Category Archives: Jewellery

The one that got away…

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Some time ago, I worked at Bonhams, in the jewellery department. Along with the regular monthly sales held in Knightsbridge were pawnbrokers’ auctions. These were comprised of any jewellery items which had not been redeemed by a customer and needed to be sold on the open market to obtain a fair price and hopefully achieve the best price for it.

The excitement and unpredictability of an auction never fades and each sale kept us on our toes. With pawnbroker sales, that unpredictability was tenfold. Because a pawnbroker client had until the very last moment to redeem his/her item, this meant that items could be withdrawn from an auction at any point prior to the item’s lot number being called out by the auctioneer.

In this case, the one that got away was a magnificent Burmese sapphire ring up for sale in the pawnbroker’s auction. Because pawnbroker auctions are so volatile, there are no catalogues and therefore no image, so I will do my best to convey this ring’s uniqueness.

The sapphire was Burmese. That in itself, is usually indication enough to express the velvety blue hue that sapphires from this part of the world have. Burmese, or Kashmir, sapphires are the most coveted sapphires, considered to have the deepest, intense and rich blue hue. Also known as “Royal Blue”.

Sapphires belong to the same family as rubies, they are corundum. Any coloured corundum, other than red, is called a sapphire. Sapphires differ from rubies in that they have iron as part of their crystal lattice.

Both sapphires and rubies from Burma make for the most exquisite gems. The value in a Burmese sapphire lies in the depth of colour and its dispersion. This is due to minute crystalline inclusions in the stone. Inclusions are small “imperfections” captured in a stone during its formation.

They are like fingerprints, unique to every gem. Below are a few examples of inclusions which are found in sapphires. These help identify where a gem formed, where it was mined and if the gem is natural (as opposed to synthetic, or man-made) and if it has had any treatment to enhance the colour or make inclusions less visible.

Mogok Sapphires

The sapphire in the ring that was up for auction had beautiful silk crystal inclusions and certainly had that “Royal Blue” hue about it. The most famous “Royal Blue” sapphire is probably the one set in Kate Middleton’s sapphire and diamond engagement ring, which belonged to her mother-in-law, the late Princess Diana.

The sapphire weighs 12 carats and is set within a surround of brilliant-cut diamonds. When it was made in 1981, the sapphire ring cost £50,000. Because of the provenance and history of the ring, it has become a priceless piece of jewellery, but one could estimate its current price to be around £500,000.

The world’s most expensive sapphire to sell at auction was sold at Sotheby’s Hong Kong on the 7th October 2015. It weighed 27.68 carats of natural Kashmir origin and made $6,702,564, $242,415 per carat.

It is common for these exceptional sapphires to be accompanied by multiple certificates. If one is to buy a gem, whether for pleasure or investment purposes, it is recommended to buy one with a certificate from a reputable laboratory such as SSEF, GIA, Gubelin.

Don’t be fooled by reports sold with sapphires in markets which simply state that the sapphire is a corundum and details its shape and weight. The stone could well have been man-made in a laboratory in which case a report should state “natural” or “synthetic”.

A gem can also be treated to make it more desirable. It is common practise for sapphires to be heat-treated to bring out more colour in the stone. This should also be mentioned in the report, along with any other enhancements.

Whatever the price of the gem, look for clarity from the seller/dealer/jeweller. If there is transparency and one knows what they are paying for then an honest transaction can proceed. If in doubt, walk away.

I was convinced this sapphire ring was a good investment opportunity. And I would have been right! Sapphires, like rubies and emeralds for example, have seen a net increase in value in the recent years. A similar ring to this superb sapphire ring selling for £25,000, would probably exceed £100,000 at auction in the present climate.

Unfortunately, the sapphire ring was to be pulled from auction moments before the sale was to start and this will forever be The One That Got Away…

G for Garnet

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Garnet is one of the oldest known stones to man. It is the first gem mentioned in the Bible, in Hebrew “nophek”. Indeed the Talmud mentions garnet as being Noah’s only source of light in the Ark in the form of a carbuncle. A carbuncle often refers to ancient red garnet and red stones in general. It was one of four stones to be given by God to King Solomon.

Garnets have also been found to adorm Egyptian mummies, set in necklaces and other jewels. The oldest red garnet bead necklace to have been found is believed to be from 5,000 BC.

In ancient Rome, signet rings with carved garnets were used to stamp the wax that secured important documents.

Because the gem comes in such a wide range of colours, they each have a specific name.

The green garnets are also called tsavorite – named after the Tsavo Game Reserve in Kenya where it was first found by British geologist Campbell R. Bridges in 1967 and named by Harry Platt of Tiffany & Company.

My favourite is perhaps the demantoid garnet for the inclusion it sometimes hold: a horsetail. An inclusion is any material trapped within a stone during formation. In the case of a horsetail, a formation of golden feathery inclusions of chrysolite form in curves resembling the tail of a horse.

Rhodolite is a purplish red variety. Red garnets are also called almandine, pyrope, whereas the more orangey type are called spessartite, almandite and hessonite.

Red garnets were made even more popular in the mid-16th century when a large deposit was discovered in Central Europe. It became one of the most widely traded gems by the late 1800s.

Its current retail cost could reach £38,000 at a specialised antiques jeweller.

Garnet rates a 6.5-7.5/10 on the Mohs scale. The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratched by another mineral.

The Mohs scale is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

Garnets are stable to light and chemicals which make it a popular choice to set in jewellery. However, it should always be cleaned with care as these gems are sometimes treated to make their appearance even more desirable. The most common treatment for this gem would be fracture filled: if there was a small fracture within the stone, it would be filled with resin or similar composite to fill in the gap and make it look “flawless”. The fillings can usually be spotted with a magnifier and causes a flash of light when positioned at the right angle.

In general, it is safe to assume garnets are untreated. But the economic impact on garnets such as demantoid and tsavorite can dictate whether a stone is treated or not. These two types are garnets are often considered to be the most desirable and usually found in small sizes, so their value goes up significantly with size.

Fabergé Platinum Round Demantoid & Diamond Set Halo Ring selling for £34,200. Mounted in platinum, it has a 2.50cts round demantoid garnet with an SSEF certificate indicating it is Russian, and has been heating to enhance colour, and set with 130 round white diamonds totalling 0.90ct.

If the budget doesn’t stretch that high, other garnets, like rhodolite, are far more common in larger sizes.

It’s easy to understand the appeal of garnet. It offers a multitude of different readily available hues to suit all sorts of budget. The key then when choosing an item with garnet is really to think with what outfit would look best with that colour.

Photomicrography – What it is and how it helps us in determining the value of a gem

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As a valuer and gemmologist I work with gemstones daily. Testing, grading and valuing coloured gems is a personal highlight of my work and it was around 5 years ago when testing a Ceylon sapphire that I first fell in love with photomicrography.

I noticed that viewing the stone under the microscope allowed me to dive deeper into understanding the gem and its value. Since then, what was a routine part of gem testing has become a hobby of mine and I can spend hours viewing one gemstone, trying to capture the perfect photomicrograph. In 2021 I was awarded second place in the Gem-A photography competition for this image.

So what is photomicrography?

Put simply, photomicrography is the photography of objects (gemstones in this case) under a microscope.

To begin, I start by thoroughly cleaning the gemstone or item of jewellery I am working on. It’s important not to have any dirt, grease, or dirt on the stone prior to inspection. I will then spend some time viewing the stone in several positions and angles to allow me to find the perfect inclusion scene for my photography. It’s not uncommon for me to spend 30 minutes just getting the perfect lighting and angle for my image. Sometimes I take several photographs at very slightly different focal lengths and then stack the images together using computer software. This can create a sense of depth within the finished piece. This image is made from a stack of 20 photomicrographs.

What can photomicrography tell us about a gemstone?

Natural or Synthetic?

With a higher level of zoom than a jeweller’s loupe, the microscope allows us a more in-depth view of the gem. This can allow us to determine if a gemstone is natural or synthetic; in this image of a synthetic ruby for example where we can see curved striae indicative of Verneuil Flame Fusion growth. In the case of natural stones, we may find crystal inclusions, colour-zoning and/or fingerprints. The microscope can also be a useful step in identifying synthetic diamonds.

Treatments

We can also detect treatments such as coating, dyeing and fracture filling. This image shows a natural ruby which has been lead-glass filled to improve its apparent clarity. This is an important treatment to be able to identify before carrying out any repairs as the filler is unstable and can degrade severely under high heat, like that of a jeweller’s torch – or by cleaning in ultrasonic or steam cleaners. You will see from the image that the surface of the stone appears ‘crazed’ under magnification. At a higher level of magnification we may also encounter bubbles within the glass, another tell-tale sign of treatment.

Heat treatment is considered a standard treatment within the trade for most gemstones but for sapphires and rubies most importantly, evidence of no heat treatment can increase the stone’s value greatly if the stone is otherwise of nice quality. This image shows undissolved rutile ‘silk’ inclusions within a Sri Lankan sapphire. This is evidence of no, or very low heat treatment and allowed me to value the stone accordingly.

In the following image we see amber containing ‘sun spangles’, which are indicative of heat treatment.

Origin Determination

Another important use of photomicrography is determining the origin of a gemstone. In this image we can see a three-phase inclusion which contains a liquid within a cavity, a gas, and a solid which in this case is a calcite crystal. There are also some blocky two-phase inclusions visible. This emerald was determined to be of Zambian origin. Determining the origin of a gemstone allows us to value it more accurately as some localities carry a premium, such as Colombian Muzo emeralds and Burmese sapphires and rubies from the infamous Mogok.

Let’s look at a price comparison to show how origin affects a gem’s value. In the case of this emerald from Zambia, the retail price per carat was £4950. The equivalent stone of same quality but with a Colombian origin would have a retail price per carat of £5850, that’s more than an 18% price difference.

Conclusion

For me, photomicrography is an incredibly useful tool which allows me to accurately value gemstones. But its also become a passion and something I thoroughly enjoy doing. I am always trying to improve on my image quality and find new stones with interesting inclusions which people may not have seen before. If you’d like to see more of my photomicrography, you can check out my Instagram page: Instagram.com/Sammantha_maclachlan_fga_ltd

H for HPHT – Lab grown diamonds

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Lab-Grown Diamonds

What is HPHT?

HPHT stands for high pressure, high temperature and is one of the primary methods used to grow diamonds in a lab.

This diamond growth process subjects carbon to extreme temperatures and pressures and is meant to replicate the extreme heat and pressure conditions deep within the earth where natural diamonds form.

This pressure is what makes the difference between:

Scientists first grew diamonds in a laboratory in the mid-1950s. These diamonds were too small for jewellery, however. Production of larger, gem-quality crystals began in the mid-1990s for both jewellery and industrial purposes.

The newer method, chemical vapor deposition (CVD), involves filling a vacuum chamber with carbon-containing gas that crystallizes on a synthetic diamond seed. This method uses lower temperatures and pressures than HPHT.

Turns into:

Coring to remove the outer layer is needed once the process is finished, about 6-10 weeks later.

CVD is best at producing 1-3 carat diamonds in the range J-G colour. They are often treated with HPHT to improve their colour. Whether they are subsequently treated or not, these are synthetic diamonds.

Some people might refer to lab-grown diamonds as imitations or simulants, but this is incorrect. Actual imitations like cubic zirconia or synthetic moissanite only look like diamonds and have very different chemical and physical properties that allow trained gemmologists to identify them easily. However, lab-grown diamonds are more challenging to detect.

There are some characteristics which help gemmologists in laboratories identify if a diamond is synthetic and, if so, to understand which method had been used to grow the diamond.

Some synthetic diamonds might glow for a minute or more after an ultraviolet lamp is turned off. This is called phosphorescence and is typically only seen in synthetic diamonds.

GIA, one of the leading gem laboratories, use a fluorescence imaging instrument called a DiamondView™ to examine diamonds. This instrument reveals the growth patterns within diamond crystals.

The real challenge comes with identifying tiny diamonds called melée (below), which make up a dramatic portion of the diamond trade.

So why are these diamonds so popular?

Simply put, lab grown diamonds are more affordable than mined diamonds of comparable size and quality. They can sell for up to 75% less than mined diamonds, due to lower expenses, a shorter supply chain, and a more competitive market.

It does not mean that lab grown diamonds are “cheap”: the process of cutting, polishing, and certification also carries a similar cost whether they be mined or lab grown.

However, because the mined diamond industry’s supply is restricted and controlled, it leads to artificially inflated prices, which does not happen in the lab grown diamond industry.

Ethical and eco-friendly

Approximately 10 square metres of earth is disturbed and almost 3,000 kgs of rock waste is generated for each carat of diamond that is unearthed.

It was highlighted in a report that “lab grown diamonds are seven times less impactful to the environment than mined diamonds, use significantly fewer resources and emit a fraction of the air pollution.”

Essentially, lab grown diamonds are the only ethical and eco-friendly diamonds, guaranteed to be conflict-free.

Comparables:

Whichever diamond is chosen, lab grown or natural, they are always the best option for engagement rings and hardwearing jewellery, being the strongest material known to science, rating 10 on the Mohs scale.

The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratched by another mineral and is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

This differs from diamond simulants such as cubic zirconia and moissanite, where the quality is nowhere as close as that to diamonds allowing them to easily scratch, chip, and lose their shine as well as being heavier and therefore more uncomfortable to wear.

To be certain of the identity of the diamond you are buying, make sure you buy a diamond with a certificate from a reputable laboratory such as GIA who offer diamond grading reports or lab-grown diamond reports.

F is for Filigree

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The word filigree derives from Latin “filum” meaning thread and “granum” grain. It is a form of intricate metalwork, usually made of gold or silver. The Latin words gave filigrana in Italian which itself became filigrane in 17th-century French and shortened from filigreen in English.

The technique consists of using tiny beads or twisted threads, sometimes both, soldering them together or to the surface of an object, such as a bracelet or brooch for example. The result is a highly artistic and detailed work of art.

Its origins can be traced back to the Egyptians and along the coast of the Mediterranean. Archaeological digs have found the technique to be incorporated into jewellery dating as far back as 3,000BC.

“Necklace in gold filigree of Queen Twosret and earrings of her husband Seti II. Discovered with a cache of jewellery inscribed with the names of Seti II and Twosret in the Gold Tomb (KV56) at the Valley of the Kings, West Thebes.

The cornflower and ball beads in this necklace were made by soldering wire rings of several different diameters into the desired forms. The piece is an early example of the technique known as filigree. New Kingdom, Late 19th Dynasty, ca. 1292- 1189 BC. Now in the Egyptian Museum, Cairo.”

It was greatly used by Portuguese goldsmiths, using both gold and silver filigree.

The elaborate metalwork also included techniques such as granulation, wire and scroll.

The small beads are applied to the surface through heat with visible solder. This technique was used by the Etruscan civilisation of ancient Italy in Tuscany, western Umbria and
northern Lazio (700-300 BC). Its style was made famous with Etruscan revival jewellery, modelled after the ancient Roman empire. The most famous jewellery designer to create Etruscan Revival pieces was Castellani.

“The head in the form of a thyrsus, an ancient Greek stylised pine cone, with twisted wirework decorations, bearing Castellani’s double C’s hallmark on the base, all to a yellow gold pin, circa 1860, measuring 2.5 x 1.1cm, the pin measuring 4.9cm long, gross weight 4.7 grams.

A collectable stick pin in the shape of a pinecone, made in London around 1860 by Castellani. This charming pin features twisted wirework filigree decoration, a technique used in Ancient Etruscan jewellery, and would today make a perfect and eye-catching addition to a silk tie.”

Though it is an ancient jewellery technique, it is still frequently used in today’s jewellery, especially in Asia and particularly in Indian jewellery.

The technique should not be confused with cannetille. Filigree’s fragility and delicateness suggests lace, in a flat form. Cannetille has a 3-dimensional aspect to it, sometimes with added repoussé work to it – which is a method of hammering metal into relief from the reverse side.

There was a renewed popularity for filigree in Italia and France between 1660 to the late 19th century, with the fashion reaching its peak in 1830.

A decade later, the precise and time-consuming technique of filigree and cannetille had been replaced by repoussé, which offered a similarly inexpensive artistic and decorative way of setting stones.

Like many metalwork techniques, its origin is far behind us but its use and technique are forever evolving. It is understandable that this craftmanship would be a favourite for different cultures
and throughout time. Though some modern pieces of that style may be inexpensive, the cost of purchasing a traditional parure reflects the art and the know-how that is filigree.

“A fine Georgian citrine and gold parure, consisting of a necklace, a pair of earrings and a pair of bracelets, the necklace consisting of an oval-cut faceted citrine surrounded by a gold frame of foliate design, suspending three detachable drop-like pendants, each centrally-set with a pear-shaped citrine, all suspended by a double strand of tubular mesh chain with box clasp of similar
design, set with an oval faceted citrine, each bracelet with a clasp of similar design, each centrally set with an oval faceted citrine, to a gold mesh ribbon-like bracelet, the earrings of matching gold foliate design consisting of an oval-cut faceted citrine suspending a pear-shaped faced citrine, all mounted in yellow and rose gold, circa 1820, accompanied by original fitted box, the necklace measuring approximately 38cm long, gross weight for the suite 71.5 grams.” Selling for £37,500

E for Eternity Rings

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Eternal love

How better to declare one’s love but by gifting an eternity ring?

Sometimes called Infinity ring, it is a band set with identical gems throughout. Just as the snake rings represented undying love, eternity rings seem to be the modern fashionable jewellery item to state such devotion.

Traditional materials

It is thought eternity rings have been gifted as far back as the 4th century BC. They were made of plants, such as hemp, or reeds and even elephant hair.

A tradition that went long into the Victorian era. Nowadays, these bands are made with precious metals such as gold and platinum. The stones have evolved from paste to sapphire, ruby in the 18th century to diamonds in the second half of the 20th century.

Engagement rings

Until the 1960s, an engagement ring would traditionally have been set with a diamond single-stone. It is rumoured that due to the surplus of small diamonds, approximately 0.25ct and smaller, the jewellery giant De Beers created a campaign in which they would use these smaller stones, set them in Eternity rings and promote this new essential jewel to couples who had already been married for several years.

Range of price

Eternity rings will come a wide range of price. What will impact this price? Materials such as the metal used will be the first component. A ring can be made of silver, gold or platinum, being the most expensive.

Secondly the stones will affect the budget the most. When an eternity ring is set with precious stones, it is important to remember how much carat weight the ring has as a total but also looking at each stone individually. The larger each single stone is, the pricier the ring as a whole. The “purity” of the stones is an element that cannot be forgotten either. Whether it be rubies, sapphires or diamond, the clearer the stones, the more desirable they are and therefore the more expensive they will be. We refer to this grading scale for diamonds as the four C: colour, carat, cut and clarity.

Navaratna ring

Navaratna – from the Sanskrit Nine (Nava) Gems (Ratna) – jewellery consists of an item of jewellery, necklace, bracelet

or ring, set with nine gems: ruby, diamond, pearl, red coral, hessonite, blue and yellow sapphire, emerald and cat’s eye. The Navaratna rings can be considered as a form of eternity ring, present in almost all Asian countries, beyond India where they originated from, regardless of religion. There are a few rules and traditions as to how to place the stones and how it should be worn. Women are to wear the ring on their left finger while the men on the opposite hand.

The ruby which represents the sun, should be placed in the middle and the gems should be of the upmost quality, making these jewels very precious indeed.

Infinite brands

Eternity rings are so popular that every luxury brand has taken to create and promote them as unique and essential jewels in a lady’s collection.

Tri-factor

Eternity rings possess the tri-factor: they make a statement all the while remaining discreet, and elegant. Who best to illustrate this than the Duchess of Cambridge, who not only wears her wedding band along with her engagement sapphire and diamond cluster ring but also a diamond eternity ring on top. The Eclipse diamond ring by Annoushka, is set with 0.23ct total of diamonds and retails at £1,500. It is said to have been a gift from the Duke of Cambridge for the birth of their first child, Prince George.

Your choice

So when should an eternity ring be gifted? Which finger should be worn on? Which brand to choose? Which gem? Which metal? So many choices to choose from it’s no wonder they have swept the jewellery market with ease. Some might say, it should be gifted after decades of marriage, others prefer to gift it as an engagement band, some may want diamonds, others precious stones such as sapphires. Offered in a variety of style and at various price range, as one of Britain’s favourite matchmaker Cilla Black would say, “The decision is yours”!

D is for Diopside

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Diopside is an igneous and metamorphic rock. This means it forms from the solidification of its molten state and has been subjected to extreme heat and pressure deep below the Earth’s surface, very much like how diamonds are formed.

It is found across the globe and more readily available in the Earth’s mantle than at the surface.

Commercial diopside can be found in Siberia, Russia, though in limited amounts. The prized chrome diopside (green colour) is sourced in Europe (Austria, Finland and Italy), South America (Brazil), Canada (Ontario and Quebec), the state of New York, Asia (India, Pakistan, Sri Lanka, Burma) Madagascar and South Africa.

What do we mean by commercial? Stones that are of a particular quality that can be cut and set into jewellery.

Although there are several deposit sites none of them produce regularly or in significant quantities and is therefore not usually mined due to the lack of return.

Diopside rates a 5 to 6/10 on the Mohs scale. The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratches by another mineral.

The Mohs scale is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

Diopside has fair toughness and is suitable to be set in jewellery, however it should be worn with caution and should be handled with care as it risks being scratched or broken.

Diopside comes in a various colours ranging from greyish white, light blue to purple, light green to vivid green, brown, black.

The most sought-after colour is green, called chrome diopside. It owes its hue to an increase of chromium.

This rough chrome diopside ring (pictured above) sold for £3,187 (including premium) in June 2021.

The other popular variation is star diopside which occurs in black (pictured below).

It displays chatoyancy (or cat’s eye): a 4-rayed star caused by reflection of light at needle-shaped inclusions of magnetite. It makes for a lovely gem to be set in brooches, rings and pendants as the star will shift along with movement and light. A good alternative to star sapphire for more modest budgets and a real “waow” effect!

This brooch (pictured below) is up for auction at the end of May with an estimate of AU$ 600-800 (GBP 340-450) with Bonhams.

Because diopside is a metamorphic rock, it is used as an indicator for diamond deposits. Diamonds arrive to the Earth’s surface through deep volcanic eruptions and travel through pipes, very much like chrome diopside. Hence when the green stone is found at the surface, diamonds could be near. However, these pipes will only ever produce around 2 carats per ton.

It’s easy to understand the appeal of chrome diopside as an alternative to the more expensive green gem that is emerald, but its popularity is moderate for several reasons. As we know, diopside is soft on the Mohs scale and therefore risks easy damage. The look of chrome diopside also works to its detriment. It has a vitreous and sugary aspect as opposed to clear, transparent emeralds. It is for these reasons that the stone is less known by the public but all too famous amongst diamond miners!

Pandemic Pearls – Biggest shock for Years?

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Pearls – the gem that will go with everything, crosses the generations and decades. Safe, predictable, eternal. Is now the time to reassess their value?

Thanks to the Chinese market, there has been a growing production of quality fresh-water and saltwater pearls over the last decade. The downside of this monumental growth is that the market is arguably becoming saturated.

This is borne out in the price of pearls at auction. Japanese salt water Akoya, good Chinese fresh water and even small Tahitian pearls keep on under-performing and can be picked up for next to nothing.

This situation may be about to undergo a seismic change.

If I can cast your mind back to 2020, the world literally stopped. Not only the obvious things such as air travel and carefree shopping, but the thousands of ‘route to market’ supply lines. This included the people who support and make those supply lines run like clockwork – Normality went on hold.

Pearl Creation

The industry of Pearl farming and production walks a delicate tightrope between man and nature. There are many different types of pearl bearing molluscs, who have their own specific growth cycle, but to make a generalisation each pearl mollusc is either dived for by hand or is born, raised and seeded in stringently checked temperatures with the correct food, space and daylight. This process generally can take between 2-4 years of consistent care and attention – this was not possible during the pandemic.

During the global lockdowns, pearl growers, specialists, itinerant labourers and their vital support network all returned home. For the first time in decades, the seasonal flow of global pearl farming ground to a halt as there simply were not enough people to assure the continuity especially for South Sea, Tahitian and fine quality pearls.

Take the case of Paspaley in Northern Australia, a three generation pearl farming family who produce some of the most beautiful pearls in the world. They were so affected by the pandemic that they applied for and received a licence for specialised staff to continue working, but they were only allowed to work on boats moored offshore so there was no chance of Covid spreading. Even with this intervention their normal levels of production were curtailed.

This seismic shock to the usual farming life has caused a gap in the pearl production world and a shadow over future yields over the next few years.

Only time will tell what the quality and yield will be but it is understood by those in the know that it will take 2-3 years to get ‘back to normal’.

The basic economic principal of supply and demand may come to bear with reduced gem quality pearls coming to the market where the prices may harden and quite likely increase. Not only will this hopefully invigorate the auction pearl market but also remind pearl owner’s to have their pieces re-valued. Depending on how this industry is affected, Covid may have caused the pearls in your jewellery box to be very under-valued. A once predictable and safe commodity may have a trick in the tail and prove to be more valuable than they once were.

B for Boucheron

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Boucheron, a brief history

The luxurious brand’s story starts when Frédéric Boucheron became an apprentice jeweller to Jules Chaise at the young age of 14 in 1844. Descendant from a family of drapers, he seemed to already have a thorough understanding of how to work with delicate fabrics like silk and lace.

He opened his first boutique in 1858 at Palais Royal, in Paris, next to the Louvre. A decade later, he won gold medal at the Exposition Universelle. He partnered with Paul Legrand for several years as chief designer. During their collaboration, Boucheron won the Grand Prix for Outstanding Innovation in a jewellery collection in 1889.

After winning this prize, Frédéric Boucheron opened the first boutique in 1893, Place Vendome in the heart of Paris. He was the first jeweller to take up space in this exquisite location, at n.26 where it is said that it was the sunniest part of the square and “the diamonds would sparkle all the more brilliantly”.

In 1900 he was awarded the Légion d’Honneur for his display at the Exposition Universelle, encapsulating the Art Nouveau style. He died two years later and left the Maison to his son Louis.

Outstanding and Unique Innovation

In 1879, Boucheron created a clasp-less necklace, named the “Point d’Interrogation” (the question mark). It was the first time a jeweller had created a piece of jewellery which women could place on themselves without any assistance if they so wished. Throughout the 164 years the Maison Boucheron has reinvented the style and adapted it to different styles with more or less foliate detail or a more contemporary look. It is its “stylistic approach, featuring asymmetry and curved lines” which make this necklace a signature piece for the jeweller, synonym of freedom and outstanding innovation.

Carat, 159 carat to be exact

Boucheron is synonymous of luxurious jewellery and “drapes” Royalty such as Queen Elizabeth II, Queen Rania of Jordan and some of the most famous women. One of these famous women of the 19th century was Marie-Louise MacKay, married to John MacKay who made his fortune through silver mining in the USA. She was intent on building one of the most important jewellery collections and Boucheron was her go-to jeweller. In 1878, Boucheron was entrusted with setting what was said to be the most beautiful Kashmir sapphire in the world, weighing 159 carats, of oval shape. It was valued at over Francs 700,000.

Hotel de Nocé

The Boucheron store is located in the grand Hotel de Nocé, built in 1717 and named after Charles de Nocé. The building has passed to numerous owners, including Jean-Baptiste-Francois Gigot d’Orcy, who had a passion for minerology. Sometimes the Hotel is called Hotel d’Orcy. The Hotel was home to some of the most famous people such as Marquis de la Baume, the “most expensive boot maker in the world” Yantorny and Countess Castiglione, also known as Virginia Oldoini, ex-mistress to Napoleon III. When Boucheron moved in to the building in 1893, “the most beautiful woman of her century” refused to move out until 1894. Two portraits of the Countess still look down on the boutique to this day.

Boucheron was the first jeweller to take up space on Place Vendome.
When Boucheron was bought in 2016 by the Kering group, they undertook a full restoration of the Hotel.

The façade of the building is listed which means that if Boucheron were to move out, it would be impossible for the new owners to make any changes. The inside was restored to its glorious state, with attention to detail such as Chinese wallpaper restored by Atelier Mériguet-Carrière.

With the renovation came the creation of hotel rooms, where guests come to spend a night within the Boucheron boutique at the heart of Paris.

Princess Eugenie

In 2018, on her wedding day, Princess Eugénie wore the Greville emerald and diamond tiara, initially created by Boucheron in 1900 and set with a 93.70 carat cabochon emerald, mounted in platinum.

The tiara in 1921 after modifications to include the centre emerald and a more geometric style, contemporary of Art Déco jewellery.

The Hon. Mrs Greville, who lived at Polesden Lacey, was a friend of Prince Albert and Elizabeth, Queen Mother. After they were married, the couple spent their honeymoon in Mrs Greville’s home.

In her will, Mrs Greville bequeathed the tiara to the Queen, who in turn lent it to Princess Eugénie for her wedding. It was the first time in over a century, that the Boucheron tiara had been seen in public.

Reflet wristwatch

In 1947, Boucheron created the Reflet wristwatch with interchangeable bracelets. The collection has a rectangular dial with baton hourmarkers and Roman numerals.

The watch comes in stainless steel or gold, with or without diamonds.
Not only was Boucheron the first jewellery to introduce this system, it has also added extra sparkle. Its sapphire glass is particularly magic: a breadth on the glass and the Place Vendome column appears for a brief instant.

Each watch is engraved to the reverse “Je ne sonne que les heures heureuses” (I only ring the happiest hours).

Only women

Traditionally, the jewellery industry has been male-led, but in 2015, Boucheron appointed Hélène Poulit-Duquesne as CEO and Claire Choisne, as Creative Director.

Hélène Poulit-Duquesne graduated from l’ESSEC, one of the most prestigious business school. She began her career in 1998 when she joined LVMH. Later she would join Cartier, where in 2014 she became Director of International Business and Client Development.

Claire Choisne also began her career in 1998. In 2001 she joined Lorenz Baumer as Creative Studio Manager. Over a decade ago, she moved to Boucheron, where she oversees all the jewellery and watches designs.
Boucheron has paved the way, once more, by handing the direction of a leading jeweller to two women, and has created resplendent new collections.

Nagaur necklace

In 2015, Claire Choisne integrated sand from the Thar desert in Rajasthan to include in the new Boucheron collection, the Nagaur necklace.

It is inspired by the Nagaur fortress.

The necklace is set with multiple strings of pearls with the sand encased in the rock crystal pendant, overlaid with diamonds.

The necklace is part of the Bleu de Jodhpur collection which comprises of 105 designs. Claire Choisne, says, “The aim was to create an image of India far from all clichés and stereotypes with the innovation of unused materials. The city of Jodhpur covered with the blue façades of its houses became a strong inspiration. Bold blue represents audacity because of the innovations behind the creations. The link between Jodhpur, the ‘Sun City’, and Boucheron, a jeweller in the ‘City of Light’, made the inspiration more obvious. India has always been an important concept in Boucheron’s creative history with its rich and vibrant heritage, the architecture of its palaces and the colours of its towns and cities. I believe that through audacity and maintaining a clear link between heritage and modernity, one is able to create figurative designs and thus translate this into contemporary high jewellery.”

A revival of the Plume de Paon is now set with marble and diamonds on white gold.

Boucheron is synonymous of luxury and exquisite craftsmanship. Throughout the centuries, the Maison has invented, innovated and reinvented its timeless pieces, moving through the fashions and adapting to contemporary designs. It undoubtedly has the “je ne sais quoi” that great and unrivalled French jewellers have.

 

Australian Opal

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According to Aboriginal legend a giant rainbow snake formed the main rivers throughout Australia when he slithered across the land in search of water. The water in Australia is said to be blessed by the Rainbow Serpent, as water is one of the necessities of life. Without the Great Artisian Basin, a body of water under the Australian Earth, opal would not have been formed. There are therefore great connections between the Rainbow Serpent and the opals of Australia.

Opals are truly mesmerizing treasures of the earth, the way their vibrant colours dance with the light. Australia has been the main producer of opals since the 19th century. Opal is a hardened silica gel composed of tiny silica spheres and the stunning iridescence seen in opal is caused by the way these little spheres interact and diffract light. The larger the spheres the greater the range of colours.

Many people believe opals to be unlucky because it is quite common for opal stones to fall out of their setting and be lost. However, this is not because of some great curse, it is due to the fact that opals are composed of 5-10% water and over time they can dry out and shrink and therefore become loose and fall out of jewellery settings.

The major mines in Australia can be found in Queensland, New South Wales, and South Australia. When valuing and grading an opal it needs to be assessed under the correct light source. It needs to be examined holistically – face up but also underneath, if the setting allows, so that any defects, holes, and fractures can be taken into consideration. The following factors determine the value: the opal type – i.e. solid black, grey, white, crystal type, The origin, body tone, play of colour, colour depth percentage, colour pattern, shape, cut, polish, weight, dimensions, visual inclusions, condition, and provenance.

One of the most famous Australian opals is The Aurora Australis. It was discovered in 1938 in Lighting Ridge (NSW) in an old seabed. Its body colour is black which highlights the dramatic play of colour of intense blues, greens, and reds. It got its name because it resembled the brightness of the Southern Lights. It weighs 180cts and has been cut and polished into an oval shape. It is said to be worth an estimated $1,000,000 AUD.

Opal can also be found in other countries such as Ethiopia, USA and Mexico, however Australian opal is considered the finest. As with most gemstones there are many synthetic opals and opals that have been artificially enhanced on the market. Slocum stone is a man-made glass that imitates the play of colour in opal. Gilson imitation opal has a very defined mosaic pattern which can be detected under magnification that is said to resemble chicken wire.

Black opal is the most highly prized and valuable, however before purchasing the consumer should be aware of treatments such as ‘smoking’. The opal is wrapped in paper and the paper is heated to a temperature that makes it smoulder. The smouldering paper then releases fine black particles of soot that enter the pores of the opal and darken its body colour.

The darker body colour contrasts with the opal’s play-of-colour, making it appear stronger and more obvious. Many Ethiopian opals are smoked and consequently are less valuable. The question is can you tell the difference?

“In precious opals there might be a dash of red here, a seductive swirl of blue there, and in the center, perhaps, a flirtatious glance of green. But each stone flickers with a unique fire and a good opal is one with an opinion of its own.” Victoria Finlay