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Natural fancy pink diamonds are completely natural and caused by a process called ’plastic deformation.’

Pink graining is caused by a natural deformation of the diamond crystal while it is in a semi-solid state.

The seven natural color grades fancy colored diamonds are, in ascending order, faint, very light, light, fancy, fancy intense, fancy vivid and fancy deep. Fancy vivid and fancy deep are the most desired hues. Red, purple and orange are the secondary hues found in natural fancy pink diamonds.

Most natural fancy pink diamonds come from the Argyle in northwestern Australia. “… A pink diamond has long been considered one of the rarest colored diamonds.” (source: S.C. Hofer, Pink Diamonds from Australia, 1985).

Today, the pink diamond plays the role of Cupid among the colored diamonds. Ben Affleck purchased a 6.1 carat pink diamond ring for his engagement to Jennifer Lopez and David Beckham gave his wife, former Spice Girl Victoria “Posh” Adams a $1.8 million pink diamond apology ring following his public indiscretion.

Loose natural fancy pink diamonds come in all cuts, including princess, emerald, Asscher, oval, marquise, pear, radiant, heart and cushion.

Source (http://www.fancydiamonds.net/pink_diamonds)

Article by: R. W. Wise Goldsmiths (http://www.rwwise.com/arl.html)

Photos by: Richard Homer (http://www.concavegems.com/rph.html)

The art of lapidary developed over a long period. As early as the 4th century BC, certain of the softer gem materials were polished to improve their luster and transparency. Gradually, methods were developed to improve and perfect the natural shape of harder crystalline gemstones. Early writers noted that the more perfect the natural crystal, the more beautiful the stone. As technology advanced, the next logical step was to tinker with the angle of the crystal faces, and with that the art of faceting was born! This development took a long time, as crystalline gemstones are, generally speaking, rated seven or harder on the Moh’s scale (steel is rated between six and six and one half). The technology necessary to cut diamond, for example, did not exist prior to the fourteenth century.

The evolution of the modern brilliant cut, the ubiquitous round diamond that has become the indispensable first step in the matrimonial mating dance, began when some enterprising lapidary sawed the point off a natural bipyramidal diamond crystal, thus creating the table cut. Over the centuries, the focus of gem cutting had continually narrowed so that by the beginning of the last century, lapidary arts were concerned almost exclusively with cutting gemstones to maximize the stone’s refractive qualities–what we call brilliance.

In the early 1980s a new concept in gem cutting was introduced to the American market by the German master lapidary Bernd Munsteiner. Called “Munsteiner’s” or “Fantasy Cuts”, these gemstones were fashioned with asymmetrical outlines and faceting patterns that more resembled optical sculptures than settable gemstones. Though sneered at by conservatives, innovative designers and consumers embraced Munsteiner’s fantasy cuts and these oddball cuts sold, and sold well. The market was hungry for something new. Though unrecognized at the time, a revolution had begun! This signaled a cutting renaissance, and the only major change in the objective of gem cutting in the four hundred years since the cabochon gave way to the Point cut.

In the past two decades a whole generation of new cutters has emerged. I say “new cutters” for lack of a better term. These are craft artists whose objective is not the cutting of a well-made brilliant stone, but the making of a work of art. The technologically advanced Germans, originally the leaders of this movement, have, since the early nineties, been surpassed by a group of mostly self-taught Americans who, in a burst of exuberant creativity, have thrust themselves into the forefront of this cutting renaissance. Artist-cutters like Michael Dyber, Glenn Lehrer, Steve Walters and Larry Winn, to name a few, have shown that America is still the world’s leader in innovation.

Given recent history, it is natural to conclude that this lapidary renaissance had its roots in Germany. But, this would be incorrect! Creative cutting began in the early 1940′s. The father of the New Cutting was not a German, but an unassuming American pioneer by the name of Francis J. Sperisen.

Francis Sperisen (1900-1986) was a lapidary active in the San Francisco bay area from the 1920s into the 1970s. In the early 1920′s, he opened his shop at 166 Geary Street after working as an apprentice for four years at Moser Brothers, a local lapidary firm. Sperisen was a self-taught faceter.

In 1939-40, Sperisen began an artistic collaboration with Margaret De Patta, a metalsmith who is today considered the doyenne of American Art-Jewelers. San Francisco was, at this time, a hotbed of innovative handcraft. Sperisen worked with De Patta, cutting unusual gemstones to complement her metalwork. De Patta was, herself, a student of the Constructivist artist and founder of Chicago’s New Bauhaus, Laszlow Moholy-Nagy. Moholy-Nagy, an important Hungarian born artist, is known for his interest in light. He created large shiny metal sculptures that were always exhibited under strong lighting.

De Patta called these unusual stones “opticuts.” Although most writers give her sole credit for the concept, the evidence suggests that De Patta’s pieces were the result of a true collaboration between jeweler and lapidary. And, like many of the great artistic partnerships, it is difficult to determine where De Patta’s concept ends and Sperisen’s influence begins. According to Sperisen’s son, Richard, De Patta knew nothing about lapidary or the optical possibilities inherent in gemstones. She would bring Sperisen models (often made of opaque metal or balsawood), to show the shapes she wanted to complement her metalwork. Sperisen would then experiment with the optical potential inherent in the shapes. However, statements by De Patta strongly suggest that though she may not have fully understood the craft of the lapidary, she possessed a very sophisticated understanding of both the history and objectives of the lapidary arts.

(from The Israeli Diamond Industry Blog)

 In the middle Ages, the opal was considered a stone that could provide great luck because it was believed to possess all the virtues of each gemstone whose colors were represented in its color spectrum.

Opal from Australia

The opal was also believed to confer the possessor with the power of invisibility if wrapped in a bay leaf and held in the hand. Here are some interesting stories behind the world’s most famous opals: Olympic Australis The Olympic Australis is known as the largest and most valuable gem-quality opal ever found. The Olympic Australis was named in honor of the Melbourne Olympic Games and was valued at AUD$2,500,000 in 2005. Due to the purity of the extraordinary Olympic Australis opal, upward of 7,000 carats could be cut from the rough stone. But owing to its uniqueness, this opal remained exactly as it was found.

Aurora Australis

Aurora Australis The Aurora Australis was discovered at Lightning Ridge, an old sea bed, in 1938 by Charlie Dunstan and is considered the world’s most valuable black opals. The cut and polished stone features a harlequin pattern in which red, green, and blue are the dominant colors against the stone’s black background. The Aurora Australis weighs 180 carats and measures 3 inches by 1.8 inches.

The Flamingo and the Black Prince

The Flamingo and the Black Prince The Black Prince, originally known as Harlequin Prince, was found in 1915 at Phone Line by Tom Urwin and Snowy Brown, as were the Pride of Australia, the Empress of Australia, and the Flamingo opals. Of the four, the Flamingo was the largest – weighing over 800 carats! In 1920, Urwin and Brown sold all four stones for £2000 to Ernie Sherman, whose sister Bertha named them. This was the most money paid for black opals at the time. Of the four Phone Line opals the Black Price could be considered the least significant – yet still weighed 181 carats. The Black Prince has a flag pattern on one side and is red on the other, and the face of the opal is marked by a sand hole. A wealthy American soldier bought the Black Prince in England and eventually donated the stone to the New York Museum of Natural History. Later, the opal joined the collection at the Forest Lawn Memorial Cemetery in Los Angeles, only to be stolen in the same theft at the Pride of Australia.

Fire Queen In November 1906, Charlie Dunstan found “Dunstan’s Stone” (later renamed he Fire Queen) at the Angledool Diggings. The opal weighed nearly 900 carats and at the time was the largest opal ever discovered. Dunstan traveled into Angeldool with the opal and sold it for a mere £100. According to legend, while he was in town he got drunk and lost two other large opals he was carrying. In November 1910, Dunstan was found dead in his hut from a gunshot wound to the head. The jury ruled that his death was a suicide. The Fire Queen was resold a number of times, and each transaction proved a challenge because at the time there was little market for large black opals. But by 1928 the Fire Queen had been renamed and valued at £40,000 and was on display at the Chicago Museum. The Fire Queen was resold to John D. Rockefeller in the 1940s for £75,000 and joined the Rockefeller family’s prestigious gemstone collection.

Opals of all kinds

October 7, 8, & 9 we’re hosting The Opal Man!  Dennis, our opal gemstone superstar visits us every October and brings a huge selection of loose opals.  Australian blacks, boulders, crystal, opalized shells and nuts, Mexican opals and this year a wonderful selection of Ethiopian opal. 

Dennis and Christopher have worked together for years to produce a large body of jewelry design incorporating opals of all kinds.  It takes a special jeweler to work with opal.  It is most often cut as a cabachon and requires bezel setting to secure it into a setting.  The deep colors and the wonderful patterns the opal’s play of light  provide Christopher wonderful inspiration when designing the perfect setting for each individual opal.  Check out some of the one of a kind designs Christopher has done while setting opal:  http://christophersfjd.com/design_archives-opals.php

Dennis spends several months each year in the opal fields in Australia searching for the perfect rough material.  When he returns to his studio he buries himself in the work of cutting the new rough into a dizzying selection of new gemstones.  Every year is a completely new collection.

Join us at one of our Opal Gemstone Roundtables October 6, 7, & 8.  Seating is limited so be sure to call (217-352-2415) or email (info@christophers-finejewelry.com) or visit our new webpage and reserve your seats online: http://www.facebook.com/ChristophersDragonsHoard?ref=ts#!/event.php?eid=150504141648309&index=1

Pearls from King's Ransom

“The French believe a woman’s life story lies in her jewelry box.  Every milestone, heartbreak, triumph, and great love, every sentimental and silly moment is represented there.

If your jewelry box looks more afternoon soap than big screen epic right now, remember this — every woman deserves a great piece of jewelry.  And the days when a girl had to wait to be given it are long gone.”        Style Clinic by Paula Reed, page 243

Save the date – November 16, 2010.  Women’s Night Out at Christopher’s Fine Jewelry Design.

3.37 ct. Tanzanian Pink Spinel Flat Bottom Carving by Sherris Cottier Shank

Lois, Sherris & Christopher

One of the best parts about hosting our Gemstone Superstars is that Christopher gets to work with an incredible range of gem materials and cuts.  It is remarklable how compatible Sherris’ carvings are with Christopher’s design style.  Both Sherris and Christopher, when left to their own desires, concentrate on designs that evoke fluid motion.  Both Sherris and Christopher want to work with designs that you will never find anywhere else.  Both Sherris and Christopher like the challenge presented by unique materials and unique engineering requirements.

Sherris at head of Gemstone Roundtable

It is Sherris’ 13th year doing Gemstone Roundtables at Christopher’s Fine Jewelry Design.  13 years of doing wonderful collaborative jewelry design with Christopher setting Sherris’ wonderful unique gemstone carvings.  Sherris clearly remembers that first weekend of roundtables.  She says she was incredibly shy and these events involve lots of one on one close involvement directly with clients who are thrilled to have the chance to see so many incredible and unique gems — and to meet the artisan, wow what a thrill!

Image via Wikipedia

5.15 ct. Tanzanite Briolette carved by Sherris Cottier Shank

This is one of the new wonderful gemstone designs that Sherris will be bringing to Christopher’s Fine Jewelry Design September 9 through 11, 2010.  It is likely to be a very rare item because it is now illegal to export tanzanite in it’s rough form from Tanzania.

Gold Element by Christopher M. Jupp set with Tourmaline Carved by Sheris Cottier Shank

Fluid and Motion is in every soft line of Sherris’ unique gemstone designs.  Sherris’ fluid dimensional carving makes these gems look different from every angle.  Scoops, swirls, and ridges reflect light differently as the piece is moved around.

In collaboration with Christopher M. Jupp, Sherris’ gems are beautifully enhanced and framed in precious metals and wonderful to wear.  Tourmaline fits nicely into this season’s warm fall tones of fashion colors.

Gold pendant by Christopher M. Jupp set with gem carving by Sherris Cottier Shank

Sherris is our next guest Gemstone Superstar at our Gemstone Roundtable series-September 9, 10, & 11.  Seats are limited and must be reserved.  Call 217-352-2415 or email info@christophers-finejewelry.com to reserve your seats now.

(the images in our current blog header are all element designs by Christopher set with Sherris’ gems)