Category Archives: padparadscha Sapphire

Book Reviews: Kapur on J. B. Tavernier, Hughes on Ruby/Sapphire, Yavvorskky on Garnet

Jean Baptiste Tavernier, A Life:  KAPURIMAGE

Harish Kapur’s reasonably well written short biography of Jean Baptiste Tavernier, the 17th Century gem dealer who  the Hope Diamond has quite a bit to recommend it.  He covers the important parts of Tavernier’s life, travels and writing.  I am particularly taken by his ability to extract from the minutia of Tavernier’s long life, some of the more salient points.    

Unfortunately, the narrative is marred by a number of factual errors.  The most egregious, perhaps resulting from an injudicious use of MSWord’s find/replace shortcut the word “diamond” in the last two thirds of the manuscript has been replaced by “pearl.”  For the uninformed reader, this results in a number of misstatements about Tavernier’s objectives and focus as well as a several absurd statements concerning the “mining” of pearls and the “pearl mines” of India.   A photo of a drawing from Tavernier’s Six Voyages, of a diamond that became known as The Mirror of Portugal is ludicrisly mis-labeled “The Sara Pearl.”

The author also somehow misquotes Tavernier’s assertion that he traveled 60,000 leagues which becomes 600,000 leagues.  At three miles to the league that leads to the ridiculous assertion that Tavernier traveled not 180,000 (an amazing accomplishment in the 17th Century) but 1.8 million miles, which would have required 72 circumnavigations of the earth.  

Kapur also quotes an unfortunate statement made by New York Times reporter Guy Trebay (1/6/10) suggesting that Tavernier may have been involved in the acquisition of the Wittelesbach-Graff Diamond.  Though the diamond is first mentioned in 1677, while Tavernier was STILL in India completing his sixth and final voyage, there is absolutely no documentation supporting this theory.  Tavernier did mention several gems he successfully acquired and though he does not actually mention the 116 carat Tavernier Blue, the gem that eventually became the Hope, he did include a drawing of it in his book, The Six Voyages.

On the plus side, the book includes several appendices containing documents never before available to the English speaking reader and his research raises a number of intriguing theories regarding Tavernier’s motivations, travels, life and death.  Unfortunately, his sloppy copy editing may lead frustrated readers to disregard most of the  author’s conclusions.

Last, and certainly not least, in the bibliography, which includes my partly fictionalized biography of Tavernier, The French Blue, the author confuses me with someone named Robert.

 


Ruby & Sapphire, A Collector's Guide

In this general reference which can be looked upon as an update and supplement to his classic Ruby and Sapphire, Hughes, as usual, offers a uniquely personal insight into the world of corundum.

 

HughesUpdate His ability to blendup to date information with arcane references is a delight.  This volume together with his previous opus make the best general reference on ruby & sapphire published to date though I do wish Hughes had come up with a title that was not so similar to his first book.

HughesCollectorBook

As a bibliophile, I was particularly taken by his section on books and gem libraries.  Despite the fact that I have written and read extensively in the field and own a voluminous library, Hughes always seems to come up with obscure sources which send me scrambling back to that library to search for the odd passage and just as often to online sellers of rare books.

The photography appears to be a Hughes family project with contributions from his wife Wimon Manorotkul and his daughter E. Billie Hughes.  They are a truly formidable trio.   The images are uniformly beautifully composed, at times dramatic and always provacative. 

Never dry, Hughes offers a lively, if somewhat self-conscious and definitely idiosycratic narrative that is rarely off-putting and never dull.

If you missed the first volume here is an opportunity and if you didn't this book will complete the set.  Ruby & Sapphire, The Collector's Guide, published by The Gemmological Institute of Thailand (GIT), is not readily available in the U. S. Still, given its quality and the limited print run and the money saved by direct marketing, it is well worth paying the high shipping costs to get the book sent directly from the author.   

 

 

Terra Garnet: 

TGcoverWTo round out the year's splendid offerings, Vladislav Yavvorskky has brought forth his second book in his Terra series, Terra Garnet.  Like its predecessor, Terra Spinel (now out of print), this georgeous volume is sumptuously produced with fabulous images of some of the finest garnets on earth.   

VYportraitW

Vladislav Yavorskky

The accompanying text is written by Richard W. Hughes and Jonas Hjornered.  If the reader is seeking an in depth gemological analysis or history of garnet as a gemstone it won't be found here.  Other than brief introductions to garnet and a bit on producing countries, the commentary consists of short captions.  This book is all about the pictures and what pictures they are.  

Yavorskky is a talented photographer and Terra Garnet puts this talent on display. His photographs of gem mining and producing areas capture the essence of these often remote areas and will give the reader a real taste of the hard life of those who seek out precious gems.  

In these photographs, taken over twenty years, Yavorskky often juxtaposes the cut stone against the original rough material, visually initiating the reader in the awe inspiring metamorphosis that takes place as these beaufiful products of nature are transformed by the hand of man.  In the past decade, color printing technology has taken a great leap forward and this book showcases the best of it.  

One caveat: I have been adminring Vlad Yavorskky's gemstones for many years and though they are beautiful in person, many of these shots appear overproduced and likely to establish an unrealistic paradigm in the mind of the unintiated consumer.

Like Hughes' book, Terra Garnet is not available through standard channels.  This turns out to be a good thing, The book is so beautifully and expensively produced that its price would be substantially more if it was.  The reader as advised to act quickly.  Terra Garnet is available direct from the publisher


 

 

 

Boldly Going Where No Lab Rat Has Gone Before

Boldly going where No Lab-rat has gone before.

by Richard W. Wise, G.G.

© 2008

Gemological Laboratories are under increasing pressure to add quality grading to their traditional role of determining origin and treatment of gemstones. One laboratory, AGL had been doing this for several years. However, recently under the aegis of the Lab Harmonizing Committee several of the leading labs have decided to aggressively go where no lab has gone before into the world of marketing. Gem Labs have entered the nomenclature business and into a firestorm of controversy .

The question of nomenclature is often more about tradition than science. You can study internal inclusions and make a determination about treatments and point out what specific anomalies led to your conclusions but how do you decide what to name a gem? The recent flap over Mozambique cuprian tourmaline that I covered in an earlier post is an excellent example. http://gemwiseblogspotcom.blogspot.com/2006_06_01_archive.html

Traditionally we name a gemstone based on species and variety but what happens in the case of a gem that is of the species corundum but derives its name strictly from a mix of colors? What gem am I thinking of? I’ll give you a hint; padparadscha sapphire.

In my book Secrets Of The Gem Trade, The Connoisseur’s Guide To Precious Gemstones, www.secretsofthegemtrade.com, following the late great GIA gemologist Richard Liddicoat, I define padparadscha as a light to medium tone of pinkish orange to orangey pink. Up until recently, labs have avoided the issue by simply calling the colors; “pinkish orange” and so forth.

A consortium of gem labs under the title: The Laboratory Manual Harmonization Committee (LMHC) met in Milan and has drawn up a standardized definition of padparadscha. The LMHC consists of seven of the world’s major laboratories (AGTA Gem Testing Center, CISGEM (Milan), GAAJ (Japan), GIA (USA), Gemological Institute of Thailand, Gübelin Gem Lab (Switzerland) and SSEF Swiss Gemmological Institute (Switzerland). Some of these labs, excluding for the moment GIA-GTL, have begun to call and consumers have begun to demand a lab certificate that uses the term padparadscha to describe the stone. The question is, where is this definition coming from and is this the beginning of a brave new world wherein laboratory gemologists begin to dictate to dealers and connoisseurs?

“Well”, I can hear you say, “somebody’s got to cut through all the confusion.” and I agree. But, be careful what you wish for. Leaving aside the question of how this definition was arrived at, like it or not, once established the criteria determined by the labs will become the accepted definition. Are we ready for this and what in the training of a gemologist prepares them for this role? I received my Graduate Gemologist diploma some years back and I can tell that what a neophyte Graduate Gemologist doesn’t know about quality in gemstones would fill many volumes. A newly minted G.G. is little more than an apprentice scientist. Oh sure, he learns the GIA diamond grading system but…

According to Richard Hughes well known author and gemologist with the AGTA gem laboratory which makes him one of the most prominent lab-rats, laboratories have no business making such calls. He was particularly upset by the fact that the LMHC did not include a representative from Sri Lanka at the meetings where the decision was made (I mean where does the term come from?). Hughes also had problems with the adoption of a printed color chart developed by Franck Notari (GIA Geneva). Hughes makes the point that the definition of padparadscha is fuzzy at best and he feels that the insistence on hard a fast definitions is not appropriate. As proof of this assertion, Hughes did an analysis and discovered that the magnificent 20.84 carat padparadscha (pictured above left) that sold last year at Christies falls outside the parameters as defined by the chart adopted by the LMHC.

Stay tuned…

And now a word from our sponsor….

Possibilities for holiday giving

By Richard W. Wise, G.G.

© 2006

The holidays are fast approaching. I thought readers might like to take a look at a something new from our workshop.

During our summer show, I took the opportunity to select one of the most interesting of the Michael Dyber gem sculptures to make into a necklace and turned it over to Douglas Canivet. The center stone pictured is a 42.25 carat ametrene. This gem material shows both yellow and purple in the same crystal. It comes from only one mine, Anahi in Boliva. I like the combination of zoning and rich color and the sensitive way Michael integrated the natural features of the gem into a pleasing composition.

The necklace was completely hand fabricated. For those of you who don’t know, hand fabrication is the old method of hand making. We use the same methods as those pictured on the tombs of Egypt’s famous Valley of the Kings. In this case all the pieces were cut out of sheet gold. I don’t like to use the term handmade because everyone, including a lot of stuff that is mass-produced, is called “handmade.”

Construction and Materials:

The construction, exclusive of design time, took more than sixty hours, that’s a week and a half for a master craftsman of Doug’s caliber. We used 35.3 penny-weight (dwt.) of 18k gold. Penny weight is an old unit of measure, 20 dwt. to the ounce so a bit over an ounce and a half. The eight diamonds; 1.08 carat total weight of D-E, VS color ideal cut stones set in handmade tubes. Ideal cuts are perfectly proportioned stones that deliver between 92-98% total light return. They are dazzlers!

Notice the joinery, how the angles at which the gold links join create a juxtaposition of shape and plane that compliment the center sculpture. Note how the diamonds appear to float. The gold has a sandblasted finish. This allows the gems visual room to work.

Craftsmanship:

Contemporary hand fabricated jewels look simple. Because the designs are clean without excessive ornamentation you get the idea that they are simpler to make than say Victorian pieces with all the filagree. Not true! Most handmade jewelry is put together with gold solder and gold solder will not “fill in” empty space so every join must be fitted perfectly. Fine cabinetry is a good analogy. Its very much like building a desk or cabinet. Every angle requires a solder joint. It took about eight separate pieces just to make the setting for the center stone. In this necklace everywhere you see an angle there is a join and if the fit is not perfect you will see lumps, holes and porosity at the joint. In such a “simple” design there is no where to hide your mistakes. A master’s hand is evident not only in what you see but also in what you don’t see.

Handmade is better made:

Is there a difference between hand made and mass-manufactured. Most mass-manufactured jewelry is designed by people who have never worked in gold. The design is drawn or created on a computer then mastered in wax. The element of dialogue, the give and take between the artist and his materials together with the fine eye and sensitive mark of the hand is always missing. Then, of course, it is the only one! Does uniqueness have value? Today, much custom design is done with CAD software. A craftsman can tell a CAD designed piece a mile away. It is yet another step removed from the hand. To me CAD designed jewelry has a sterile soul-less quality.

Other Possibilities:

May I show you some of the newest additions to my gem collection? These are stones sourced on my recent trip to The Orient. These are one of a kind gems that to my eye are extraordinary.

Padparadscha Sapphire:

There seems to be a lot of interest in Padparadscha sapphire. As I define it in my book; Secrets Of The Gem Trade, Padparadscha, the word is a corruption of the Singhalese padma raga or “color of the Lotus”. Padparadscha is a pinkish orange to orangey pink sapphire. Here is the important point it must be a delicate hue. The Sri Lankans prefer as stone with a bit more pink than orange. This stone embodies the essence of the term. It is a 3.98 carat natural stone with no enhancement or treatment of any kind. It is has a flower-petal soft quality.

True un-monkeyed-around-with padparadscha sapphires is one of nature’s great rarities. This is one of the finest stones I have seen in my career. The shape makes it an excellent candidate for a pendant but if you will accept my advice, make a ring. Rings are for people who love gems and want to stop and admire.

Purple Mozambique Tourmaline:

Rare and beautiful, until the new find of cuprian tourmaline from Mozambique, I had never seen a purple tourmaline. Most purple tourmaline is actually purplish red. I am told that true purples have been found in the past few years but they were almost always heated to turn them the more desired electric blue.

I am told that the stones from Mozambique are of two types; those that can be successfully heated and those that cannot.

This one is a visually pure purple. It weighs 8.14 carats. In the magnified image you can see straight growth tubes but without magnification the stone is eye-flawless viewed face-up. It is a visually pure purple with no evidence of gray and it stands up well in both natural and incandescent lighting.

Fancy Color Diamonds; A Sweet Suite:

I tried to resist this delectable suite of orange and purple fancy color diamonds but I failed. The language of the GIA certificate calls the center a “Yellow-Orange” meaning that the two hues exist in fairly equal proportions. To me it is a yellowish-Orange, a true tangerine with all the warmth and richness of the sun kissed fruit. The two vivid purple-pinks are pure of hue with no gray or brown to either dull or muddy the hue. All three understated, elegant and beautifully cut.

A Burma Gem:


This ruby is a 2.05 carat emerald cut gem. What is a “gem”. In the gem trade, this is the appellation reserved for the crème de la crème, the finest of the fine. Everything, color, cut, clarity and crystal must be outstanding for the gem type and here it is.

“Asking to see the pigeon’s blood is like asking to see the face of God.”

Anonymous Burmese Trader

Love that quote but the truth is not quite so mysterious. “Pigeon’s blood” is a pure medium dark red with a touch (10-15%) blue that when mixed with the red reads as purplish. As an old Burmese jeweler explained it; the blue is cancelled out its compliment, the rich yellow of high carat gold leaving the gem a visually pure scarlet when set.

We have a number of fine rubies as well as fine handmade originals, antique jewelry and gemstones pictured on our website: www.rwwise.com . Please take a look and if you see something you like call me at 800.773.0249 or 413.637.1589 if you live in Berkshire County.

Looking for a large stocking stuffer? Consider Secrets Of The Gem Trade, The Connoisseur’s Guide To Precious Gemstones. Now in PAPERBACK for only $26.95 at our website or slightly higher at Amazon.com www.secretsofthegemtrade.com.

“Wise is a renowned author… He’s
done a marvelous job of this first book,
a monumental work, a tour de force…

My recommendation: Buy this book”

Charles Lewton-Brain, Orchid