Memorable quote (s) from the movie:
Billy Massey (Dean Martin): Do you like sheriffing?
Chuck Jarvis (Rock Hudson): It's a job.
Billy Massey (Dean Martin): What kind of salary do you get?
Chuck Jarvis (Rock Hudson): No salary, I...
Kate Jarvis (Susan Clark): Oh, he gets two dollars for serving a warrant, three dollars for arresting anybody...
Chuck Jarvis (Rock Hudson): And thirty cents a mile for chasing idiots...
Kate Jarvis (Susan Clark): Like you.
Billy Massey (Dean Martin): Well then, you ought to thank me for doubling back. I let you make a few extra bucks.
Sunday, May 27, 2007
How To Judge Different Styles Of Cut
Cutting style is the category under which facet shapes and arrangements are classified. Generally, a faceted gem will fall into one of the categories listed below, although the cutting may sometimes be so poor as to render the cutting style unidentifiable. A facet is a flat, polished surface on a fashioned gemstone.
Brilliant cut: The brilliant cut is probably the best-known cut because most diamonds are cut in this style. Its design is aimed at providing a combination of brilliance, dispersion ('fire') and scintillation ('sparkle'). All facets except the table and culet are triangular or kite shaped; this style is very common in diamonds, but is also seen in many other gems.
Step cut: The step or emerald cut consists of facets cut with parallel sides which are arranged in steps. This style is very common for emeralds, but is also seen in many other colored stones. Its chief attribute is the ability to show off a gem's color.
Mixed cut: The objective of the mixed cut is to obtain as much weight as possible from the rough. As the name implies, the mixed cut is a mixture of two styles, the brilliant and step cuts. Optically, it can also be attractive. Rubies and sapphires are frequently cut in this style, as are many other gems.
Scissors cut: This is not a particularly common cut, because it tends to waste large amounts of rough. Because of this, it is mainly limited to cheap synthetic materials. Hence, a scissors cut will indicate, but not prove, the possibility of a synthetic gem. The scissors cut is a series of long triangular- and kite-shaped facets on a rectangular stone.
Native cut: This is not so much a cutting style as a lack of style. The term native cut generally is synonymous with poorly cut. Facets are often misshapen and may not even be flat. In the Sri Lankan version of this cut, the table facet is often square or rectangular instead of the usual octagonal shape. Proportions are frequently lumpy, as the stones are cut with only weight retention in mind.
Princess cut: This is a relatively new cut but is a variation of the Barion Cut. The stones have ordinary step crowns. All of the pavilion facets except the long break facet along each side are usually no more than four degrees greater than the culet angle. A good number of facets end as a point at the girdle. The stones remain true squares, rectangles, triangles, etc. by having the facets end at the long break facet. The stones are exceedingly brilliant throughout. The square princess has twenty eight pavilion facets.
Cabochon cut: One of the oldest cutting styles, the cabochon employs no facets at all. Rather it is a smooth, polished dome which can be very high, very low, or some variation in between. It is the best style to display fine colored gems of lesser transparency. Hence, highly-flawed rubies, emeralds, etc., may be cut as cabochons; also jadeite, nephrite, star rubies and star sapphires. Cabochons come in two main types: single cabs and double cabs.
Brilliant cut: The brilliant cut is probably the best-known cut because most diamonds are cut in this style. Its design is aimed at providing a combination of brilliance, dispersion ('fire') and scintillation ('sparkle'). All facets except the table and culet are triangular or kite shaped; this style is very common in diamonds, but is also seen in many other gems.
Step cut: The step or emerald cut consists of facets cut with parallel sides which are arranged in steps. This style is very common for emeralds, but is also seen in many other colored stones. Its chief attribute is the ability to show off a gem's color.
Mixed cut: The objective of the mixed cut is to obtain as much weight as possible from the rough. As the name implies, the mixed cut is a mixture of two styles, the brilliant and step cuts. Optically, it can also be attractive. Rubies and sapphires are frequently cut in this style, as are many other gems.
Scissors cut: This is not a particularly common cut, because it tends to waste large amounts of rough. Because of this, it is mainly limited to cheap synthetic materials. Hence, a scissors cut will indicate, but not prove, the possibility of a synthetic gem. The scissors cut is a series of long triangular- and kite-shaped facets on a rectangular stone.
Native cut: This is not so much a cutting style as a lack of style. The term native cut generally is synonymous with poorly cut. Facets are often misshapen and may not even be flat. In the Sri Lankan version of this cut, the table facet is often square or rectangular instead of the usual octagonal shape. Proportions are frequently lumpy, as the stones are cut with only weight retention in mind.
Princess cut: This is a relatively new cut but is a variation of the Barion Cut. The stones have ordinary step crowns. All of the pavilion facets except the long break facet along each side are usually no more than four degrees greater than the culet angle. A good number of facets end as a point at the girdle. The stones remain true squares, rectangles, triangles, etc. by having the facets end at the long break facet. The stones are exceedingly brilliant throughout. The square princess has twenty eight pavilion facets.
Cabochon cut: One of the oldest cutting styles, the cabochon employs no facets at all. Rather it is a smooth, polished dome which can be very high, very low, or some variation in between. It is the best style to display fine colored gems of lesser transparency. Hence, highly-flawed rubies, emeralds, etc., may be cut as cabochons; also jadeite, nephrite, star rubies and star sapphires. Cabochons come in two main types: single cabs and double cabs.
How To Examine Gemstones With The Loupe And Tweezer
Upon first glance, the examination of a stone with the loupe and tweezer seems simple. However, the proper technique not only will help in locating inclusions, but it will show that the user has experience in handling and examining gemstones.
Below are a few tips for using the loupe and tweezer:
Loupe
Clean the stone carefully with a piece of cotton cloth and then pick it up directly with tweezers. Touching the stone with fingers may leave grease marks which might resemble inclusions.
If the right eye is to be used, hold the loupe in the right hand. Hold it as close as possible to the eye (or glasses), for the closer it is to the eye, the larger the field of view.
The stone to be examined should be held with tweezers and both hands should be in contact with each other. This eliminates shaking and unsteadiness.
Lighting is the next consideration and is of vital importance. One commonly used but ineffective method is to place the light directly behind the stone. The result is that rear facets reflect the light away from the stone. This leaves the stone's interior dark and the eyes blinded by glare. A much better technique makes use of a table lamp positioned so that the light faces straight down. The stone is held just next to the edge of the lamp shade so that light enters the stone from the side. Now the glare is eliminated and inclusions are much more readily seen.
Tweezer
A good pair of tweezers is another essential piece of equipment. These should be specifically designed for gemstone use. To avoid corrosion, tweezers should be made of stainless steel. Critical is the knurling found on the inside of the tips, to keep the gem from slipping. Better examples actually include a groove designed to grip the gem's girdle.
In terms of color, black is best, because it eliminates reflections. Brushed (not polished) steel is also okay; avoid brass-colored tweezers, which make rubies appear redder. In terms of tip size, the narrow tips work best with melee, but are difficult to use on large stones. For stones of 1 ct or more, a wider tip is preferred.
Below are a few tips for using the loupe and tweezer:
Loupe
Clean the stone carefully with a piece of cotton cloth and then pick it up directly with tweezers. Touching the stone with fingers may leave grease marks which might resemble inclusions.
If the right eye is to be used, hold the loupe in the right hand. Hold it as close as possible to the eye (or glasses), for the closer it is to the eye, the larger the field of view.
The stone to be examined should be held with tweezers and both hands should be in contact with each other. This eliminates shaking and unsteadiness.
Lighting is the next consideration and is of vital importance. One commonly used but ineffective method is to place the light directly behind the stone. The result is that rear facets reflect the light away from the stone. This leaves the stone's interior dark and the eyes blinded by glare. A much better technique makes use of a table lamp positioned so that the light faces straight down. The stone is held just next to the edge of the lamp shade so that light enters the stone from the side. Now the glare is eliminated and inclusions are much more readily seen.
Tweezer
A good pair of tweezers is another essential piece of equipment. These should be specifically designed for gemstone use. To avoid corrosion, tweezers should be made of stainless steel. Critical is the knurling found on the inside of the tips, to keep the gem from slipping. Better examples actually include a groove designed to grip the gem's girdle.
In terms of color, black is best, because it eliminates reflections. Brushed (not polished) steel is also okay; avoid brass-colored tweezers, which make rubies appear redder. In terms of tip size, the narrow tips work best with melee, but are difficult to use on large stones. For stones of 1 ct or more, a wider tip is preferred.
Color patterns In Opal
The vast majority of precious opal may show unique pattern to the play-of-color. The major patterns tend to fall into one of the following categories:
Pinfire: This is a mass of pinpoints, flashing different colors as the stone is moved. All colors may be seen, but red is most desirable. This pattern is fairly common and is the least sought after.
Harlequin or mosaic: Harlequin is the rarest and one of the most beautiful arrangements of play-of-color in opal; resembling a harlequin clown's costume. The true harlequin pattern appears as squares of equal size and regular arrangement. The pure pattern is particularly valuable. The color display consists of units of uneven size with distorted angles. Some dealers use the term only for the rare pattern described above, whereas others will allow more irregularity.
Flash: Flash refers to opals in which the play-of-color appears in sudden flashes that disappear or change as the stone is moved. The colors may be any shade from blue (most common) through the progressively rarer green, yellow, orange and red, with an occasional flash of violet or purple.
Red flash is most prized, but opals with violet or purple are also highly desirable due to their rarity. However, just the presence of a particular color does not make for a valuable stone; the full range of colors should be present. Stones which display all the colors, and which have colors that change with the angle of view are the most valuable opals of the type.
Exploding flash: The pattern moves outwards in all directions as the stone is moved, with red usually changing to orange or green.
Rolling flash: The patch of color moves as the stone is turned.
Broad flash: This pattern is made up of color flashes larger than 2 mm in size which are visible only at certain angles. If the flash covers a wide area it is called 'sheen'. Many precious opals fall into this category.
Other patterns include:
Floral: Resembles floral patterns seen on printed dress fabrics. The units of color are large than pinfire, more or less rounded, but slightly irregular.
Peacock's tail: Green and blue radiating out like a peacock displaying its tail feathers.
Palette: Resembles an artist's palette with patches of paint.
Pinfire: This is a mass of pinpoints, flashing different colors as the stone is moved. All colors may be seen, but red is most desirable. This pattern is fairly common and is the least sought after.
Harlequin or mosaic: Harlequin is the rarest and one of the most beautiful arrangements of play-of-color in opal; resembling a harlequin clown's costume. The true harlequin pattern appears as squares of equal size and regular arrangement. The pure pattern is particularly valuable. The color display consists of units of uneven size with distorted angles. Some dealers use the term only for the rare pattern described above, whereas others will allow more irregularity.
Flash: Flash refers to opals in which the play-of-color appears in sudden flashes that disappear or change as the stone is moved. The colors may be any shade from blue (most common) through the progressively rarer green, yellow, orange and red, with an occasional flash of violet or purple.
Red flash is most prized, but opals with violet or purple are also highly desirable due to their rarity. However, just the presence of a particular color does not make for a valuable stone; the full range of colors should be present. Stones which display all the colors, and which have colors that change with the angle of view are the most valuable opals of the type.
Exploding flash: The pattern moves outwards in all directions as the stone is moved, with red usually changing to orange or green.
Rolling flash: The patch of color moves as the stone is turned.
Broad flash: This pattern is made up of color flashes larger than 2 mm in size which are visible only at certain angles. If the flash covers a wide area it is called 'sheen'. Many precious opals fall into this category.
Other patterns include:
Floral: Resembles floral patterns seen on printed dress fabrics. The units of color are large than pinfire, more or less rounded, but slightly irregular.
Peacock's tail: Green and blue radiating out like a peacock displaying its tail feathers.
Palette: Resembles an artist's palette with patches of paint.
Saturday, May 26, 2007
The Mirror Crack'd
Memorable quote (s) from the movie:
Vicar (Charles Lloyd Pack): Oh, Mr. Rudd. I understand that you are a fillum producer.
Jason Rudd (Rock Hudson): Oh, no, sir. A director.
Vicar (Charles Lloyd Pack): Is there any difference?
Jason Rudd (Rock Hudson): Yes, sir. The, uh, producer supplies all the money; the director spends it. Then the producer yells that the director is spending too much money; the director doesn't pay any attention, and goes right on spending. The director gets all the credit; the producer gets an ulcer. You see, it's all very simple; excuse me.
Vicar (Charles Lloyd Pack): Oh, Mr. Rudd. I understand that you are a fillum producer.
Jason Rudd (Rock Hudson): Oh, no, sir. A director.
Vicar (Charles Lloyd Pack): Is there any difference?
Jason Rudd (Rock Hudson): Yes, sir. The, uh, producer supplies all the money; the director spends it. Then the producer yells that the director is spending too much money; the director doesn't pay any attention, and goes right on spending. The director gets all the credit; the producer gets an ulcer. You see, it's all very simple; excuse me.
Santa Maria Aquamarine
Here is an interesting story of a designer and her beautiful creation of jewelry with Santa Maria Aquamarine. The real Santa Maria Aquamarine is well known among collectors as one of the best qualities in the world. As always beauty is in the eye of the beholder.
(via Journal of Gemmology, Vol.27, No.5, January 2001) Francisco Bank, Prof Hermann Bank and Elena Villa writes:
Abstract
A Santa Maria aquamarine is the inspiration for the design of a necklace. Details of the stone are given, as well as the description of the design and make-up of the necklace.
The Aquamarine
Aquamarine of the highest quality and the finest blue has for many years been called ‘Santa Maria’ after such material was found at the small locality of Santa Maria in Minas Gerais, Brazil. Since there are so many places called Santa Maria in Brazil, it may have been better to have named the aquamarine after the nearby town, Itabira.
The story is told that in 1925 a mule had fallen down a hole and had broken a leg; the owner of the mule saw blue crystals in the hole and so discovered what came to be the most famous aquamarine locality in the world. For some years blue aquamarines have been mined in several ‘lavras’ (mines) in the region of Santa Maria, and were of such a good sky blue color (like the blue of tropical skies) that after 75 years people still dream today of the super color of Santa Maria aquamarine. After World War II more aquamarines were found near the original localities, but although similar, they did not quite equal the extraordinary stones of 1925.
In c.1990 blue beryls were found in a secondary deposit in Mozambique which were similar to the Brazilian ‘Santa Maria’ aquamarines and these have been called ‘Santa Maria Africana; however, in comparison they appear to have a more steely appearance than the lovely sky blue of the original Brazilian stones.
Gemological properties
Santa Maria aquamarines have the following properties:
RI = 1578-1581 (1.585-1.588)
Birefringence = 0.007-8
Specific gravity = 2.68-2.70
Spectroscopic investigation of the stone used for the necklace gave absorption lines at 370, 426, 557, 833 and 891nm. The equipment used was a Perkin Elmer Lambda 12 spectroscope.
The necklet
A Santa Maria aquamarine of 16.75ct was the inspiration for a necklet designed by one author (Elena Villa) and made by Hans Dieter Krieger of Idar Oberstein, Germany. The inclusions are disc-like and oriented parallel to each other with a rather filmy appearance.
The design
The color of the aquamarine and the inclusions ‘reflecting the shiny waves of the ocean’ inspired the creation of this unique piece of jewelry named the ‘Light Tree Water Being’. Elena Villa writes about the concept and development of the piece as follows:
“Like any other real existing being, the invented being also should have a history. Where does it come from? How has it been called into being? For me nature on earth, under water and in space, offers the richest variety of colors and shapes. Inspired by this natural diversity, the basic idea for this piece of jewelry was born. The coincidence of the strong concentrated forms of energy, light, water and earth, as well as the grace of each of these natural elements, unified in the delicate expressiveness of a jewelry piece, stimulated a new interpretation of nature through jewelry.”
“Evolution in its progress is thrilling and cannot be foreseen. The attraction to create new forms of expression, and also new possible forms of living, was more than enough reason to realize an evolutionary association between a gem and an invented being. Under such circumstances the gem can rise to life because it is no more just immobile and beautiful, but pat of a living being. The form of living and the gem turn to a symbiosis and reach a stage of subtle living effect.”
“The aim was not to have a motionless new piece of jewelry but to compose a new living being with the facilities of jewelry creation design. The result is a decorative independent individual who inspires the fantasy of the wearer as well the viewer, free and powerful with personal radiation.”
Manufacture
The piece was cast in platinum, the gold sections being formed by hand and soldered to the platinum. The aquamarine was set and then all pieces were connected by laser; the piece was finally polished with selected areas finished in a satin surface.
(via Journal of Gemmology, Vol.27, No.5, January 2001) Francisco Bank, Prof Hermann Bank and Elena Villa writes:
Abstract
A Santa Maria aquamarine is the inspiration for the design of a necklace. Details of the stone are given, as well as the description of the design and make-up of the necklace.
The Aquamarine
Aquamarine of the highest quality and the finest blue has for many years been called ‘Santa Maria’ after such material was found at the small locality of Santa Maria in Minas Gerais, Brazil. Since there are so many places called Santa Maria in Brazil, it may have been better to have named the aquamarine after the nearby town, Itabira.
The story is told that in 1925 a mule had fallen down a hole and had broken a leg; the owner of the mule saw blue crystals in the hole and so discovered what came to be the most famous aquamarine locality in the world. For some years blue aquamarines have been mined in several ‘lavras’ (mines) in the region of Santa Maria, and were of such a good sky blue color (like the blue of tropical skies) that after 75 years people still dream today of the super color of Santa Maria aquamarine. After World War II more aquamarines were found near the original localities, but although similar, they did not quite equal the extraordinary stones of 1925.
In c.1990 blue beryls were found in a secondary deposit in Mozambique which were similar to the Brazilian ‘Santa Maria’ aquamarines and these have been called ‘Santa Maria Africana; however, in comparison they appear to have a more steely appearance than the lovely sky blue of the original Brazilian stones.
Gemological properties
Santa Maria aquamarines have the following properties:
RI = 1578-1581 (1.585-1.588)
Birefringence = 0.007-8
Specific gravity = 2.68-2.70
Spectroscopic investigation of the stone used for the necklace gave absorption lines at 370, 426, 557, 833 and 891nm. The equipment used was a Perkin Elmer Lambda 12 spectroscope.
The necklet
A Santa Maria aquamarine of 16.75ct was the inspiration for a necklet designed by one author (Elena Villa) and made by Hans Dieter Krieger of Idar Oberstein, Germany. The inclusions are disc-like and oriented parallel to each other with a rather filmy appearance.
The design
The color of the aquamarine and the inclusions ‘reflecting the shiny waves of the ocean’ inspired the creation of this unique piece of jewelry named the ‘Light Tree Water Being’. Elena Villa writes about the concept and development of the piece as follows:
“Like any other real existing being, the invented being also should have a history. Where does it come from? How has it been called into being? For me nature on earth, under water and in space, offers the richest variety of colors and shapes. Inspired by this natural diversity, the basic idea for this piece of jewelry was born. The coincidence of the strong concentrated forms of energy, light, water and earth, as well as the grace of each of these natural elements, unified in the delicate expressiveness of a jewelry piece, stimulated a new interpretation of nature through jewelry.”
“Evolution in its progress is thrilling and cannot be foreseen. The attraction to create new forms of expression, and also new possible forms of living, was more than enough reason to realize an evolutionary association between a gem and an invented being. Under such circumstances the gem can rise to life because it is no more just immobile and beautiful, but pat of a living being. The form of living and the gem turn to a symbiosis and reach a stage of subtle living effect.”
“The aim was not to have a motionless new piece of jewelry but to compose a new living being with the facilities of jewelry creation design. The result is a decorative independent individual who inspires the fantasy of the wearer as well the viewer, free and powerful with personal radiation.”
Manufacture
The piece was cast in platinum, the gold sections being formed by hand and soldered to the platinum. The aquamarine was set and then all pieces were connected by laser; the piece was finally polished with selected areas finished in a satin surface.
Synthetic Diamond Market
The synthetic diamond market, especially in fancy colors are expanding. There are real concerns among experts and consumers that many are not properly trained/skilled to identify or grade them. To grade or not to grade: this is the new headache for the diamond testing and grading laboratories around the world. Natural diamond producers and dealers have their own headaches because many in the trade have difficulty explaining undisclosed treatments in way both the experts and consumers can really understand. But the key to the success for the synthetic diamond producers is their ability to grow fancy colored diamonds. Overall the growth has been slow but steady. Well known companies like Chatham Created Diamonds and Gemesis Corporations and others have developed their unique marketing strategies via branding and celebrity endorsements to compete with natural diamond producers in the dog-eat-dog world of diamond trade. The popular synthetic diamond colors include pink, yellow, blue and brown. Although colorless synthetic diamonds are produced for special markets, but for now it's the fancy colors that's appealing to the consumers. The price information for synthetic colored diamonds is limited because different producers have different operating costs and delivery techniques.
Friday, May 25, 2007
Million Dollar Jewels
1. Baroda Pearls (Christie’s) $7,096,000
2. Kashmir sapphire, cushion, 22.66 carat (Christie’s) $3,064,000
3. Blue diamond, fancy grayish blue, cushion, 9.39 carat (Christie’s) $2,392,000
4. Bulgari diamond ring, potentially flawless, rectangular, 24.65 carat (Christie’s) $2,056,000
5. Diamond pendant, fancy intense yellow (Sotheby’s) $2,056,000
6. Emerald and diamond ring, Van Cleef & Arpels (Sotheby’s) $1,888,000
7. Yellow diamonds, three pear-shaped, fancy deep brownish yellow, 38.28, 32.15, and 29.60 carats (Christie’s) $1,720,000
8. Diamond, pear, H/VVS2, 40.12 carat (Christie’s) $1,664,000
9. Pendant suspended from a 30 carat baguette diamond collar, pear, 48.91 carat, J/VS2 (Sotheby’s) $1,552,000
10. Diamond ring, Van Cleef & Arpels, emerald cut, D/VVS1, 16.98 carat (Sotheby’s) $1,552,000
11. Diamond cluster brooch, Harry Winston, D color (Christie’s) $1,328,000
12. Pair of Asscher cut diamond ear pendants, 25.05 carats each (Christie’s) $1,014,000
2. Kashmir sapphire, cushion, 22.66 carat (Christie’s) $3,064,000
3. Blue diamond, fancy grayish blue, cushion, 9.39 carat (Christie’s) $2,392,000
4. Bulgari diamond ring, potentially flawless, rectangular, 24.65 carat (Christie’s) $2,056,000
5. Diamond pendant, fancy intense yellow (Sotheby’s) $2,056,000
6. Emerald and diamond ring, Van Cleef & Arpels (Sotheby’s) $1,888,000
7. Yellow diamonds, three pear-shaped, fancy deep brownish yellow, 38.28, 32.15, and 29.60 carats (Christie’s) $1,720,000
8. Diamond, pear, H/VVS2, 40.12 carat (Christie’s) $1,664,000
9. Pendant suspended from a 30 carat baguette diamond collar, pear, 48.91 carat, J/VS2 (Sotheby’s) $1,552,000
10. Diamond ring, Van Cleef & Arpels, emerald cut, D/VVS1, 16.98 carat (Sotheby’s) $1,552,000
11. Diamond cluster brooch, Harry Winston, D color (Christie’s) $1,328,000
12. Pair of Asscher cut diamond ear pendants, 25.05 carats each (Christie’s) $1,014,000
Subscribe to:
Comments (Atom)