jewelry boxes: safe keeping, sentiment and sparkle

jewelry boxes: safe keeping, sentiment and sparkle

Jewelry boxes have captivated hearts and minds for centuries, serving as both functional storage solutions and artistic expressions of culture and craftsmanship. From ancient civilizations that used simple containers to safeguard their treasured adornments, to the ornate and intricately designed boxes of the Renaissance and beyond, the history of jewelry boxes is as rich and diverse as the jewelry they hold.

Beyond their utilitarian purpose, these boxes often carry deep symbolic meanings, reflecting the values, traditions, and aesthetics of various cultures throughout time. In this article, we will explore the fascinating evolution of jewelry boxes, examine the different types and materials used in their creation, and delve into the cultural significance that makes them timeless heirlooms.

A treasure chest for our beloved baubles, trinkets, and the occasional, mismatched earring. These charming containers have been a staple in homes for centuries, serving not just as storage solutions but also as reflections of our personal style, history, and sometimes, our deepest secrets. Whether made of wood, velvet, or even an ornate trinket, jewelry boxes hold more than just jewelry; they hold memories.

Jewelry boxes serve several purposes. Firstly, they keep our precious pieces organized and untangled, preventing those heart-stopping moments when you’re late for an event and can’t find that one cherished necklace. Beyond practicality, they act as a symbol of love and sentimentality, often passed down through generations.

The Middle Ages was when jewelry boxes became lavishly designed with intricate carvings and rich materials. During the Renaissance, artistry flourished, and so did the creativity behind jewelry storage. These boxes began to incorporate secret compartments and clever locks—because who wouldn’t want a little mystery to go with their earrings? It’s no surprise that this period found jewelry boxes becoming as much about the art of concealment as they were about the luster of the jewels kept inside.

Would you like to customize this item? Tell us:

14 + 14 =

The anti-Trump: The NEW DEAL & HOW THOUGHTFUL GOVERNMENT RESTORED A BATTERED Nation

The anti-Trump: The NEW DEAL & HOW THOUGHTFUL GOVERNMENT RESTORED A BATTERED Nation

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It’s difficult to imagine today that, at one point, the US led the world in creating societal safety nets; made signifigant investments in the arts and enouraged diversity (and equity and inclusion).

The Great Depression, starting in 1929, was a severe global economic downturn characterized by widespread unemployment, poverty, and financial instability. The U.S. saw a quarter of its workforce unemployed, industrial production plummet, and millions lose their homes and savings. The crisis impacted not just the U.S. but also economies worldwide, marking the deepest and longest economic recession in modern history. 

In response, FDR created The New Deal, a major, long-term response to the Depression’s bleak outcome. A large segment of The New Deal was the WPA

These programs reached the entire popoulation and made sizeable, results-driven improvements to the US and world economies.

We’re exploring some of the period’s artwork. Explore:

It’s important to remind ourselves that we are all immigrants to this nation.
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The logo of the Federal Art Project (FAP), a component of the Works Progress Administration (WPA) during the Great Depression era in the United States.

Federal Project Number One

A significant aspect of the Works Progress Administration was the Federal Project Number One, which had five different parts: the Federal Art Project, the Federal Music Project, the Federal Theatre Project, the Federal Writers’ Project, and the Historical Records Survey. The government wanted to provide new federal cultural support instead of just providing direct grants to private institutions. After only one year, over 40,000 artists and other talented workers had been employed through this project in the United States. Cedric Larson stated that “The impact made by the five major cultural projects of the WPA upon the national consciousness is probably greater in total than anyone readily realizes. As channels of communication between the administration and the country at large, both directly and indirectly, the importance of these projects cannot be overestimated, for they all carry a tremendous appeal to the eye, the ear, or the intellect—or all three.”

Federal Art Project

This project was directed by Holger Cahill, and in 1936 employment peaked at over 5,300 artists. The Arts Service Division created illustrations and posters for the WPA writers, musicians, and theaters. The Exhibition Division had public exhibitions of artwork from the WPA, and artists from the Art Teaching Division were employed in settlement houses and community centers to give classes to an estimated 50,000 children and adults. They set up over 100 art centers around the country that served an estimated eight million individuals.

Federal Music Project

Noon-hour WPA band concert in Lafayette SquareNew Orleans (1940)

Directed by Nikolai Sokoloff, former principal conductor of the Cleveland Orchestra, the Federal Music Project employed over 16,000 musicians at its peak. Its purpose was to create jobs for unemployed musicians, It established new ensembles such as chamber groups, orchestras, choral units, opera units, concert bands, military bands, dance bands, and theater orchestras. They gave 131,000 performances and programs to 92 million people each week. The Federal Music Project performed plays and dances, as well as radio dramas. In addition, the Federal Music Project gave music classes to an estimated 132,000 children and adults every week, recorded folk music, served as copyists, arrangers, and librarians to expand the availability of music, and experimented in music therapy. Sokoloff stated, “Music can serve no useful purpose unless it is heard, but these totals on the listeners’ side are more eloquent than statistics as they show that in this country there is a great hunger and eagerness for music.”

Federal Theatre Program

Main article: Federal Theatre Project

In 1929, Broadway alone had employed upwards of 25,000 workers, onstage and backstage; in 1933, only 4,000 still had jobs. The Actors’ Dinner Club and the Actors’ Betterment Association were giving out free meals every day. Every theatrical district in the country suffered as audiences dwindled. The New Deal project was directed by playwright Hallie Flanagan, and employed 12,700 performers and staff at its peak. They presented more than 1,000 performances each month to almost one million people, produced 1,200 plays in the four years it was established, and introduced 100 new playwrights. Many performers later became successful in Hollywood including Orson Welles, John Houseman, Burt Lancaster, Joseph Cotten, Canada Lee, Will Geer, Joseph Losey, Virgil Thomson, Nicholas Ray, E.G. Marshall and Sidney Lumet. The Federal Theatre Project was the first project to end; it was terminated in June 1939 after Congress zeroed out the funding.

Federal Writers’ Project

This project was directed by Henry Alsberg and employed 6,686 writers at its peak in 1936. The FWP created the American Guide Series which, when completed, consisted of 378 books and pamphlets providing a thorough analysis of the history, social life and culture for every state, city and village in the United States including descriptions of towns, waterways, historic sites, oral histories, photographs, and artwork. An association or group that put up the cost of publication sponsored each book, the cost was anywhere from $5,000 to $10,000. In almost all cases, the book sales were able to reimburse their sponsors. Additionally, another important part of this project was to record oral histories to create archives such as the Slave Narratives and collections of folklore. These writers also participated in research and editorial services to other government agencies.

Historical Records Survey

This project was the smallest of Federal Project Number One and served to identify, collect, and conserve United States’ historical records. It is one of the biggest bibliographical efforts and was directed by Luther H. Evans. At its peak, this project employed more than 4,400 workers.

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The Works Progress Administration (WPA; from 1935 to 1939, then known as the Work Projects Administration from 1939 to 1943) was an American New Deal agency that employed millions of jobseekers (mostly men who were not formally educated) to carry out public works projects, including the construction of public buildings and roads. It was set up on May 6, 1935, by presidential order, as a key part of the Second New Deal.

The WPA’s first appropriation in 1935 was $4.9 billion (about $15 per person in the U.S., around 6.7 percent of the 1935 GDP). Headed by Harry Hopkins, the WPA supplied paid jobs to the unemployed during the Great Depression in the United States, while building up the public infrastructure of the US, such as parks, schools, and roads. Most of the jobs were in construction, building more than 620,000 miles (1,000,000 km) of streets and over 10,000 bridges, in addition to many airports and much housing. In 1942, the WPA played a key role in both building and staffing internment camps to incarcerate Japanese Americans.

These ordinary men and women proved to be extraordinary beyond all expectation. They were golden threads woven in the national fabric. In this, they shamed the political philosophy that discounted their value and rewarded the one that placed its faith in them, thus fulfilling the founding vision of a government by and for its people. All its people.

— Nick Taylor, American-Made: The Enduring Legacy of the WPA

The WPA reached its peak employment of 3,334,594 people in November 1938. To be eligible for WPA employment, an individual had to be an American citizen, 18 or older, able-bodied, unemployed, and certified as in need by a local public relief agency approved by the WPA. The WPA Division of Employment selected the worker’s placement to WPA projects based on previous experience or training. Worker pay was based on three factors: the region of the country, the degree of urbanization, and the individual’s skill. It varied from $19 per month to $94 per month, with the average wage being about $52.50 (equivalent to $1,200 in 2024). The goal was to pay the local prevailing wage, but limit the hours of work to 8 hours a day or 40 hours a week; the stated minimum being 30 hours a week, or 120 hours a month.

National Park Service

WPA's INFLUENCE

GIVE ME your wretched refuse

Send these, the homeless, tempest-tost to me,

Something quite important happened in the US from 1939-1943. The New Deal. Crippled by an economic collapse, a sitting US President actually did something good. FDR had the clarity to see what America stands for: equality, freedome and agency.

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New colossus emma lazarus statue of liberty

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Emma Lazarus
November 2, 1883

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MAKE IT YOURS: CUSTOM PERSONALIZATION

MAKE IT YOURS: CUSTOM PERSONALIZATION

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cgk.ink offers various personalization options for most of our products. You can customize items like: 

Our designs are digital, so we can (mostly) take any design and place it on any other item. So, if you like the design of, say, a shirt, we can replicate it on a wine glass, duvet cover or anything, really. Tell us what you have in mind!

apparel

Personalized tees are a great example of how customization can be accessible to everyone. Dates, names, events and, well… anything can be designed to make each item your own.

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entertaining

Create a truly unique celebration by providing your guests with bespoke items at your next event. Glassware, napkins, ice buckets, aprons and tableware are a few of the items we’ve customized for customers.

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stationery

A personalized journal makes the personal content visible. Each journal has it’s own tone, purpose and utility. Express yourself with a personalized journal or card.

Hardcover journal matte white 8x5.75 front 68806d895689c

gifts

Making a gift personal is, perhaps, the best use of the capability to customize almost any item at cgk.ink! Jewelry boxes, posters, mugs and more.

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To inquire about collaborations, cross-selling, affiliate marketing, or placing a custom order, you can use the contact form below. You can upload files for customization through this form as well. Submitted files are used to estimate fees (if any) and gauge the scope of detail. Files are destroyed 21 business days after production in case of a reorder or problem with delivery.

LEONETTO CAPPIELLO: ADVERTISEMENT as FINE ART

LEONETTO CAPPIELLO: ADVERTISEMENT as FINE ART

the LEONETTO CAPPIELLO AESTHETIC

He is credited to revolutionize the old thinking of poster illustration during his time. Cappiello’s concept of poster art was simple, to simply engage audience faster by creating unconventional visual impact. He was the first poster artist to boldly experiment and innovate new graphical styles at the time. His presentation was straight forward with use of enlarged bold subjects with unconventional colors,contrasted by the very dark background, which make his art “pop out”. By doing so he moved away from illustrating intricate details in his artworks, which was famous at the time as art nouveau movement was popular.

His new functionalist style of graphic art, in which a single bold image would be used to grab the viewer’s attention. This graphic design proved highly effective, not only in drawing attention to the product but also in building a brand. It made Capiello the acknowledged master of the advertising poster in his time for almost 20 years.

Retrographik.com

Let me introduce you: Chris, welcome to Los Angeles

Let me introduce you: Chris, welcome to Los Angeles

Howdy! I’ve been living here for a decade or so and I’ve picked up a lot of new info. I’m a slow learner. I’m feeling kinda friendly, so I’m gonna share:

Metro

Not “THE Metro,” it’s just “METRO.” It rhymes with “assault” and “dead-fentanyl-addict.” And “urine.” It is also fairly efficient considering the area it has to cover. But not for everyone.

You can take it to Universal Studios from anywhere. And at Universal Studios, they had a ride-through “event” based on the Earthquake movie (starring Charlton Heston and a shit ton of other celebs.

So, some sick fucks thought that “having fun” on top of an active fault was OK. I was terrified at age 11 (thanks, Dad).

les Natural Disasters

Wherein, Kylie Minogue Dies a Horrible Death, The (ex)Standard Hotel Falls Apart Quicker than it Actually Did and Our Heroine Almost Perishes and is asked “Are you OK?”

We all know the drill: drink-and-lounge, duck-and-fuck, buckle-up, ride-er-out, save-the-booze-bottle. Hi, CVS? Emergency refill of my standing benzo Rx.

Doesn’t really matter. We’re fucked. I personally ran to a liquor store during the latest one and they were open (love BUZZ)! I had to walk up eight motherfucking stories of stairs because the elevator was a fucking pansy and automatically cut off. Fucking gay elevator. MAN UP! Bitch.

OH. MY. GAWD. Kylie? NOT KYLIE! Also please notice how none of the liquor bottles at the bar move.

I am not the first to bring this up, but I AM the first to personally aver that we had a (weak-ish) 5.3 WHILE having a HURRICANE. Not many places can lay claim to that. Nope, sorry Texas, Florida and North Carolina, you suck. And that was without fracking (staring at you, Oklahoma). Talk to me about fear, I EAT earthquakes! I did back-to-back 6.7s. ON JULY 4TH! Fuck you, Florida and “OathKeeper” Assholes. God Bless America. Also, shit I’ve lived through here during my residency:

  • dam burst
  • methane leaks
  • toxic battery spills into a daycare center
  • plane crashes
  • firestorms
  • santa ana winds + firestorms
  • mudslides
  • hail
  • tsunamis

Downtown

I live in DTLA and am damn proud of it. Like a survivor of a war battle. I really don’t need to add much, so I’ll just present: KABC Eyewitness News. When News Break, They Jus’ Be Runnin’

Multiculturalisms

LA loves to say that it’s one of the most diverse cities in the world. It’s not. That award goes to Toronto, ONT (heyo to our buds the T.O. to the North n’ shit)

LA: it is insanely segregated. Koreatown? Holy shit. Compton (don’t mix the two). Burbank or Beverly Hills? “Beverly Adjacent?” What about Thaitown? No one lives there except by being vetted by genealogy. Compton, South Central? No one lives there based on skin color. Downtown? Nope… it’s a collection of cordoned off camps. Disagree? Try boarding a bus and see how far you get based on your skin color and accent.

Education

NIghtlife / Fun Shit

Just $1K. An hour. We accept cash. That’s it. U$D only.

Wanna live here?

IKR! Sun and cute boys and awmigawd it SO perfect! It’s like Barbie and Oppenheimer had a baby and I’m the car! But I really want to produce/direct/fuck/escape/5150/get wasted, um, I’m sorry, do I know you?

Soulless and vacuous, just like the housing market and its mechanizations:

Let’s Go!

I have a spare futon and hot water.

the HAWAIIAN SHIRT COLLECTION: MAHALO!

the HAWAIIAN SHIRT COLLECTION: MAHALO!

Hawaiian style is all about ease and comfort. It’s also about celebrating the colors and forms of this unique tropical, Pacific location.

As with most creative expression, we always seek out the most profane, bastardized version of whatever we are are admiring.

A few of the worst Hawaiian shirts a short Google Image Search uncovered:

 

Though its precise origins are lost to history, the aloha shirt first appeared in Hawaii in the 1920s or ’30s, probably when local Japanese women adapted kimono fabric for use in men’s shirting. The shirts achieved some popularity among tourists to Hawaii and found greater commercial success when they hit the mainland in the mid-1930s. America at the time was riddled with hardship and anxiety, with many men out of work and many others struggling to hold on to their breadwinner status. Perhaps in response, hyper-manliness came into vogue—the popularity of bodybuilding skyrocketed, Superman burst onto the scene. It may seem paradoxical that men embraced a garment with such feminine appeal. “You’d better get two or three because it’s a cinch your daughter, sister, wife or even mother will want this bright-colored shirt as soon as she sees it,” the Los Angeles Times teased in 1936. That didn’t stop men from buying. By 1940, aloha shirts were bringing in more than $11 million annually (in today’s money).

By the 1960s, the shirt had become truly ubiquitous. Aloha Fridays were a fixture of a certain kind of workplace, and everyone—from Elvis to the decidedly unhip Richard Nixon—seemed to have an aloha shirt. Over time, perhaps inevitably, it lapsed into the realm of corny suburban-dad-wear.

Yet in just the past five years, fashion magazines have been heralding a comeback, and high-end labels like Gucci are taking the aloha shirt to new heights, with prints that draw on Japanese designs favored in the garment’s early days. Meanwhile, some shirtmakers from Hawaii’s old guard are still going strong. Kahala, founded in 1936 as one of the first brands producing aloha shirts, has been raiding its vaults to reproduce designs dating back to the 1930s—including some popularized by Duke Kahanamoku. “People are looking to bring some light, some color, some vibrancy into their lives,” says Jason Morgan, Kahala’s general manager. “I think that’s needed now more than ever. If an aloha shirt can help improve somebody’s day, I think that’s pretty powerful.”

Source: Smithonian Magazine May, 2020