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Yemenite silversmiths, a trade held almost exclusively by Jews living in the traditional Yemeni society, were active from at least as far back as the mid-1700s. [1] [2] The largest clientele for jewellery made of gold and silver were women, and the amount of jewellery worn was often an indicator of the woman's status. [3]
Jewellery of a Berber woman in the Musée du quai Branly, Paris. Jewellery of the Berber cultures (Tamazight language: iqchochne imagine, ⵉⵇⵇⵛⵓⵛⵏ ⵉⵎⴰⵣⵉⵖⵏ) is a historical style of traditional jewellery that was worn by women mainly in rural areas of the Maghreb region in North Africa and inhabited by Indigenous Berber people (in the Berber language Tamazight ...
A cross attached to a necklace by means of a curved bail. Sixth or seventh century. From the collection of the Museum of Byzantine Art, Berlin. A bail (also spelled "bale") is a component of certain types of jewelry, mostly necklaces, that is used to attach a pendant or stone. [1]
Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers, and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and women's hair. The beads were about one millimetre long.
Mezuzah Silver Shabbat candlesticks Silver handwashing cup. Jewish ceremonial art is objects used by Jews for ritual purposes. Because enhancing a mitzvah by performing it with an especially beautiful object is considered a praiseworthy way of honoring God's commandments, Judaism has a long tradition of commissioning ritual objects from craftsmen and artists.
The necklace formed part of Winston's "Court of Jewels", a nationally touring exhibition of jewels and jewelry including the Hope Diamond and the Star of the East. In 1955, Winston sold the necklace to Cora Hubbard Williams of Pittsburgh, Pennsylvania. Williams held the necklace until 1972, when she bequeathed it to the Smithsonian Institution.
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