Contributions of Gemstone Connoisseur J.P.Morgan

J.P. Morgan photograph by Edward SteichenJ.P. Morgan remains today as controversial a figure as he was a century ago. Some regard him as one of the great 19th century robber barons; others see his role in the industrialization of America more benignly. Whatever you think about him, the facts are that he played major roles in the formation of General Electric, U.S. Steel, International Harvester and in the creations of vast railroad empires. Morgan is also credited with averting a general collapse following the stock market panic of 1907.

Less well known is his intense interest in art, books and gemstones.

The first major gem collection with which Morgan was associated was one assembled by Tiffany renowned gemologist, George Frederick. Kunz. Kunz prepared a collection called “Gems and Precious Stones from North America” which was shown at the World’s Fair in Paris in 1889 and consisted of more than 1,000 pieces.  Morgan, then a trustee of the American Museum of Natural History in New York, spent five months haggling with Kunz over a price for the collection, finally paying $15,000 for it. This collection became known as the Tiffany-Morgan Collection of Gems. (The Eagle Diamond, a 12 carat diamond found in Wisconsin was a part of this collection. It disappeared in the famous 1964 robbery of the AMNH by Jack Roland Murphy or “Murph the Surf.” Of the hundreds of stones stolen in the midnight robbery, only a dozen or so stones were never recovered, including the Eagle Diamond. It’s speculated that it was cut into smaller stones and dispersed.)

Clarence S. BementIn 1900, Morgan commissioned Kunz to locate and buy the best gem specimens from around the world. This formed the second “Tiffany-Morgan” collection and consisted of 2,176 specimens.  It’s unclear to me when Morgan acquired the fabulous “Star of India” sapphire, a 563.35 carat cabochon cut sapphire, famous for its size and its stars on both sides. In 1900, he gave the Star of India to the AMNH.

In 1901 Morgan acquired the third major gem collection, paying $100,000 for the 12,300-specimen collection of Clarence S. Bement, a Philadelphia industrialist. The collection was so extraordinary that when the late Harvard mineralogist Charles Palache saw the collection for the first time in 1898 he wrote, “All day I have feasted my eyes on minerals such as I scarcely dreamed existed.” Morgan presented the AMNH with the collection and it was so large that two railroad boxcars were required to transfer it from Philadelphia to New York.

All three collections were donated to the AMHN. The New York City-based Museum was founded in 1869 and is one of the largest and most celebrated museums in the world. Many men, including Theodore Roosevelt, Sr., father of the 26th president of the U.S., played a role in its creation and development.  But those of us who love gems cannot ignore the major contribution of J.P. Morgan, whatever one thinks of his other achievements.

Morganite ring, courtesy JCKMorganiite was discovered in Madagascar in 1908 by George Frederick Kunz.  (Although Kunz is usually given credit for discovering morganite, it was actually discovered in California a few years before the Madagascar find.)

Morganite is a pink beryl, sister to more famous beryls, emerald and aquamarine. Morganite is colored a peachy pink by the presence of manganese or cesium. In 1911, it was named “Morganite” in honor of Kunz’s famous patron, J.P. Morgan.

(The morganite ring pictured opposite is courtesy JCK. I’ve not seen a morganite with this deep color, most are pinker. It may have been heat treated.)

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“Small” Crown Part of Victoria Mourning Jewelry

Queen Victoria Wearing Small Diamond CrownAmong other things, many of us remember Queen Victoria, the British monarch for more than half of the 19th century, for her extravagant, decades-long mourning of her consort, Prince Albert of Saxe-Coburg and Gotha.

She married Albert, her first cousin, in 1840 and when he died in 1861 after twenty-one years of marriage, she wore mourning clothes for 40 years or for the remainder of her long life.

One consequence of the extended mourning period was an unprecedented demand for jet jewelry from both the British aristocracy and the middle classes to commemorate bereavement. Remember, at this period, it was de rigueur for anyone who could to emulate the monarchy.

Briefly, jet is a type of brown coal that has been used since the Stone Age for personal ornamentation. It is a fossilized wood of a Jurassic period tree that, after millions of years, has been transformed into the gem we know as jet, a rich black gemstone. The jet worn by the Victorians was mined in the area around the fishing port of Whitby in North Yorkshire.

By 1870 Queen Victoria had been in virtual seclusion for almost ten years and it was long past time for her to resume her public duties.

The Small Diamond CrownHowever, her decision to wear only mourning clothes meant that she could not wear her colored stone jewelry. And, jet would not do exclusively for a monarch who had to preside over formal occasions. She could, however, wear diamonds which were compatible with mourning clothes and also satisfied the need for a head ornament.

Enter R.S. Garrard & Co. which had been appointed to the position of Crown Jewellers by Queen Victoria in 1843. This distinguished firm was founded by George Wickes in 1722 and survives today as Gerrard & Co. (Among other famous jewelry, the company created the Imperial Crown of India in 1911, the crown for Queen Mary for her coronation and the crown of Queen Elizabeth in 1937. More recently, it created the well-known sapphire ring that belonged to Princess Diana and which was later given to Catherine by Prince William.)

To satisfy the need for a formal headpiece that would be in keeping with Queen Victoria’s self-imposed mourning attire, R.S. Garrard created the diminutive crown we often see in portraits of the monarch, including her official portrait (opposite, above) released to mark her Diamond Jubilee in 1897. As shown, she often wore the crown over a veil of Honiton lace.

The crown itself measures only 10 centimeters (3.9 inches) and consists of 1,187 brilliant, rose and mixed-cut diamonds and some diamond chips. It’s a silver openwork frame, laminated with gold. Queen Victoria wore the crown for the first time in 1871 for the opening of Parliament. In 1937, it was added to the display of regalia at the Tower of London.

The small crown is a part of the Buckingham Palace display marking the Queen Elizabeth II’s Diamond Jubilee. She is the great-great-grand daughter of Queen Victoria.

 

 

 

 

 

 

 

 

 

 

 

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Renaissance Hairpin Found In Communal Toilet

Hairpin Belonging to Catherine de MediciA hairpin that belonged to 16th century French queen Catherine de Medici (1519-1589) has been found at Fontainebleau Palace, one of the favorite royal chateaus of French monarchy outside Paris.

The find is notable for two reasons.  Although Catherine de Medici was famous for her lavish collection of jewelry, little of it remains today. And, second, the hairpin was found in a communal toilet, providing grist for headline writers around the world.

Catherine was an Italian noblewoman of fourteen when her uncle, Pope Clement VII, arranged her marriage to the second son of Francis I, King of France.  According to descriptions she was thin, plain and short, so short in fact that when she married, she wore Catherine de Mediciwhat many historians say were the first high heels.  According to some blogs, she consulted a Florentine craftsman who made the shoes so that she would make what she considered an appropriate impact when she first appeared in the French court. She also acquainted France with the fork, underwear, the side-saddle, fortune tellers, the folding fan, ice cream and artichokes.

Catherine was destined to have ten children, three of whom became kings of France.  She involved herself in the murky, deadly politics of the day, maneuvering between French Catholic and Huguenot forces. The Catholic Encyclopedia calls her “dictatorial, unscrupulous, calculating and crafty…and sadly wanting in strong religious faith.”

That encyclopedia goes on to note that Catherine enriched the Bibliotheque Royale, erected the Tuileries and built the Hotel de Soissons and concludes “In a word, she was a woman of the Renaissance and a disciple of Machiavelli.”

The recently discovered pin was easily identified by its interlocking “C’s” for Catherine and by its white and green finish which were Catherine’s colors.

And as every newspaper story I’ve seen says, the find in a communal toilet is a “mystery.”

 

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Artists Have Obligation to Participate in the Marketplace

Noa Zilberman Call me a curmudgeon, but if there is one thing that truly irritates me it’s the practice of some artists of putting out their work and then announcing it’s not for sale.

When I ran the gallery, if an artist approached me with work and then proclaimed the work wasn’t for sale after I expressed interest, I immediately pegged him or her as an amateur, not an artist.

Such is the case with Noa Zilberman, an Israeli “artist” who, according one website is taking an artistic stand against our preoccupation with aging skin with jewelry pieces that “emphasize, beautify and celebrate her wrinkles.”

The artist apparently released a video tape which you can see by clicking the link.

Now here is where I get irritated. The work has some potential. The concept of celebrating aging is not new, of course, but some of the designs are interesting and could appeal to buyers of studio jewelry.

So when she announces that the work is not for sale, it’s irritating on several levels.

First and most obvious, sales increase the name recognition of the artist and lead to other sales. So on a personal and very critical level, sales help the artist continue to create.

Just as important sales get those concepts out into the marketplace of ideas. No, I’m not suggesting anyone could or should steal her design, but all artists share ideas. It’s an important part of the creative process.

In addition, I strongly believe that studio jewelry is a form of art and that the public should be educated its value and importance. I also believe that studio or art jewelers who aspire to be recognized as such have an obligation to get their work out there so people can see it and learn to appreciate it.

Keeping it in the vault for your private enjoyment advances none of these goals.

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Extraordinary Pearls, Extraordinary People

Cowdray Pearls - courtesy: Christie'sThe stunning Cowdary Pearl necklace was recently auctioned at Christie’s in London for $3.5 million, setting a world record for grey pearls.

The Cowdray pearls are rare natural pearls. There are 38 graduated pearls in the necklace and every pearl is a different color. They are untreated saltwater pearls.

The necklace belonged to Viscountess Cowdray, Lady Pearson, who, Christie’s tells us was a “collector of fine art, furniture, as well as these remarkable pearls.”

But who was Viscountess Cowdray? I had no idea. But, when I started looking, it got very interesting.

Lord CowdrayViscountess Cowdary was born Annie Cass, the daughter of a Yorkshire farmer. She married Weetman Pearson (1856-1927), the son of a comfortably off middle class family.

As a young man, Pearson had declined to go to college, opting instead to join his family’s modest construction firm. By age 23 he was managing important projects in England. As the firm grew, it was active all over the world, in Egypt and Canada, Spain and even the Hudson Tunnel in New York City where he introduced the “Greathead shield” to protect workers from cave-ins and a recompression chamber that prevented workers from getting the bends.

In 1889, the Mexico President Porfirio Diaz invited (then) Sir Weetman to Mexico to salvage Mexico’s Grand Canal, Mexico City’s drainage system which had been abandoned by an American firm.

His success with that project resulted in others, most notably the Tehuantepec Railway, Mexico’s transisthmain rail line.

It was apparently during this period that he became interested in oil. Spindletop had been discovered in Texas and that state was in the grip of oil fever. He had noted tar pool in areas in Mexico and immediately began buying and leasing land. (Tar pools were a signal of the presence of oil and were what had first attracted speculators to Spindletop.)

Early results were mixed, but he did manage to build a refinery, pipeline and oil terminal and in 1906 received a major oil concession from the Mexican government.

Still later, Cowdray was a leader in developing munitions and tanks for the British during WWI. He was made a Viscount in January, 1917 and Lloyd George requested he become President of the Air Board where he apparently was responsible for a three-fold increase in aircraft.

On his death in 1927, an American newspaper described him as “one of the greatest pioneers ever sent out of Britain” Pearson PLC exists today as a global media and education company and the largest book publisher in the world.

Lady CowdrayFar less is apparently known of Visountess Cowdary. A 1992 University of Berkeley publication notes: “Lady Annie Cass Pearson established a well-appointed home in Mexico City in a colonial mansion that had once been the British legation, giving large parties for Mexican society. The Pearsons donated £100,000 to found the Cowdray Hospital. Pearson considered it expedient to “lean over backwards” to favor the Mexicans in all his dealings with them.” This might be true, but apparently Lady Cowdary’s interest in health care was sincere and long lasting. (See below.

And, a Wikipedia entry on Annie’s daughter, Gertrude, notes that Annie was “A woman of strong character, Annie Pearson was a feminist who was an active member of the executive of the Women’s Liberal Federation.”

Annie Cowdray, c 1920In addition to being a feminist (which at that time probably mean she was a suffragette), she was also a founder and very generous supporter of the Royal College of Nursing for many years.

What is clear is that these were no idle British aristocrats, but people of really extraordinary accomplishment.

I hope she enjoyed the necklace. I enjoyed learning about them.

P.S. Pearl and bead stringers: note the stretched knot in the necklace.

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Cultivating Pearls

This morning I stumbled across a series of marvelous photographs by Kamran Jebreili of the Associated Press documenting the cultivation of pearls in the Ras al-Khaimah lagoon in the United Arab Emirates.

The pearl farm is a collaboration between Japanese traders and the UAE. The region had been a major source of natural pearls but was fished out in the early 20th century. The collaboration is an attempt to revive the industry.

I took a little time and developed a slide show of these photographs. If you are interested in pearl cultivation–and pearl and bead stringers are-you’ll be fascinated by these wonderful photographs.

 

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Versatility of Pearl and Bead Stringing

A recent catalog from Gump’s, the wonderful San Francisco store, illustrated some of the new jewelry the store is offering. In looking at the images, I realized they’re a marvelous example of just how versatile pearl and bead stringing can be AND they offer a couple of materials and design tips I thought I’d pass on.

Glass Torsade, courtesy Gump'sThe first illustration (opposite) is a torsade in turquoise colors. The beads are Murano glass and Gump’s described the clasp as a “matte gold-tone” barrel clasp. (Read gold plated.) This is obviously a very inexpensive necklace to create, although torsades do involve some labor. (I teach torsade manufacture in the Advanced Pearl and Bead Stringing DVD.)

It’s not clear from the illustration whether Gump’s has used crimps or thread to create the necklace. If the beads are strung on thread, I’d recommend knotting every few beads rather than attempting to place a knot at every bead.

What gives this necklace it’s punch is the combination of colors. The designer has stayed within a rage of blue and turquoise with the same color values, that is the same relative lightness.

Rock Crystal and Turquoise, Courtesy Gump'sThis next necklace is a simple stringing or crimping job. and uses only three elements, rock crystal, turquoise and a hook and eye clasp. The mounted turquoise are used as separators between the larger crystals and while it’s not clear what the metal is, the design of the separators provides a nice contrast to the translucent crystals.

Notice, please, how the designer ended the necklace on both ends with the smaller separator. This is much better design than using a crystal AND it makes it easier for the wearer to put on her necklace. (Designers sometimes overlook the necessity of manufacturing jewelry that’s easy to put on and take off.)

This is a great example of how simple design techniques can be used to manufacture really good looking jewelry.

Glass Necklace, Courtesy, Gump'sThe design of the third necklace uses that staple of good jewelry design which is to use different materials in the same piece. In this case, the designer has used what appears to be silver that is somewhat differently shaped than the glass beads. (Notice that the silver beads appear to be flattened on one side.)  In addition, the silver has a light matte finish which contrasts well with the smooth finish of the beads.

Notice, too, that the beads are differently shaped (longer and shorter ovals) and graduated, adding to its eye appeal. The designer has also placed the turquoise and white beads (they’re glass, not howlite as I originally thought) at seemingly random intervals in the necklace.

While the necklace ends with fairly large beads, the designer has compensated by using a long hook and eye clasp enabling the wearer to put on and take off the necklace easily.

These three pieces of jewelry illustrate how a terrific aesthetic combined with solid technique can produce beautiful handmade  jewelry.

 

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Popularity of Turquoise can Result in Deceptive Practices

Hand carved turquoise beadsTurquoise is one of those gemstones whose popularity never seems to diminish. It’s been mined in various parts of the world for thousands of years and treasured by a number of ancient and modern cultures, including our own.

The problem is that many of the mines producing high quality turquoise have been depleted and much of the turquoise on the market today is reconstituted or a simulation.  In addition, some dealers sell other material as turquoise.

This means that if you are buying turquoise, it’s vitally important you inform yourself about the market.

The following is an overview of the gemstone and various treatments. I don’t suggest it’s  comprehensive, however, it should be a good starting point. In addition, I’ve added links to various sites which offer comprehensive information on the gemstone.

  • Sources – The earliest sources of turquoise were Persia (Iran) and Egypt.  The best of this turquoise was a robin egg blue and shows no matrix. Today, you will hear very high quality turquoise sometimes described as “Persian” turquoise. This refers to quality, not to place of origin. Most turquoise on the market today originates in the United States and China, although there are other producers. It is important to understand that the best mines have been played out and although some quality turquoise is produced, the vast majority of turquoise on the market today is lower quality.
  • Matrix – Turquoise is one of the few gemstones found in a rock matrix.  This manifests in the dark veins that run throughout the gemstone.  Turquoise matrix can be black, yellow and brown. You will also hear the term “spider webbing” to describe the matrix. This refers to gemstones with thin lines of matrix running throughout it like a spider web.
  • Properties – Turquoise is soft and porous. Because it’s soft, it is subject to fracturing and because it’s porous, it’s subject to discoloration.  That is, it’s susceptible to staining, discoloration and fading.
  • Treatments – Most turquoise is treated. The goal of treatment is to stabilize the gemstone so it won’t break or discolor. Treatments for turquoise are thousands of years old and include animal fats, oil and waxes. Today, treatments are considered advances on these ancient treatment methods. Current treatment methods include epoxy, resin or some other form of liquid plastic. In addition, some companies have developed propriety treatments including “pressurized” methods which force the hardening solutions deep into the rough.
  •  Reconstituted Turquoise – Most inexpensive turquoise has been reconstituted. Simply, the process involving powdering low quality turquoise and mixing it with some kind of binding agent. The mixture is poured into a mold, dried and cut into slabs. Reconstituted turquoise also is almost always dyed to enhance color.
  • Misnomers – Misnomers are names given to stones that are misleading. One of the clues to recognizing is misnomer is a modifier in the name. African emerald for example is green fluorite. A common misnomer for turquoise is African Turquoise which is jasper.. Howlite Turquoise is a white mineral which has grey veins. It’s often dyed and called Howlite Turquoise or simply passed off as turquoise. (Study the matrix. If it’s grey and thin, the material you’re looking at could be howlite.) “Turquoise Magnesite” is dyed magnesite.

Howlite bracelet?Treatments are not in themselves “bad.” Turquoise often must be stabilized or it will fracture. The issue, as always, is disclosure. Reputable dealers will be willing to discuss treatments with their clients. It’s also worth noting that treatments have become so good in recent years that it’s sometimes difficult for gemologists or even turquoise experts to tell the difference between treated turquoise and natural turquoise. Here, however, are some certainties.

  • Most of the mines producing high quality turquoise have been played out.
  • Most turquoise is treated in some way.
  • If a dealer claims the turquoise is “natural,” question him closely and if you buy make sure this claim is reflected on the receipt.
  • In the case of turquoise, it’s important to buy from a dealer you know and respect.

There are a couple of really outstanding websites providing solid turquoise information. Here are my favorites.

 

 

 

 

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Recent Auction Suggests Bakelite Retains Value

Bakelite JewelryThe auction firm Bonhams recently announced higher than anticipated prices for a single-owner collection of Bakelite and Lucite jewelry. Bakelite enthusiasts will be happy at the news Bakelite appears to have retained and even grown in value during a difficult economic time.

Bakelite jewelry, including Bakelite beads, has become popular with collectors in recent years. Bakelite is a plastic, developed by Dr. Leo H. Baekeland, and patented in 1909.  Baekeland apparently discovered the plastic by accident while he was attempting to create a varnish. Bakelite was the first plastic made from synthetic polymers.

Some experts disagree about when the Bakelite boom actually occurred. Some say it was manufactured between 1907 and 1927 while others assert the really great boom in Bakelite occurred during the Great Depression when it was used to imitate tortoiseshell, coral, amber, ivory and other expensive gemstones. Various department stores from Sears to Cartier sold the popular costume jewelry in the 1930s.

It’s probably safe to say that Bakelite stayed popular until WWII when manufacturers switched over to war time products. After the war, technological advances in plastic made Bakelite obsolete.

Part of the reason for the disagreement may be that, as I understand it, Bakelite jewelry was produced without a manufacturer’s or maker’s mark, so it’s impossible to know who manufactured it. That means it’s hard to date it.

In any event, experts do agree that a number of dealers are offering what are called “fakelite” – fake Bakelite.

Here are some tips, culled from around the web, to determine if your Bakelite might be genuine.

  • First look at the piece. It should have no seams or mold marks.
  • Some experts recommend dipping the Bakelite into hot water and then sniffing it. Apparently the Bakelite emits a distinctive odor. (See below) Don’t dip in hot water if there are rhinestones in the piece.
  • Some suggest dipping a cotton swab into 409, the household cleaner and then touching a small area of the piece where it won’t be visible when worn. If the piece is vintage Bakelite, a yellow stain will appear on the cotton swab. (Although I saw this advice from a number of dealers, it sounds as if it is a destructive test. Otherwise, why recommend testing on an area that won’t be visible? I’d stay away from this. Similarly, I’m not even going to repeat the advice I’ve seen about applying a hot needle to the jewelry.)
  • Rub your fingers over the piece until it’s warm, then smell. The odor is “unforgettable,” according to one expert and identical to odor resulting from the hot water test.
  • Tapping two pieces of Bakelite together will produce a distinct deep sound, quite unlike the higher pitched sound produced by tapping other plastics together.

Bakelite also changes color as it ages. According to Sherry Matsen, a Bakelite expert, the most common Bakelite colors were whte, brown, green and red. Over time, white often turns to butterscotch, light blue changes to forest green and pink turn to orange.

Pearl and bead stringers can and do produce fabulous jewelry from vintage Bakelite. I’ve seen pendants, brooches, beads and other items incorporated into really good looking jewelry. It’s also important to have at least a passing familiarity with Bakelite as your clients can and will ask about it.

 

 

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Crimps Ruin this Necklace Design

Crimps in Jewelry MakingI named this little company “Professional Pearl and Bead Stringing” for a reason. I wanted to distinguish it from other types of pearl and bead stringing, specifically the all-too-widespread practice of teaching one technique, such as using crimps, and then stopping.

Now, of course, there’s nothing “wrong” with crimping jewelry, unless you are a professional pearl and bead stringer. If you sell jewelry, and if you’re dedicated to learning about jewelry and technique, you will sell your jewelry because people will want to buy it, sometimes literally right off your neck.

This means you must learn to look at jewelry critically. Not for personal criticism but to observe where the manufacturer did well and conversely where the manufacturer fell short.

Yesterday I received one of the jewelry making publications that have grown in such popularity in recent years.

The picture above was scanned from the inside front cover. It is part of an ad run by a jewelry supply company.

Frankly, I was appalled. Not at the design. The concept of uniting two different materials in the same necklace is a good one. (In fact, it’s one I teach in the Advanced Professional Pearl and Bead Stringing DVD.)

What bothers me is the prominence of the findings in the center of the necklace. Those findings, the jump ring and the crimp, distract the eye from the design. They’re unsightly. And they tell any critical observer that the necklace was manufactured by an amateur.

The entire problem could be eliminated if the manufacturer had used knots and thread to unite the two sections. That unsightly gap would be gone. There would be no need for a jump ring; no need for a crimp; and, no need for the wire to be so prominently in view. (There would be no wire.)

As a technique, crimping is fine. It’s even essential in some cases. I collect amber in a sort of haphazard way and most of my amber necklaces are crimped because the drill holes in amber are so large.

And, to be fair, the manufacturer whose ad this is sells beads and jewelry supplies, so the idea may be to illustrate how some of its products could be used.

But the implicit message is that it’s OK to produce work like this. It is OK for an amateur. It’s not for the professional.

Don’t do it.

 

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