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Many different techniques were used to create working surfaces and add decoration to those surfaces to produce the jewelry, including soldering, plating and gilding, repoussé, chasing, inlay, enameling, filigree and granulation, stamping, striking and casting. Major stylistic phases include barbarian, Byzantine, Carolingian and Ottonian ...
Likewise, hip hop culture has popularised the slang term bling-bling, which refers to the ostentatious display of jewellery by men or women. Conversely, the jewellery industry in the early 20th century launched a campaign to popularise wedding rings for men, which caught on, as well as engagement rings for men, which did not, go so far as to ...
These styles evolved over time in England. In the sixth century, metalworkers from Kent, and eventually other regions, started creating brooches using their own distinctive styles and techniques. The best-known examples of Anglo-Saxon brooches are the Sutton brooch, the Sarre brooch, the Fuller Brooch, the Strickland Brooch, and the Kingston ...
A resurgence of Celtic and medieval style Scottish jewellery occurred in the 19th century, [27] as did the popularisation of agate pieces, also known as "pebble jewellery". [28] During this period there was a rise in creation and wear of brooches and bracelets set with Scottish stones due to Queen Victoria's interest in agates, cairngorms ...
It is thought by some authors that the torc was mostly an ornament for women until the late 3rd century BC, when it became an attribute of warriors. [14] However, there is evidence for male wear in the early period; in a rich double burial of the Hallstatt period at Hochmichele, the man wears an iron torc and the female a necklace with beads. [15]
Celtic Revival jewellery become fashionable in the 1840s. [44] Utilising this trend, Waterhouse later placed the Tara Brooch as the centerpiece of his replica Celtic brooches in his Dublin shop, and exhibited it at the Great Exhibition of 1851 in London, the Great Industrial Exhibition of 1853 in Dublin, and Exposition Universelle of 1855 in Paris.
Researchers identified that at least three of these remains belonged to women, accompanied by what they described as a “small treasure trove” of jewellery, including glass beads, silver coins ...
Dame Joan Evans DBE FSA (22 June 1893 – 14 July 1977) [1] was a British historian of French and English medieval art, especially Early Modern and medieval jewellery. Her notable collection was bequeathed to the Victoria and Albert Museum in London.
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