. It was widely believed to be extremely beneficial to wear a garnet when one had to physically exert oneself. For men, it was believed to keep the reproductive system healthy. For women, it was believed to promote hormonal balance and was said to reduce swelling.

On the meta-physical plane, garnets were believed to bring good fortune, love, and success, and to improve self-esteem, thus even today they are often carried by businessmen as a talisman. The stone is said to sharpen one’s perception both of self and of other people. Garnet is believed to balance the sex drive, and is said to aid in sexual potency and fertility, to enhance sexual attraction, and to liberate one’s sensual side and so enhance passion and love. Adherents claim that garnet moves a couple deeper into a passionate and sensual exploration of sexual magic. The stone is said to inspire commitment, monogamous and stable marriage, and promises one’s love, devotion, and fidelity. It is also believed to aid in finding true lovers. [AncientGifts].

Demantoid Garnet: Demantoid is known as “the queen of the garnet family”. Though demantoid garnet has been found in Africa in very limited quantities, the best demantoid is found in the Ural Mountains of Russia and is associated with gold bearing sands. The Russian demantoid garnet has much richer and vibrant color. The combination of its color and fire give it unsurpassed splendor. As well, most Russian demantoid garnet is also characterized by “horsetail” inclusions – minute asbestos fibers oftentimes only visible under a microscope. Demantoid garnet is generally available on in small sizes. Gemstone quality specimens in excess of one carat are very rare. Mining of this beautiful, brilliant green garnet lasted only about 30 years, ending before the turn of the twentieth century (over 100 years ago). The primary source for top quality stones today is antique jewelry.

Demantoid was very popular in the 19th century, and remains one of the most valuable gemstones of all, highly coveted for its rarity and its incredible brilliance. Demantoid has a relatively high refraction of light (1.888). Remarkable, however, is also the dispersion, i.e., its ability to reflect the light coming in through the facets and to dissemble this light into all the colors of the rainbow. Demantoid is a champion in this respect, even better than diamond. When demantoid garnet was first discovered in the Urals mountains in Russia in 1868, it quickly advanced to the position of a much coveted gemstone. Like a comet it sparkled and shone, displaying its fire at jewelers’ studios in Paris, New York and St Petersburg. Carl Fabergé, Russia’s renown royal jeweler, was fascinated by it because of its striking brilliance, and so he loved to use the stone in his precious objects. [AncientGifts].

Rhodolite Garnet: Victorian Europe was so enthusiastic about the raspberry red color of Rhodolite Garnet that they were called “Bohemian Rubies”. In Africa this remarkable red semi-precious gemstone was known as a “Cape Ruby” during the Victorian era. There is also a very rare variety of Rhodolite Garnet which is color change, shifting from raspberry red to champagne. The variety was discovered in Siberia, in the same region color-change alexandrite was discovered, in the vicinity of the Bobrovka River [AncientGifts].

Spessart Garnet: Spessartite is not as common as most other Garnets, and it is usually not found as a transparent, gemstone quality specimens. Originally found in Spessart, Bavaria, its occurrences remain very limited when contrasted with other varieties of garnet. When absolutely pure it is bright orange, the color derived from manganese and aluminum. But an increase in the iron content makes the stone darker orange to red. It is also known as “Spessartine”, which is the word for “forest” in German. In Renaissance Europe it was believed to assist in analytical abilities and self-exploration. It was also used in the treatment of lactose intolerance and calcium mal-absorption [AncientGifts].

Tsavorite Garnet: Tsavorite was first discovered in Tanzania in 1967 in the shadow of Mt. Kilimanjaro, though it was not until 1971 that the first specimens were extracted from nearby Kenya. The name is derived from the adjoining Tsavo National Park famous for its mighty "red" elephants who wallow in and spray themselves with red iron-rich mud during the rainy seasons. The park is also well known for its man-eating lions. The rich green color of tsavorite is derived from trace elements of vanadium and chromium. Tsavorite is exceptionally bright and sparkling, unlike emeralds, because the refractive-index of tsavorite is much higher – close to that of a diamond. Because of the great pressures and very high temperatures under which it formed and the subsequent stress releases, individual, relatively clean pieces of tsavorite are generally small. Specimens over one carat are extremely rare. Tsavorite is known as “the King of Green Gemstones”. In the words of one gemologist-expert connoisseur, “with the color of a cool green forest and a fire resembling that of diamond.” [AncientGifts].

Grossular Green Garnet: Although seemingly long forgotten, grossular garnet was originally discovered in Siberia. The name “grossular” is a reference to the gooseberry after which it was named, of which grossularia is the botanical name [AncientGifts].

Color-Change Garnet: Often mistaken for alexandrite, and even more rare than alexandrite, color change garnet typically shift from blue to an intensely saturated purple when moved from fluorescent (or natural) light to incandescent light. Both color modes, whether blue or purple, are very rich, saturated hues…not at all pale or washed out. The color under fluorescent light can range from blue to blue-green, but under incandescent light the color is always an intense, dark purple. These fabulous color-change blue color change garnets have only been found in a few places in the world in very limited quantity. Once such find was late in the nineteenth century in Russia near where alexandrite was discovered (near the Bobrovka River). Like alexandrite and likewise rare Siberian demantoid garnet, the gemstones tend to be small in size, but brilliant, sparkling, richly hued, and very rare [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 any non-refundable fees imposed by eBay. Please note that eBay may not refund payment processing fees on returns beyond a 30-day purchase window. So except for shipping costs, we will refund all proceeds from the sale of a return item. Though they generally do, eBay may not always follow suit. 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.

  • Condition: Brand new
  • Book Title: 1000 Rings : Inspiring Adornments for the Hand
  • Signed: No
  • Ex Libris: No
  • Narrative Type: Nonfiction
  • Dimensions: 8 x 8 x 1 inches; 2¾ pounds
  • Original Language: English
  • Item Length: 8in.
  • Publisher: Lark Books
  • Inscribed: No
  • Intended Audience: Young Adults, Adults
  • Vintage: No
  • Publication Year: 2004
  • Format: Trade Paperback
  • Language: English
  • Author: Marthe Le Van
  • Personalized: No
  • Features: Illustrated
  • Genre: Design, Crafts & Hobbies
  • Topic: Culture, Hobbies, Jewelry
  • Item Width: 8in.
  • Item Weight: 41.6 Oz
  • Number of Pages: 416 Pages
  • ISBN: 9781579905088

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