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Jewish ritual objects are rather niche products and yet, the advertisements, as well as other factors, indicate an industrial scale production during the German Second Empire (1871–1918) and the Weimar Republic (1918–1933). As I will argue, these advertisements provide us with intriguing insights into the Jewish community, and how German Jewry was perceived by the non-Jewish population. Especially when companies used methods of ethnic marketing, I surveyed how they addressed the different strata of the Jewish community. In addition, some company advertisements bear traces of an understanding of Judaism on equal footing with Christian denominations. Yet, I also find hints of industrial overproduction which, as I argue, might have been stimulated by stereotypes of Jews. Perhaps in response to the overproduction, some retailers advertised Jewish ritual objects as "decorative" rather than religious items, and therefore veiled their link to Judaism. While this might have been a protective measure against anti-Semitic slurs, it ties in well with the observation that producers and retailers might have expected higher sales. Overall, analysing advertisements for Jewish ritual objects helps us to develop a more nuanced understanding of the positioning of Jewish consumers within the market in Germany before the Shoah. [ABSTRACT FROM AUTHOR]

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tiempos Modernos is the property of Tiempos Modernos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This qualitative investigation examines the cultural identity of a small silversmith community in Northern Thailand and explores the role of participatory tourism management in maintaining traditional arts and culture in the area. Data was collected from documentary analysis and field study, including interviews and discussions with ninety-eight individuals (temple abbots, community leaders, craftspeople, residents, and tourists). The study's findings suggest that the community walking street, a pedestrianized market, is experiencing a decline in its sense of local identity. This phenomenon appears to be caused by multiple factors, including a decrease in the transmission of traditional artisanal practices, the growing influence of commercial interests, a lack of active participation by community members, and a disconnection from other aspects of the local culture. Research respondents proposed the creation of a seasonal offshoot to the walking market. This new addition was community-led and showcased silversmithing culture, as well as other, less traditionally celebrated elements of local society. The research concludes that the newly established Muen San cultural road can generate cultural and social value for the walking street, provide an impetus for cultural conservation, and reinvigorate the customs of the Muen San Community. It is hoped that these new elements can combine with the existing commercial activities and lead to a more sustainable approach to cultural preservation. [ABSTRACT FROM AUTHOR]

The manifestations linked to silverware and jewelery had a discreet representation in the the public exhibitions of the Spanish industry. Their presence, in many cases, was limited to goldsmiths from Madrid and Barcelona, although on occasion masters of filigree from Salamanca also participated. The role played by these goldsmiths and workshops in the field of these contests is analyzed, as well as the opinions generated by their work and the prizes with which they were distinguished. [ABSTRACT FROM AUTHOR]

The paper discusses a relatively small wine container called an askos, which is part of a ‘treasure’ of silver vessels allegedly found in central Thrace. The askos is compared to several clay parallels excavated thus far exclusively in Thrace. These clay askoi occur in three different ceramic fabrics: banded ware, a fabric with painted floral and geometric motifs, and monochrome ware. Our silver exemplar is dated to the very end of the 4th century BC and attributed to a workshop most plausibly located in a Greek colony of the western Black Sea coast.

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: The traditional Malay silverware industries in Malaysia that have existed for more than 200 years began to deteriorate from time to time. Silverware is a craft field with its uniqueness and almost extinction hereditary since 1948 on the East Coast of Malaysia. In this context, innovation and sustainability play a vital role in the design and product development. Methodology: Research information is collected through field research: direct observation, participant observation, ethnography, qualitative interviews, and case studies. In addition, this study is supported by previous studies in scholarly journals, books, documents, and reports from relevant sources, local government agencies, newspapers, and other reliable website sources. Findings: In conclusion, the silverware craft industry is facing a bleak future with no implementation of the proper measure. It should be concerned that the sector will one-day face extinction. Implications: The most important parties to take off the efforts are the government bodies, the local community, and the higher education level to initiate collaboration programs on sustaining the Malay traditional silverware industries to the next level. As concerned, a focus group discussion is needed to see and fulfill the needs of the industry, consumers, and future generation.

The victory of the imperial troops in Tunis in 1535 was a decisive milestone in the Mediterranean policy of Charles V against the Turkish enemy. Furthermore, the feat contributed to the glorification of his figure, matching his achievements with those of previous historical characters. The creation of decorative and commemorative works such as medals and other objects in silver and even tapestries materialises the significance of this military triumph. [ABSTRACT FROM AUTHOR]

In the parish of Nuestra Señora de la Asunción of Siles (Jaén), formerly within the boundaries of the Kingdom of Murcia, there are kept two pieces of silverware: a monstrance with figure in the stem and a lamp, both sent from New Spain by the prelate Juan Ortega Montañés as proof of his artistic patronage towards his homeland. [ABSTRACT FROM AUTHOR]

In 1767, the members of the chapter of the Royal Convent of San Marcos de León signed a contract with the silversmiths Diego Martínez and Francisco del Real, then active in the city, to make a set of silverware pieces to decorate the altar of their church. In 1768, changes in the personal relationship between the silversmiths led to a rupture in their professional relations that put the completion of this set at risk. [ABSTRACT FROM AUTHOR]

Copyright of Tyragetia is the property of National Museum of History of Moldova and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper discusses a relatively small wine container called an askos, which is part of a 'treasure' of silver vessels allegedly found in central Thrace. The askos is compared to several clay parallels excavated thus far exclusively in Thrace. These clay askoi occur in three different ceramic fabrics: banded ware, a fabric with painted floral and geometric motifs, and monochrome ware. Our silver exemplar is dated to the very end of the 4th century BC and attributed to a workshop most plausibly located in a Greek colony of the western Black Sea coast. [ABSTRACT FROM AUTHOR]

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imafronte. Revista de Historia del Arte is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2007, near Harrogate, in North Yorkshire, a Viking-period hoard was discovered with a Carolingian silver-gilt cup. This article examines this cup, highlighting Oriental, Central Asian and classical parallels in both metal and pottery for the cup's form and decoration. The overall significance of the cup's iconography has already been thoroughly discussed by Professor Egon Wamers, who proposed that the scenes on the cup are paralleled in the early ninth-century Stuttgart Psalter. This article proposes that Oriental forms and decorative elements in metalwork were channelled to the West through diplomatic contacts and trade by way of a complex of routes by land and sea, as well as possibly by refugees from Islamic conquests. [ABSTRACT FROM AUTHOR]

The article considers 31 nomad burials of 13th – 14th cc. containing prestigious silverware (waist bowls, ladles and goblets) discovered in the territory of nine regions of the East European Plain (Trans-Volga, Volga, Don, Cis-Caucasus, Kuban, Donets, Dnieper, Ob, Bug and Trans-Dniester regions). It is one of the most informative and expressive groups of nomadic burial inventories only available for the the representatives of the ruling elite and included in the attributes of nomadic aristocracy of 13th – 14th cc. The description of each finding is provided together with the aggregate data concerning the dating of the burials, their type and the gender of the deceased. The authors consider the role of tableware in burial rites and its correspondence the representatives of family and tribal nomadic Golden Horde aristocracy.

Copyright of Cuadernos de Historia Moderna is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents an unpublished silver amphora with zoomorphic handles shaped as winged horses. It explores the entire class of similar metal amphorae with zoomorphic handles (including isolated handles) from the Achaemenid domain and its neighbouring areas, as well as their clay parallels, and their icono‑ graphic occurrences. Some possible Greek bronze parallels are also discussed. The vase weight is understood as following the Achaemenid monetary standard. Finally, the vase is attributed to a Lydian workshop and dated ca. 500 BC.

This article examines the evidence for the trade in Athenian pottery from the point of view of the archetypal Athenian aristocrat, namely the owner of a team of chariot-horses. Plato's dictum 'In every city there are two cities: the rich and the poor' (Rp. 422e) has been consistently overlooked by those who take the figure of a drachma a day as the standard by which consumption might be measured. The owner of chariot horses will have been in another income bracket altogether, moving in circles where a drachma might be a trifling sum and where items such as gem stones, peacocks, houses, slaves, inheritances, dowries, were priced in minae (units of 100 drachmas). Prices of horses were expressed in minae, although some thor oughbreds were valued in talents (larger units of 60 minae). Some of the finest chariot horses were imported from the Veneto in the northern Adriatic, and the rich finds of Attic pottery in the necropolis at Spina have been associated with this trade. There is, however, a large gulf between the prices attested for Attic painted pottery in antiquity and the prices we hear of for race horses. Indeed, such figures as have been cited in the literature suggest, for example, that if all the Attic pots ever produced were exported through the Piraeus in 399 BC (a year for which Athens' trade figures can be estimated), they would have formed less than 40% of the value of the goods traded. Spread over two centuries or more, the value of pottery in terms of Athens' trade will have been wholly insignificant. Finley's observation that 'silver was the most important Athenian resource' is followed up. Next to no coins have been found at Spina, but it is argued that commodities such as grain or race-horses will have been paid for with the ancient equivalent of large denomination bank notes. Much extant plate (and indeed plate now lost, but mentioned in temple inventories) is made up in multiples of one or another coinage. The silver on the ships sent out to bring back bulky cargoes will have not have taken much room; the space will have been filled with the kind of pottery found in such quantities at Spina: pottery made in imitation of Attic silverware of a kind that is now being found in increasing quantities, especially in Thrace. An added bonus of seeing the ancient world through the eyes of an Athenian aristocrat is that recent arguments that there were aristocratic pot-painters at Athens are wholly untenable. Finley's observation that Beazleyism is a case of the emperor having no clothes can be seen to possess a certain merit. [ABSTRACT FROM AUTHOR]

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Very few precious metalwork reached our age, against a large number of base metal objects. Historical sources related to the Eastern Iranian lands and dating to the 11th–12th century describe medieval Islamic courts as glittering with gold and silverware, on a continuity with the ancient Iranian culture strong enough to defy even religious bans. In particular, a high rank metalwork production is attested in Ghazni, during the period the city enjoyed the role of capital of the Eastern Iranian world. [ABSTRACT FROM AUTHOR]

The article discusses the purchasing habits of women in the sterling silverware market. The author found that women from all walks of life purchase sterling silver, with many buying several pieces at a time until their sets were complete, instead of buying a complete set for much more money. He also found that women buy sterling silver at different points in their life and not just for their wedding, as originally thought. Furthermore, many women did not buy excess sterling because they thought it too expensive, with most believing it to be more expensive than in reality. The author examines a marketing method used to clear up this misconception.

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)