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<p>[QUOTE="Bronwen, post: 9907356, member: 5833"]I had one of those Florentine boxes, back when.</p><p><br /></p><p>This is such a tangled subject for me, it's difficult to get my thoughts ordered. It seems to me:</p><ul> <li>At bottom this was an operation experimenting with plastic polymers. Some were more successful than others. The plaques were the height of production.</li> <li>There is a definite attempt to give the impression the items originate in France or Russia & some attempt to make them seem like they are 19th century. <br /> </li> <li>Someone, or more than one, involved had a real eye for appealing subjects. And there's a playfulness about the whole thing. </li> </ul><p>Why did the maker want to hide their identity? I would really like to know whether or not each original purchaser of a brooch or a box or a plaque or a frog (I haven't mentioned the frogs before, have I?) clearly knew what they were buying. Were they just making quality items in faux materials & pricing accordingly? Or trying to pull a fast one?</p><p><br /></p><p>The choice of work by Wyon & Reynolds for so many of the plaques could suggest the maker was snagging ideas from artwork they were seeing in Britain. I think an Italian maker would have used the rich Italian body of work as sources for cameos & reliefs. I also can't see an Italian wanting to hide their identity.</p><p><br /></p><p>I agree the time is probably late 50s- 60s, when Incolay came on the market & Lucite jewellery was the rage.</p><p><br /></p><p>Leave 'em laughing when you go:</p><p><br /></p><p><a href="https://poshmark.com/listing/Antique-Edward-William-Wyon-marble-relief-plaque-The-Calmady-Children-6689beb734d1566bfae3ba27" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://poshmark.com/listing/Antique-Edward-William-Wyon-marble-relief-plaque-The-Calmady-Children-6689beb734d1566bfae3ba27" rel="nofollow">https://poshmark.com/listing/Antique-Edward-William-Wyon-marble-relief-plaque-The-Calmady-Children-6689beb734d1566bfae3ba27</a>[/QUOTE]</p><p><br /></p>
[QUOTE="Bronwen, post: 9907356, member: 5833"]I had one of those Florentine boxes, back when. This is such a tangled subject for me, it's difficult to get my thoughts ordered. It seems to me: [LIST] [*]At bottom this was an operation experimenting with plastic polymers. Some were more successful than others. The plaques were the height of production. [*]There is a definite attempt to give the impression the items originate in France or Russia & some attempt to make them seem like they are 19th century. [*]Someone, or more than one, involved had a real eye for appealing subjects. And there's a playfulness about the whole thing. [/LIST] Why did the maker want to hide their identity? I would really like to know whether or not each original purchaser of a brooch or a box or a plaque or a frog (I haven't mentioned the frogs before, have I?) clearly knew what they were buying. Were they just making quality items in faux materials & pricing accordingly? Or trying to pull a fast one? The choice of work by Wyon & Reynolds for so many of the plaques could suggest the maker was snagging ideas from artwork they were seeing in Britain. I think an Italian maker would have used the rich Italian body of work as sources for cameos & reliefs. I also can't see an Italian wanting to hide their identity. I agree the time is probably late 50s- 60s, when Incolay came on the market & Lucite jewellery was the rage. Leave 'em laughing when you go: [URL]https://poshmark.com/listing/Antique-Edward-William-Wyon-marble-relief-plaque-The-Calmady-Children-6689beb734d1566bfae3ba27[/URL][/QUOTE]
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