Starting My Treasure Hunting In England

The organizer of the Paris Biennale of Antiques is the French National Antique Dealers Association (SNA). According to tradition, the SNA has always adhered to a rigorous and professional commitment to exhibitors.

Therefore, at every exhibition, the committee responsible for supervising exhibits will impose strict regulations on art and antique exhibitors to ensure that every exhibit is of impeccable quality.

Of course, in a place like this, each company's exhibits are naturally selected from the best, so after so many people spent a whole day busy finding only two or three things that were wrong.

One of them was an antique that was claimed to be made from legal ivory, but it was identified that the ivory was obviously hunted and processed after the international ban was promulgated, so it was immediately removed from the counter and the police were called.

After all, the organizer of this event is an official French organization, so there must be a completely legal process to deal with this openly illegal situation.

As for the other dagger made of bronze, although it looked very real, after a brief study, they found that although the sword looked real, it was not actually so.

Or to be precise, the sword body itself is real, but the gold pattern inlaid on it was made by later generations using traditional techniques and is not a truly original part.

I have to say that the people who made this thing are indeed cautious enough. At least all the techniques are the oldest. At the same time, because gold does not oxidize under normal circumstances, it is indeed difficult to see the problem.

But in the end, the other party was still careful. Because the purity of the inlaid gold did not match the era of the sword, Liang En discovered the problem.

However, one cannot be too harsh on the craftsman who completed the work. After all, from the appearance point of view, the difference is minimal. If Liang En had not obtained the cards made in jewelry, the problem would not have been seen at all.

It must be said that it is indeed possible for this item to break through the layers of defense and finally appear in this exhibition as a fake. After all, the experts here cannot be good at everything, so there is a possibility of missing this cultural relic. Not small.

As for the third item, it is a controversial thing: it is a stone sculpture carved from white marble, and the content is a statue of the Virgin. But the problem is that there are some marks on this stone sculpture that look like traces of modern mechanical polishing.

Some people think that this thing itself has problems, but other people don't think so, but neither side has produced evidence that can convince others.

So without reaching any conclusion, they finally chose to temporarily remove this thing from the exhibition to avoid certain problems later.

Fortunately, apart from these items, there are basically no problems with the remaining items, and this once again proves the top status of the Paris Antiques Biennale among similar exhibitions.

The inspection work lasted until the afternoon of the day before the exhibition. When all the work was completed, Liang En did not go to rest, but communicated with his stalls.

The result of the exchange is very satisfying. Both the Dulis family and Lacloche are in very good condition overall, and the things prepared are of a very high quality.

What's more important is that Liang En can also find that the jewelry he designed before has become the main focus of this competition, and they are all placed in the most conspicuous place in the booth.

Among them, on display at the Doulis family is a set of Atlantis-inspired jewelry made by Liang En that is made of sapphires, aquamarines, spinels, baroque pearls, tourmalines and tanzanites.

Different from the Rococo palace-style jewelry at Lacloche, this set of jewelry adopts a large number of ancient Greek jewelry styles, which are simple yet romantic.

The simplicity comes from the imitation of the excavated ancient jewelry styles, while the romance comes from various ancient Greek legends.

For example, the brooch in this set of jewelry is made of glazed gold and is shaped like a sea dragon. The core part is made up of two baroque pearls.

The so-called Baroque pearls are pearls that are not round and can be as long as you want. Ordinary Baroque pearls are generally not expensive, but they often become treasures for designers to show off their skills.

This happens because there is no second natural pearl of this kind in nature, so for designers, every piece they make is a unique piece.

For Liang En, the design of such jewelry is also related to the characteristics of Baroque pearls. For example, in this sea dragon brooch, smaller pearls are used to demonstrate the connection between the tail and the body, while the larger pearls serve as sea dragons. main part.

Although the two special-shaped pearls look ordinary, when placed here, they appear very appropriate and blend into the entire piece of jewelry.

At the same time, Liang En also put some thought into the design process of the entire piece of jewelry. For example, although this thing is a brooch, it looks like a pendant suspended by two gold chains and several pearls.

The reason for this is because this thing is designed to be worn on expensive brocade, so that it can sway freely and glow with the swaying light.

Unlike most jewelry on the market today, Liang En is better at using some slightly ancient memories, such as adding various trace elements to show different colors of gold, gold glaze or ancient mosaic technology.

The reason why these techniques are rare today is not because these techniques are too old, but because these jewelry making techniques are not conducive to modern industrial production.

To give the simplest example, whether it is mosaic inlay or gold glazing, the firing work relies heavily on professional and experienced craftsmen.

Although it is not impossible to complete these tasks using modern technology, the cost is higher, so for those modern jewelers, they will naturally give up this practice.

Think about it, most people's appreciation of jewelry mainly focuses on the beauty contained in the jewelry, and few people will pay attention to the craftsmanship of these jewelry.

So the so-called production technology is too old and unpopular is just an excuse. This is because the jewelers want to reduce the cost of making jewelry.

Of course, this is also related to the fact that many modern people buy jewelry not for decoration, but for investment. In this case, gemstones that are not large enough or non-precious metal parts are naturally not popular.

This should be a price for the civilianization of jewelry. Compared with the princes and nobles who are really not short of money, ordinary people naturally have to consider more when buying jewelry, and these problems will also occur.

"I think we have prepared everything we can do, and the next thing will be left to the gods." The person in charge who was approaching Dulis said after crossing himself on his chest.

"Of course, I think everything will go very smoothly this time. At least from my current perspective, we have done everything we can do, and I also believe that others are unlikely to do better than us."

Obviously, they had also seen the level of other companies during the previous trips dedicated to this exhibition, which gave them a lot of confidence.