Monday, February 25, 2008
Gold Theft
We are seeing an increase in robberies of valuables, especially gold and artifacts from ancient temples in Asia, and few stolen goods are ever retrieved + the thieves resort to mundane tactics, such as replacing ancient artifacts with cheap objects (just like switching gemstones from natural to synthetic or imitation + you need a good eye to know the difference) + they are also using special chemicals to remove gold from statues + I think the theft could stem from rising gold prices + rising demand in the amulet market (s).
Sunday, February 24, 2008
Dumortierite + Sapphirine
Madagascar + Tanzania are well-known for a number of uncommon + rare minerals, but lately we are seeing more uncommon gem materials from Tunduru, Tanzania; Dumortierite, when transparent, is violetish gray/brownish pink + they are usually found in mine-run parcels (mixed lots); Sapphirine, when transparent, is gray/violet/red + they are commonly found in mine-run parcels (mixed lots) + both Dumortierite and Sapphirine, if found in alluvial sources look like water-worn pebbles and are often confused with mainstream colored stones + standard gemological tests may identify both specimens, if you have master-stone specimens for quick comparison, but if doubtful always consult a reputed gem testing laboratory.
Natural Landscape
(via The Outline of Art) William Orpen writes:
The Norwich School prospered exceedingly, more so than any other body of provincial artists has ever done in England, and their success was due not only to the excellence of their own work but also to the fact that they labored in a field well prepared to receive art. It will have been observed how many of the great English landscape painters belonged to the Eastern Countries—Gainsborough and Constable were both Suffolk men—and the extent to which the art of all them was influenced by the art of Holland. The explanation is to be found in the intimate trade relations which had existed for centuries between East Anglia and the Netherlands. Owing to this commercial intercourse numbers of Dutch and Flemish pictures found their way into East Anglia homes, and while London during the eighteenth century worshipped Italian art almost to the exclusion of all other, well-to-do people in Norfolk and Suffolk took a keener delight in thte homelier art of the Dutch and Flemish Schools. Thus at the very time that Constable was being neglected in London, John Crome was enjoying esteem and wide popularity in Norfolk.
It is true the Crome never made a fortune; to the end his lessons brought him in more money than his paintings, for any of which fifty pounds was a long and rarely attained price; but Crome did sell his pictures and in time became quite comfortably off. In 1801 he moved into a big house in Gildengate Street, he kept two horses, and managed before his death to acquire many good pictures and to form a library. Norwich was proud of her distinguished painter, and a special seat was always reserved for him in the parlor of the old inn in the market-place, where in his later years he was treated as an oracle, revered by all.
Under these circumstances we can understand why Crome continued to reside in his native Norwich and was never tempted to settle in London. In 1806 he exhibited for the first time at the Royal Academy, but between then and 1818 he only sent thirteen pictures in all to be exhibited there. He visited London occasionally, twice he went to Cumberland, in 1802 and 1806, once to Weymouth, and in 1814 he made a tour in France and Belgium, but his chief subjects were almost exclusively local. He was perfectly satisfied with the lanes, heaths, and river-banks surrounding Norwich, without wishing to journey further afield. In his great tree picture, ‘The Poringland Oak,’ he rivalled his own idol Hobbema; in ‘Moon Rise on the Yare,’ he surpassed the moonlight paintings of Van der Neer, by whom it was inspired; while masterpiece, ‘Mousehold Health,’ at the National Gallery, will always rank Crome amongst the grandest of landscape painters. Asked by his son why he had painted this last subject, Crome made the memorable reply: ‘For air and space.’
In addition to his oil paintings Crome executed a few water-colors and also a number of etchings. In 1834 a series of thirty-one of his etchings was published under the title of ‘Norfolk Picturesque Scenery.’
While out sketching in his fifty third year he caught a chill, and after a few days illness died on April 22, 1821. On the day before he died he addressed to his son the words so often quoted: ‘John, my boy, paint, but paint only for fame; and if your subject is only a pigsty, dignify it.’ The art of Old Crome is indeed a perpetual reminder that a masterpiece of painting is due far more to the treatment than to the subject, and nobody knew better than the Norwich master how to give dignity to the humblest subject by its stately presentation in a well-balanced composition.
Though his landscape art is limited in comparison with that of Turner and Constable, within his own self-imposed limits Crome is second to none. He did not set out, like Turner, to mirror the blazing glories of dawn and sunset, nor did he, like Constable, hold himself ready to paint Nature and weather in every aspect: Crome waited for the quieter moods of Nature in his own homeland, and he painted these to perfection.
Natural Landscape (continued)
The Norwich School prospered exceedingly, more so than any other body of provincial artists has ever done in England, and their success was due not only to the excellence of their own work but also to the fact that they labored in a field well prepared to receive art. It will have been observed how many of the great English landscape painters belonged to the Eastern Countries—Gainsborough and Constable were both Suffolk men—and the extent to which the art of all them was influenced by the art of Holland. The explanation is to be found in the intimate trade relations which had existed for centuries between East Anglia and the Netherlands. Owing to this commercial intercourse numbers of Dutch and Flemish pictures found their way into East Anglia homes, and while London during the eighteenth century worshipped Italian art almost to the exclusion of all other, well-to-do people in Norfolk and Suffolk took a keener delight in thte homelier art of the Dutch and Flemish Schools. Thus at the very time that Constable was being neglected in London, John Crome was enjoying esteem and wide popularity in Norfolk.
It is true the Crome never made a fortune; to the end his lessons brought him in more money than his paintings, for any of which fifty pounds was a long and rarely attained price; but Crome did sell his pictures and in time became quite comfortably off. In 1801 he moved into a big house in Gildengate Street, he kept two horses, and managed before his death to acquire many good pictures and to form a library. Norwich was proud of her distinguished painter, and a special seat was always reserved for him in the parlor of the old inn in the market-place, where in his later years he was treated as an oracle, revered by all.
Under these circumstances we can understand why Crome continued to reside in his native Norwich and was never tempted to settle in London. In 1806 he exhibited for the first time at the Royal Academy, but between then and 1818 he only sent thirteen pictures in all to be exhibited there. He visited London occasionally, twice he went to Cumberland, in 1802 and 1806, once to Weymouth, and in 1814 he made a tour in France and Belgium, but his chief subjects were almost exclusively local. He was perfectly satisfied with the lanes, heaths, and river-banks surrounding Norwich, without wishing to journey further afield. In his great tree picture, ‘The Poringland Oak,’ he rivalled his own idol Hobbema; in ‘Moon Rise on the Yare,’ he surpassed the moonlight paintings of Van der Neer, by whom it was inspired; while masterpiece, ‘Mousehold Health,’ at the National Gallery, will always rank Crome amongst the grandest of landscape painters. Asked by his son why he had painted this last subject, Crome made the memorable reply: ‘For air and space.’
In addition to his oil paintings Crome executed a few water-colors and also a number of etchings. In 1834 a series of thirty-one of his etchings was published under the title of ‘Norfolk Picturesque Scenery.’
While out sketching in his fifty third year he caught a chill, and after a few days illness died on April 22, 1821. On the day before he died he addressed to his son the words so often quoted: ‘John, my boy, paint, but paint only for fame; and if your subject is only a pigsty, dignify it.’ The art of Old Crome is indeed a perpetual reminder that a masterpiece of painting is due far more to the treatment than to the subject, and nobody knew better than the Norwich master how to give dignity to the humblest subject by its stately presentation in a well-balanced composition.
Though his landscape art is limited in comparison with that of Turner and Constable, within his own self-imposed limits Crome is second to none. He did not set out, like Turner, to mirror the blazing glories of dawn and sunset, nor did he, like Constable, hold himself ready to paint Nature and weather in every aspect: Crome waited for the quieter moods of Nature in his own homeland, and he painted these to perfection.
Natural Landscape (continued)
Keen Observation
To the best of my knowledge no one has highlighted the importance of education vs work experience in the diamond industry for a long time. I think Mordy Rapaport was spot on. It was educational + insightful.
Perspectives
(via Rapaport, Vol.31, No.5, February 1, 2008) Mordy Rapaport writes:
Education has always played an important role in business. Individuals’ job placement and overall success are many times based upon not only their workplace history but also their academic achievements. While I was signing up for business classes recently, I reflected on the study habits of my younger colleagues in the diamond industry.
The debate of education versus actual work experience has become prevalent in today’s fast-paced business environment. There seems to be a desire by individuals entering the workforce to obtain an increasingly higher level of education. Many younger individuals pursue multiple degrees, including MBAs and even PhDs, forgoing real work experience, and entering the business arena at an increasingly later stage of their lives.
The diamond business, however, differs from other industries in that there is a need for industry stakeholders to obtain the necessary knowledge of the product we continuously deal with. While business skills are direly needed, perhaps even more so than in other industries, they come second to an understanding of the product’s physical properties and the industry’s uniquely competitive environment. As a result, many very capable individuals opt out of pursuing a formal education and instead focus on the ongoing demands of their existing business and job priorities.
While both scenarios are understandable, I question whether either is the ideal route to be taken. Working in a vibrant environment with a hectic travel schedule and a large array of opportunities has forced me to consider the pros and cons of education and to prioritize my time accordingly. While gaining the general knowledge derived from the curriculum of today’s business schools is beneficial, I do not believe it to be the determining factor in whether to choose studies over hand-on-experience. Vast knowledge can be obtained from first hand experience in certain fields of work, more than can be relayed by a professor sitting in a classroom. On the other hand, limiting one’s expertise to a single commodity—which in the case of the diamond industry has immense volatility in terms of supply and demand—can be equally shortsighted. While the diamond industry provides a source of revenue for many, the ability to venture out into alternative business propositions should not be discarded.
What is needed is a middle ground. Many Indian acquaintances of mine have been able to capture the positive aspects of both worlds. Beginning work in the diamond trade at a young age, many leave India to pursue studies in some of the finest European and North American institutions. Their decision to step outside of their social circles and attend universities abroad adds immensely to their business sense and capabilities.
So while many younger individuals in our industry have previously not pursued studies in the broad range of business topics available, I believe it is crucial to obtain knowledge that will enable us to position ourselves for success. Many avenues, such as the GIA School of Business, are now available. Previously forced to choose between studies and work, today those within our trade interested in combining the two can select from multiple opportunities. While earning a bachelor’s degree does not determines one’s capabilities, it is certainly something beneficial to possess. Many outside factors not within our control affect the diamond trade today. A person’s ability to understand and counter any such effects will ultimately determine long term success.
Perspectives
(via Rapaport, Vol.31, No.5, February 1, 2008) Mordy Rapaport writes:
Education has always played an important role in business. Individuals’ job placement and overall success are many times based upon not only their workplace history but also their academic achievements. While I was signing up for business classes recently, I reflected on the study habits of my younger colleagues in the diamond industry.
The debate of education versus actual work experience has become prevalent in today’s fast-paced business environment. There seems to be a desire by individuals entering the workforce to obtain an increasingly higher level of education. Many younger individuals pursue multiple degrees, including MBAs and even PhDs, forgoing real work experience, and entering the business arena at an increasingly later stage of their lives.
The diamond business, however, differs from other industries in that there is a need for industry stakeholders to obtain the necessary knowledge of the product we continuously deal with. While business skills are direly needed, perhaps even more so than in other industries, they come second to an understanding of the product’s physical properties and the industry’s uniquely competitive environment. As a result, many very capable individuals opt out of pursuing a formal education and instead focus on the ongoing demands of their existing business and job priorities.
While both scenarios are understandable, I question whether either is the ideal route to be taken. Working in a vibrant environment with a hectic travel schedule and a large array of opportunities has forced me to consider the pros and cons of education and to prioritize my time accordingly. While gaining the general knowledge derived from the curriculum of today’s business schools is beneficial, I do not believe it to be the determining factor in whether to choose studies over hand-on-experience. Vast knowledge can be obtained from first hand experience in certain fields of work, more than can be relayed by a professor sitting in a classroom. On the other hand, limiting one’s expertise to a single commodity—which in the case of the diamond industry has immense volatility in terms of supply and demand—can be equally shortsighted. While the diamond industry provides a source of revenue for many, the ability to venture out into alternative business propositions should not be discarded.
What is needed is a middle ground. Many Indian acquaintances of mine have been able to capture the positive aspects of both worlds. Beginning work in the diamond trade at a young age, many leave India to pursue studies in some of the finest European and North American institutions. Their decision to step outside of their social circles and attend universities abroad adds immensely to their business sense and capabilities.
So while many younger individuals in our industry have previously not pursued studies in the broad range of business topics available, I believe it is crucial to obtain knowledge that will enable us to position ourselves for success. Many avenues, such as the GIA School of Business, are now available. Previously forced to choose between studies and work, today those within our trade interested in combining the two can select from multiple opportunities. While earning a bachelor’s degree does not determines one’s capabilities, it is certainly something beneficial to possess. Many outside factors not within our control affect the diamond trade today. A person’s ability to understand and counter any such effects will ultimately determine long term success.
Fragrance Ingredient Research
'There are no new colors to see and very few new sounds, but we are actually creating new, unique smells no one has ever smelled before.'
- Ned Polan
Vice President
Fragrance Ingredient Research
International Flavors & Fragrances
www.iff.com
- Ned Polan
Vice President
Fragrance Ingredient Research
International Flavors & Fragrances
www.iff.com
The Shield Cut
(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:
Inventories of the fourteenth and fifteenth centuries describe triangular diamonds in different ways—for instance, as en demies losanges, plats à 3 quarrés, plats aux 2 costez fais à 3 quarrés, and couchiés. Most descriptions, however, include the word écu (French, from the Latin scutum, meaning a shield)—‘en guise ďun escu’, ‘en façon ďescusson’, etc. I have included all historical triangular cuts under this one heading (even those entries which represent triangular Table Cuts and Mirror Cuts), because for centuries the shield played such an important role in warfare and heraldry, and the shape of the stone took precedence over the cut. Modern triangular diamonds are described, according to the cut, as Brilliants or Step Cuts, and only as Shields if the sides are rounded.
A cleavage of an octahedral crystal (a ‘was’) displays one side with a dominating triangular face (one of the octahedral faces). It looks like a Pyramidal Point Cut, deeply buried, with only one of its faces, and small areas of the surrounding faces, exposed. This is described in French as couchié and in German as liegender.
The most important known historical jewel containing large Shield Cuts was owned by Charles the Bold, Duke of Burgundy. On his ‘Feather’, in addition to five large spinels, a Burgundian Point Cut and a Table Cut diamond weighing 7-8 ct, there were two Shields, each about 12 mm in diameter and weighing about 6 ct. They were described in 1504 as ‘zwen demant schilt mit dryen anhangenden eggkenden falsetten, gutt wasser, wigt yeglicher ungeverlich kratj sechse’. Perhaps the oldest surviving examples of Table and Table Cut Shields are to be found on the Burgundian Court Goblet, dating from the middle of the fifteenth century.
Inventories of the fourteenth and fifteenth centuries describe triangular diamonds in different ways—for instance, as en demies losanges, plats à 3 quarrés, plats aux 2 costez fais à 3 quarrés, and couchiés. Most descriptions, however, include the word écu (French, from the Latin scutum, meaning a shield)—‘en guise ďun escu’, ‘en façon ďescusson’, etc. I have included all historical triangular cuts under this one heading (even those entries which represent triangular Table Cuts and Mirror Cuts), because for centuries the shield played such an important role in warfare and heraldry, and the shape of the stone took precedence over the cut. Modern triangular diamonds are described, according to the cut, as Brilliants or Step Cuts, and only as Shields if the sides are rounded.
A cleavage of an octahedral crystal (a ‘was’) displays one side with a dominating triangular face (one of the octahedral faces). It looks like a Pyramidal Point Cut, deeply buried, with only one of its faces, and small areas of the surrounding faces, exposed. This is described in French as couchié and in German as liegender.
The most important known historical jewel containing large Shield Cuts was owned by Charles the Bold, Duke of Burgundy. On his ‘Feather’, in addition to five large spinels, a Burgundian Point Cut and a Table Cut diamond weighing 7-8 ct, there were two Shields, each about 12 mm in diameter and weighing about 6 ct. They were described in 1504 as ‘zwen demant schilt mit dryen anhangenden eggkenden falsetten, gutt wasser, wigt yeglicher ungeverlich kratj sechse’. Perhaps the oldest surviving examples of Table and Table Cut Shields are to be found on the Burgundian Court Goblet, dating from the middle of the fifteenth century.
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