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Hildesheim Cathedral Medieval Romanesque Treasure Manuscript Ringelheim Crucifix

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Seller: ancientgifts (4,315) 100%, Location: Ferndale, Washington, Ships to: Worldwide, Item: 381796972169 TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click here to see 1,000 archaeology/ancient history books and 2,000 ancient artifacts, antique gemstones, antique jewelry! ”Medieval Treasures from Hildesheim” by Peter Barnet, Michael Brandt, and Gerhard Lutz. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Softcover. Publisher: Metropolitan Museum of Art (2013). Pages: 148. Size: 10½ x 9¼ inches; 2 pounds. Hildesheim, Germany, was a leading center of art between 1000 and 1250, when outstanding precious works, such as the larger-than-life size Ringelheim Crucifix, illuminated manuscripts lavishly bound in jeweled covers, and a monumental bronze baptismal font, were commissioned for its churches and cathedral. In 1985, UNESCO designated St. Mary’s Cathedral and St. Michael’s Church in Hildesheim a world cultural heritage site, recognizing them as monuments of medieval art with exceptionally rich treasures. Despite its significance, Hildesheim’s incomparable collection of medieval church furnishings is little known outside of Germany. This book provides the first comprehensive examination in English of the city’s treasures, its leading role in the art of the Middle Ages, and its churches’ history of commissioning and collecting outstanding objects. Highlighting fifty precious and rare works, this book beautifully illustrates some of the great masterpieces of medieval church art. CONDITION: NEW. Oversized softcover. Metropolitan Museum of Art (2013) 148 pages. Still in manufacturer's wraps. Unblemished and pristine in every respect. Pages are clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. 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 14 days! #8645a. 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: Hildesheim Cathedral has one of the most complete surviving ensembles of church furnishings and treasures in Europe, with many masterpieces made between 1000 and 1250. As a result, it was designated a UNESCO World Cultural Heritage Site in 1985. A major renovation of the cathedral provides an opportunity for this extraordinary exhibition of medieval church treasures. Consisting of about fifty works, the exhibition (and the accompanying catalogue) focuses primarily on Bishop Bernward of Hildesheim (960–1022), one of the greatest patrons of the arts in the Middle Ages. In addition to the famous monumental bronze doors and the column in Hildesheim Cathedral that cannot travel, Bernward commissioned many smaller precious works of art, mostly for his monastic foundation St. Michael's. A silver crucifix and candlesticks and numerous illuminated manuscripts (that he is known to have commissioned), and the Golden Madonna (that he is believed to have commissioned), are part of the exhibition. The exhibition also examines the artistic production of Hildesheim in the high Middle Ages, including the monumental bronze baptismal font that is a masterpiece of thirteenth-century metalwork. REVIEW: Germany’s Hildesheim Cathedral in Lower Saxony has one of the most complete surviving ensembles of ecclesiastical furnishings and treasures in Europe, including many medieval masterpieces made between about 1000 and 1250. The cathedral was designated a UNESCO world cultural heritage site in 1985. Major renovations that are currently underway provide the opportunity for Medieval Treasures from Hildesheim—an extraordinary selection of about 50 medieval church treasures, most of which have never been shown outside Europe—to travel to The Metropolitan Museum of Art, where they will be on view beginning September 17. The first section of the exhibition will focus primarily on the legacy of Bishop Bernward of Hildesheim (960–1022), one of the greatest patrons of the arts in the Middle Ages. During his time, Hildesheim was a center for bronze-making and other artistic activities. In addition to the famous monumental bronze doors and the column in Hildesheim Cathedral that cannot travel, Bernward commissioned many smaller precious works of art, mostly for his Benedictine monastic foundation. These include the Golden Madonna, a silver crucifix, a pair of richly decorated silver candlesticks, and sumptuously illuminated manuscripts, all of which will be included in the exhibition. The monumental lifesize wood carving known as the Ringelheim crucifix is one of the earliest surviving three-dimensional sculptures of the Middle Ages. It will provide a focal point for the gallery, which will contain one of the most impressive groups of 11th-century works of art ever seen in North America. The exhibition will also examine the continuing artistic production of Hildesheim in the high Middle Ages. Opulent jeweled crosses, as well as reliquaries and portable altars decorated with enamel and ivory will be featured. The late-12th-century Saint Oswald reliquary surmounted by a silver-gilt bust of the saint and decorated with finely drawn niello plaques is a highlight as are the three gilt-bronze liturgical fans with openwork decoration and cabochon stones, each over 16 inches in diameter. Hildesheim re-emerged as a major center for bronze casting in the early 13th century. The cathedral’s monumental bronze baptismal font dating to about 1226—which will be displayed nearby, in the Medieval Sculpture Hall— is one of the most important works to survive from the Middle Ages. The basin and its lid rest on free-standing kneeling figures of the four Rivers of Paradise and the complete ensemble measures six feet in height. Richly decorated in relief, the basin depicts the Baptism of Christ and the Virgin Enthroned flanked by scenes from the Hebrew Bible that were understood in the Middle Ages to prefigure the Baptism of Christ. The lid has four additional scenes in relief, and ancillary figures and lengthy inscriptions further enrich the font. Also on view in the exhibition will be other important examples of bronzework from that time: a cast bronze eagle lectern, a lion aquamanile, a candlestick, and a crozier (a religious staff of office, in the shape of a shepherd's crook). The exhibition will be accompanied by a fully illustrated catalogue written by scholars on the Museum’s staff in collaboration with scholars in France and Germany. The first comprehensive overview of the Hildesheim collection in English, the book has been edited by Peter Barnet, Senior Curator, Department of Medieval Art and The Cloisters; and Michael Brandt, Director, and Gerhard Lutz, Curator, Hildesheim Cathedral Museum. It is published by the Metropolitan Museum and distributed by Yale University Press. REVIEW: Hildesheim, Germany, was a leading centre of art between 1000 and 1250, when outstanding precious works, such as the larger-than-life size Ringelheim Crucifix, illuminated manuscripts lavishly bound in jeweled covers, were commissioned for its churches and cathedral. This book provides an examination of the city's treasures. REVIEW: Peter Barnet is Michel David-Weill Curator in Charge, department of Medieval Art and The Cloisters, The Metropolitan Museum of Art. Michael Brandt is director, Hildesheim Cathedral Museum. Gerhard Lutz is curator, Hildesheim Cathedral Museum. PROFESSIONAL REVIEWS: REVIEW: [This] text is well-informed, written in a clear style, with a detailed index and bibliography and enables the reader to place the exhibits in context. “Medieval Treasures” is highly recommended for those interested in cathedral treasures placed in context by a well-illustrated, scholarly text. [Penelope Nash, Parergon - Journal of the Australian and New Zealand Association for Medieval and Early Modern Studies]. REVIEW: Overflows with interesting and unique religious objects that will astound with their beauty and intricate workmanship. [Antiques and the Arts Weekly]. REVIEW: Today, [Hildesheim's] churches and museums still preserve one of the richest and densest concentrations of 11th-century European religious art anywhere. And the Met show is pure cream skimmed off the top. [New York Times]. REVIEW: Dazzling! [New York Sun]. REVIEW: Medieval Treasures from Hildesheim, one of the oldest cities in northern Germany, is a truly phenomenal exhibit and accompanying catalogue. As often happens the legend of a miracle allowed for the building of a sacred place. The story goes that the chaplain accompanying Louis the Pious (778-840) on a hunt stopped and hung a reliquary of the Virgin on a rosebush and forgot it there. When it was found the next day it could not be removed. Bishop Altfried who reigned from 851-875 built the first Cathedral in Hildesheim consecrated in 872, at the site of the rosebush, which survives to this day. Subsequent Bishops eagerly expanded the Cathedral until it was ready for Bishop Bernward (reign 933-1022), the greatest patron of the arts in the middle ages to make Medieval Hildesheim flourish. The quantity and quality of the art were unrivaled for the time and Bernward’s commissions were extraordinary. Being a member of the Saxon Nobility did not harm either. He had connections everywhere. On of the most remarkable artifacts is a 6 foot high Baptismal Font in copper alloy in which you could easily lose a baby! It dates from 1226AD and was cast in Hildesheim for the Hildesheim Cathedral. It is incredibly elaborate and complex including scenes from both the New and Old Testament. After spending a long time gawking at this spectacular object I continued to the main site of the exhibition and the next object to gain my attention was the so called “Golden Madonna”. It dates from 1022, making it one of the oldest three-dimensional Western European Medieval sculptures to survive. The Virgin and Child are made of linden wood, covered with gold sheet. In spite of it missing both heads, three of the four hands, and many of its precious stones, it makes quite an impression. One can see its importance through the folds and delicate filigree on the garments. During the 13th century it was known to be on the high altar of the Eastern Apse of Hildesheim Cathedral. A pair of candlesticks is also especially noteworthy. They are incredibly elaborate and the design would easily support a larger format. The inscription along the bottom which is neither a profound nor liturgical pronouncement says, “Bishop Berward ordered his servant to cast these candlesticks in the first flowering of this art, not out of gold, not out of silver, and nevertheless as you discern here.” The material that looks like silver has recently been analyzed as electrum, a combination of gold and silver. Two other incredible pieces of goldsmiths’ work are the arm reliquary of Saint Bernward (yes, formerly known as Bishop Bernward) of 1194 and the reliquary of Saint Oswald from the same period which still today contains his skull. In the 13th century the latter was shown together with the Golden Madonna on the same high altar. Here my photograph falls short of showing the incredible detail of the engraving of the piece but the portraiture is perfectly clear and if I ever meet Saint Oswald I shall surely recognize him! While an arm reliquary is not that rare in medieval art I have never seen one this fine or elaborate. What a show! And the accompanying catalogue is equally exquisite. There is so much to learn about each piece and so much more to see in the exhibition including enamels, ivories and manuscript illuminations of the period. REVIEW: While renovations usually involve closing something off, recent work at Germany’s Hildesheim Cathedral has restored its medieval treasures for display at the Metropolitan Museum of Art. “Medieval Treasures from Hildesheim,” which opened at the Met on Sept. 17, consists of 48 pieces of ecclesiastical artwork commissioned by Bishop Bernward of Hildesheim, an avid patron of the arts. A UNESCO World Cultural Heritage Site since 1985, the renovation of the Hildesheim Cathedral has made these treasures available to the public for the first time, and this exhibit marks the first time many of these artifacts have been shown in the United States. The exhibit and its accompanying catalogue fosters an appreciation for medieval artists, who were able to create inexplicably beautiful pieces of artwork with what we consider today to be such limited means. What was crafted in the name of religion in the ninth and 10th centuries can be appreciated in the 21st century as stunning examples of art. The Ringelheim crucifix, mounted on an impressive life-sized cross, is positioned in the center of the gallery. As the only artifact in the room made entirely of wood, the crucifix immediately commands attention. It dates from before 1022 and is considered one of the earliest and best representations of medieval three-dimensional sculpture. Its depiction of Christ’s eyes, looking on museum visitors with a mixture of both determination and pity, is its defining feature. Looking into those eyes forms a bond that is not easily broken—his gaze follows you around the exhibit. While the crucifix displays the stark suffering deeply ingrained in the religious thought of the Middle Ages, most of the exhibit focuses on the celebratory aspect of religion—opulence is everywhere. Golden reliquaries containing the bones of long-dead saints and bejeweled gospels line the walls. The splendor and wealth of the Catholic Church at the time cannot be disputed. The Hildesheim cathedral boasts several other sublime examples of medieval craftsmanship, such as the famous imposing bronze doors, depicting biblical events from Genesis through the life of Christ, and the cathedral column, a copy of a Roman monument from antiquity. Though these could not leave the cathedral, the museum has installed a short slideshow of pictures of the missing pieces to supplement the exhibit. REVIEW: “Medieval Treasures From Hildesheim” Visually, the exhibition (and the accompanying catalogue) is eminently graspable: a one-room cluster of 50 objects, many jewel-encrusted or covered in gold. In other ways, the art is almost beyond reach, being about the power politics of spirituality in a distant age, a subject that today’s drive-by museumgoer would seem to know little, or care little, about. A millennium ago, Hildesheim, in northern Germany, was one of the ecclesiastical centers of Western Europe. Under the patronage of Ottonian emperors, who ruled from A.D. 919 to 1014, it was a city of churches, the outstanding one being its grand cathedral, packed with art advertising the glory of God and kings. And because, for both, only the best would do, Hildesheim developed a top-class art industry. Its metal-casting workshops were superbly innovative; illuminated books poured from its scriptoria. Today, its churches and museums still preserve one of the richest and densest concentrations of 11th-century European religious art anywhere. And the Met show is pure cream skimmed off the top. That the art in it has survived at all is some kind of miracle. Many of these objects were made as much for active use as for contemplation. Large-scale sculptures were on constant public display in churches, being touched and kissed. Smaller ones traveled the streets in processions. Gospel books were thumbed-through during services; liturgical vessels were moved about: carried, cleaned, dropped, repaired. And, of course, history kept happening. Power changed hands, and, with it, control over churches and treasures. In the 16th century, the Protestant Reformation put Roman Catholic art under threat. Enforced secularization in the 19th century also took a toll. Toward the end of World War II, old Hildesheim was leveled by bombs. A renovation of the rebuilt cathedral has supplied the pretext for sending its art to the Met. Although almost none of the work can be attributed to individual artists, the name of one man hovers in the air, that of Bernward, bishop of Hildesheim from A.D. 993 to 1022. Of noble Saxon lineage, he was more than a high-ranking cleric. He was a cosmopolitan traveler, a court fixture, a cultural impresario, a serial self-promoter and, eventually, a canonized saint. He was also one of the great shaping art patrons of his day, and possibly an artist himself. His major architectural project in Hildesheim was the Benedictine church of St. Michael, for which he famously commissioned a set of immense bronze doors, each covered with narrative reliefs. The doors didn’t make it to New York, but at least two sculptures, monumental in feeling and historically associated with Bernward’s name, did. One is the so-called Golden Madonna, a statue of the Virgin and Child carved from linden wood overlaid with sheets of hammered gold. Although both its figures are headless now, with their light-glancing surfaces studded with gemstones, they are magnetically opulent and must once have been even more so. Church records report that in the 15th century, the sculpture was half-buried in piles of brooches, rings and necklaces, left as offerings. More-is-more was the modus operandi of medieval aesthetics, and the show has textbook examples, beginning with a Gospel owned by Bernward. The book was already nearly a century old when he acquired it, but he freshened it up and made it his own by adding a new cover, with a Byzantine ivory plaque affixed to the front and his own initials splashed across the back. After his death, and maybe to celebrate his election to sainthood, the cover was further adorned with robin’s-egg-size crystals and miniature paintings. Material richness aside, the Golden Madonna is significant for being one of the earliest fully three-dimensional sculptures known from medieval Europe. Another is a five-foot-tall figure of the crucified Jesus, believed to have been commissioned by Bernward for the convent of Ringelheim, where his sister was abbess. Displayed high in the gallery, it stands as a kind of benedictory centerpiece for the show. The figure, apart from the arms, which are 12th-century replacements, is cut from a single piece of wood. The cross to which it was once attached is long gone, as is the paint that originally covered the body. But you don’t miss them. Their absence throws attention more fully onto the details of carving and especially on the face, with its half-open, pain-drugged eyes and a pulled-down mouth that seems to express bitterness mixed with regret. There’s an important add-on element present, too, though it’s all but invisible. During conservation work done several decades ago, relics of two Christian saints, Cosmas and Damian, were found sealed in a hollow in the Jesus’ head. Relics — bits of holy bodies or sanctified materials — were ubiquitous in medieval Europe, valued as radioactive scraps of spiritual matter and as negotiable forms of earthly wealth. Elaborate containers were designed to protect and publicize them. A 12th-century reliquary created to hold one of Bernward’s arm bones is a classic type, arm-shaped, stiffly upright, its fingers pointing to heaven. Others, though, depart from such familiar models. A second arm reliquary, this one for an unspecified saint, is startlingly naturalistic. Its soft, almost pudgy flexed fingers curve inward, not quite touching, in a kind of Buddhistic gesture, as if they had just let go of something. And there’s an impressive canister-shaped reliquary dedicated to the martyred St. Oswald — his skull is still inside — crowned by a lifelike silver gilt “portrait” of the man. With his tilted-back head and sharp stare, he seems to be asserting, with an edge of challenge: “I am here.” Hildesheim’s art can be giddy with razzle-dazzle (a set of three bejeweled liturgical fans look like opera props) and grim with memento mori (there are many crucifixions), and, for those reasons, depending on your tastes, off-putting. But what keeps coming through is the human touch, ordinary, specific, straight-to-the heart, though you have to look closely to find it. It’s there in minute figures of men scaling the stem of a cast-silver altar candlestick, as if climbing toward light. And in a slightly goofy Gospel book painting of St. Mark looking up, with some puzzlement, at a distinctly sleepy-eyed lion, his celestial muse, floating overhead. Acutely observed realism is the distinguishing feature of the biblical scenes covering the Hildesheim Cathedral’s baptismal font, a cast-metal masterpiece so renowned that you can’t believe it’s here. At the same time, nothing in the show is more gripping that a work a fraction its size: a tiny tableau of the Fall of Man — God, like an infuriated parent, looms over a cowering Adam, his child — contained within the curved head of a bishop’s silver staff. The show — organized by Peter Barnet, the Met’s senior curator of medieval art, and Michael Brandt and Gerhard Lutz of the Hildesheim Cathedral Museum — has many such anecdotal dramas. In a real sense, they are what this art is about, and what makes it emotionally alive. To sense this, you don’t need to know dogmas or histories or to move far from a secular present. You just have to be willing to stop, pay attention, spend time, to act as if objects from the past had something true to tell you about your life in the present, how to live it, what to feel about it. They do. The art of looking is the only art really in danger of being lost. REVIEW: The art displays technical excellence, especially in metallurgy, and an ability to crystallize - and elicit - a full range of emotional response. Formally titled Medieval Treasures from Hildesheim. Whatever one's religious beliefs, or lack thereof, the show is accessible in both size - one room - and in theme: the ability, indeed the compulsion, of men and women to imbue inanimate objects with meaning and power. Reigning from 919 AD until 1024, the northern German Ottonian dynasty established Hildesheim as a royal power base, anchored by a grand cathedral. Hildesheim is located in Lower Saxony; this is the Saxon in "Anglo-Saxon." Successions of Ottonian Holy Roman Emperors and Saxon bishops utilized their wealth to fund and commission architecture and artifacts during the brief Carolingian/Ottonian renaissance. What Holland Cotter calls the "material richness" of this movement was heavily influenced by renewed contact with Byzantium. The wife of Otto II, Theophanu (ca 960 - 991), was a well-connected Byzantine native who supposedly introduced the fork to Europe. In addition, noblewomen of the period, such as Matilda of Ringelheim, founded abbeys and convents for which devotional objects were needed. Another leading figure in this renaissance, Bernward, bishop of Hildesheim from 993 to 1022, is a presiding spirit in this show. His gospel book, a French import, was about a hundred years old when Bernward commissioned a new cover, with a Byzantine ivory plaque repurposed for the front, and Bernward's name in large rune-like letters on the back of the volume. But the encrustation of the precious text didn't stop there, as the large pink and blue cabochons were added after Bernward's death, perhaps to celebrate his canonization. Although most of the treasures now on display at the Met are small items, a few large sizeable artifacts made the trip too, including the Baptismal Font featured at the beginning of this post. That this masterpiece of the foundry survived at all is miraculous, given that so many liturgical objects were victims of religious and political upheavals and were melted, smashed, bombed, burned, defaced or discarded. Another survivor is the wood sculpture of Christ on the cross, in the image below. Nevermind that it lacks its original paint and that the arms are 12th century oak replacements. What remains is more than impressive. Christ's body and head are carved from a single piece of linden wood. According to the Met's website, the slight twisting of the Christ's body - his knees point in one direction, his head in another - is unique in medieval representations of this time; the rotation, though subtle, gives an unexpected realism and poignancy to this figure. While the crucifix would have been a stationery object of devotion, many of the works in this show were made for personal or public use, including several croziers, or staffs, part of the regalia of bishop and abbot. Croziers are shaped like shepherd's crooks; the bishop or abbot is symbolically the shepherd of his flock. According to the Met, the one in the image below shows God evicting Adam from the Garden of Eden. The stem of the crozier features Eve, the apple and a snake; a curving tree branch forms the volute in which God is exiling Adam from the Garden. It appears that God is handing something to Adam - perhaps the clothes that God fashioned for Adam and Eve? Other items were designed to be "campaign furniture" for ecclesiastics, including the portable altars used for celebrating the Eucharist outside of a church. Bread and wine would have been placed on the surface. A particularly colorful example is shown below; I think it represents the six apostles and assume the remaining six are on the other side. Would that museums would utlilize technology, or even mirrors, to show more sides of objects on display. In the same case as this altar are displayed three circular liturgical fans, along with candlesticks, more portable altars and a reliquary. Liturgical fans were used in processions and to fan the altar; these look too heavy for actual use and stood decoratively behind the altar in Hildesheim Cathedral for centuries. The openwork foliate patterns of the fans are beautiful, and cast intriguing shadows. In the cathedral interior, foggy with incense, the rock crystal would have gleamed like an earth-bound star. Whatever the medium, the medieval artists have cleared expended much effort in the depiction of fabric and costume. The above reliquaries, of wood overlaid with sheet gold, were designed to contain and protect precious pieces of sanctified materials or saints' body parts. The left reliquary was designed to hold the arm of Maurice, a saint with a military background; his snug-fitting tunic sleeve rises out of a shield and is shown slightly scrunched up. The sensitively modelled fingers may have held another object at one time. The arm reliquary in the right side of the image, in contrast, mimics the flowing ornamented sleeve of an ecclesiastical robe, and the fingers point heavenward. The gesture is conventional, but nevertheless an important reminder of the goal of the consumers of this art - a place in heaven and the reward of eternal life. READER REVIEWS: REVIEW: Hildesheim Cathedral is renowned for its treasures of Romanesque art and architecture, but not well documented in publications for English speakers, so while one could wish for more depth, this physically well-produced volume with high quality color illustrations is a welcome reminder of the works exhibited at the Metropolitan Museum of Art in 2013-14 in a display noteworthy for its wide range of material types (including illuminated manuscripts, metalwork and woodwork). Although many readers would have been helped by a broader introductory essay (including, for example, a map of the town in medieval times and certainly at least one image of the Cathedral entrance, as rebuilt after WWII), the book does include references (mostly to sources in German) and a full index. REVIEW: Gorgeous photos. I have a number of German publications from Hildesheim. This makes a lovely “coffee table” book, fantastic photos. REVIEW: Five stars! Fabulous photos, illuminating descriptive text. Very educational and visually appealing. I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. 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If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."

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