Henry (Gemologist)

Date: April 21, 2023

Camera: Leica M-A (Typ 127)

Lens: Noctilux-M 50mm f/1.2

Film: Kodak Tmax 100 (ei: 160)

Exposure: 1/125 @ f/2.2

Developer: Kodak HC-110 1:31

Temperature: 20°c

Developing Time: 6’ 0”

Digitized: Nikon D850, Nikkor 60mm Micro AF-S

Full Frame: Nikon ES-2 Film Attachment

-Thomas

 

The Noctilux 50 1.2 (Reissue)

When I heard Leica was remaking the Noctilux 50 1.2, I added my name to the waitlist…two years later it finally arrived. It is a lens I thought I would never have the privilege to shoot, let alone own. According to Leica the remake is nearly identical to the original of 46 years ago, retaining its historical personality. This lens has a beautiful soft old-school rendering with film…reminiscence of Henri’s character. Looking forward to photographing more with this iconic classic.

-Thomas

 

Hooded Crow (Corvus cornix) at a Baltic Sea cost, probably with a small piece of a Jellyfish. But maybe it was a Gemstone?

Crazy Tuesday Theme: Gemstones

 

Thanks to everyone who took the time to view, comment, and fave my photo. It’s really appreciated. 😊

Few jewelry brands have such an illustrious history as the House of Harry Winston. Founded in New York City in 1932, by Mr. Harry Winston – an innate gemologist, an intuitive business man, and a dedicated philanthropist – the brand continues to set the standard for the ultimate in fine jewelry and high-end watchmaking. Known throughout his life as the "King of Diamonds", and the "Jeweler to the Stars", Mr. Winston's innovative design philosophy – in which the individual gemstones, rather than the metal settings, would dictate each design – helped to revolutionize fine jewelry designs, and remains at the cornerstone of a timeless aesthetic that continues to inspire all Harry Winston creations. From the acquisition of some of the world's most famous gemstones, including the Jonker, Hope, and Winston Legacy Diamonds, to adorning generations of famous faces, from Hollywood legends to international Heads of State, for over eight decades, the Harry Winston name has been synonymous with the best that there is. Today, the House of Harry Winston continues its tradition of creativity, rarity, and quality without compromise in its retail salons around the world, including: New York, London, Paris, Geneva, Tokyo, Hong Kong, and Shanghai.

  

After I had taken this photo, I asked what she was doing. She said "I was checking if they were real gems"

I don't know HOW she DID.😊

Tanzanite - a variety of the mineral zoisite. Happy Macro Monday! 😊

 

The tanzanite stone shown here was given to me by a good friend who purchased it as a loose stone during his travels abroad. I had it custom set into this 1” long white gold and diamond pendant by Lucas at ‘Creations Lucas’ in Ottawa.

 

www.creationslucas.org/

 

Zoisite: “Zoisite is a silicate of calcium and aluminum with the composition Ca2Al3(Si3O7)(SiO4)(O,OH)2.” [1].

 

Tanzanite: “From deep in the foothills of Mount Kilimanjaro in Tanzania comes tanzanite, a gemstone with only a single known source that has become one of the most intriguing and desirable precious gemstones of modern times. It is a variety of the mineral zoisite and varies from blue, to violet, or purple in colour. Described as ‘a geological phenomenon’, tanzanite is 1,000 times more rare than diamonds” [2].

 

“In 1967 a Masai tribesman discovered a unique variety of the mineral zoisite at the foothills of Mount Kilimanjaro, in Tanzania, east Africa,” explains Melvyn Kirtley, chief gemologist at Tiffany & Co.“ The find was momentous. It was the first transparent blue gemstone discovered in hundreds of years, and represented a whole new species of gemstone” [3].

 

Originally only available in either Tanzania or Tiffany’s, (in 1968 they were the first jeweller to introduce tanzanite), Tanzanite jewellery is extremely valuable and coveted, both for the gem’s rarity, as well as its beauty” [2]. “Although only discovered in the late 1960s, it has quickly established itself as one of the premier gemstones in the world” [4].

 

Sources: [1] hyperphysics.phy-astr.gsu.edu/hbase/Minerals/zoisite.html

[2] www.shimansky.com/discover-tanzanite/tanzanite-grading/co...

[3] www.telegraph.co.uk/luxury/jewellery/paper-flowers/histor...

[4] www.gia.edu/tanzanite-quality-factor

Few jewelry brands have such an illustrious history as the House of Harry Winston. Founded in New York City in 1932, by Mr. Harry Winston – an innate gemologist, an intuitive business man, and a dedicated philanthropist – the brand continues to set the standard for the ultimate in fine jewelry and high-end watchmaking. Known throughout his life as the "King of Diamonds", and the "Jeweler to the Stars", Mr. Winston's innovative design philosophy – in which the individual gemstones, rather than the metal settings, would dictate each design – helped to revolutionize fine jewelry designs, and remains at the cornerstone of a timeless aesthetic that continues to inspire all Harry Winston creations. From the acquisition of some of the world's most famous gemstones, including the Jonker, Hope, and Winston Legacy Diamonds, to adorning generations of famous faces, from Hollywood legends to international Heads of State, for over eight decades, the Harry Winston name has been synonymous with the best that there is. Today, the House of Harry Winston continues its tradition of creativity, rarity, and quality without compromise in its retail salons around the world, including: New York, London, Paris, Geneva, Tokyo, Hong Kong, and Shanghai.

  

Back in September 2021, the owner of a bookshop that I frequented offered me this little gold stone ring.

 

The ring weighs 6.53 grams. In 10K yellow gold (41.7% gold, 58.3% other metals), the gold content of the ring is roughly 0.087 troy ounce. At USD $1,795 per troy ounce, the gold melt value of the ring was USD $156, or CAD $200. He made no promise that the greyish-purplish-blue stone was a real gemstone. I was not expert enough to tell by my naked eyes that it was or was not a genuine gemstone. But looking under a source of light, it appeared to show asterism (star effect), so I suspected it could be a star sapphire -- either genuine natural or a synthetic (i.e. man-made).

 

I took a gamble and after some bargaining, we settled on CAD $350, or the gold melt value plus CAD $150.

 

I only recently brought the ring to a gemologist for examination. Good news, it's a 4.50 carat genuine natural greyish-purplish blue star sapphire, with a very well-defined and very well-centred six-ray star effect.

Back in September 2021, the owner of a bookshop that I frequented offered me this little gold stone ring.

 

The ring weighs 6.53 grams. In 10K yellow gold (41.7% gold, 58.3% other metals), the gold content of the ring is roughly 0.087 troy ounce. At USD $1,795 per troy ounce, the gold melt value of the ring was USD $156, or CAD $200. He made no promise that the greyish-purplish-blue stone was a real gemstone. I was not expert enough to tell by my naked eyes that it was or was not a genuine gemstone. But looking under a source of light, it appeared to show asterism (star effect), so I suspected it could be a star sapphire -- either genuine natural or a synthetic (i.e. man-made).

 

I took a gamble and after some bargaining, we settled on CAD $350, or the gold melt value plus CAD $150.

 

I only recently brought the ring to a gemologist for examination. Good news, it's a 4.50 carat genuine natural greyish-purplish blue star sapphire, with a very well-defined and very well-centred six-ray star effect.

Bill looked about as comfortable as you can get on the streets, where he's made his home for the past 3 years, reclining on a box drinking a soda. After a minute or two of conversation Bill pulls out a small black pouch filled with his livelihood. The smallest scrapes of gold, clasps, links small but bright stones. The fallings from grace from the store fronts in the Jewelry District in Down Town Los Angeles. These bits are too small to be picked up or to even noticed and so are swept out to the sidewalk where Bill learns a living doing what others will not, seeing them and bothering to collect them. Bill tell us of some of his bigger finds including rubies, sapphires and diamonds and some being a couple of carats big. When he has collected enough scraps to matter he will then sell it back to a few jewelers he trusts. . It seemed that Bill is both well known and liked as two folks passing by stop and greet him. One bragging about Bill saying he knows his stuff more than a lot of the professionals working in the stores.

Sansom Street between 7th and 8th

Philadelphia, Pennsylvania

 

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

  

You can see photos of this necklace in a separate album.

 

www.flickr.com/photos/195636791@N03/albums/72177720299869459

Today's prompt was A Gemstone. Not being much of a gemologist or a jeweller, I asked my old friend, Mr Google and he pointed me at an Aquamarine which I purchased on-line so that I could sketch it for today's prompt. It was a lot smaller than I'd anticipated, but with the help of a camera and a macro lens I got a big enough image to sketch the gemstone you see here.

 

Palomino Blackwing soft pencil

Pigma micron 01 black pen

W&N watercolours

Seawhite A4 sketch book

 

#EDiM

     

You didn't really believe that story, did you?

This is Kunzite. Konar Valley, Konar Province, Pakistan. The other minerals are not identified.

 

www.gia.edu/kunzite

"Kunzite is the best-known variety of the mineral spodumene. It’s named after famed gemologist George Frederick Kunz, who was the first to identify it as a unique variety of spodumene. Kunzite gets its delicate color from trace amounts of manganese. California’s San Diego County is an important source of kunzite.

"Kunzite is the light pink to violetish purple variety of the mineral spodumene. It’s found in Afghanistan, Brazil, Madagascar, and the US state of California. The gem was named after pioneering gemologist George Frederick Kunz (1856-1932).

"Kunzite has two perfect cleavage directions. It’s pleochroic, with the best color visible when you look down the length of the crystal. Cutters keep these factors in mind when they orient gems for finishing. They might also cut a kunzite deep to emphasize its pink to violet color.

  

On a personal note. My daughter is interested in gems, minerals, rocks, and stones. We took a daytrip to Tucson. It was our first time to the shows. There are actually something like 3 dozen shows around Tucson. We went to the Tucson Convention Center for about 3 hours and then to the Kino Sports Complex for about 1.5 hours. We had hoped to get to the 22nd St show and the GIGM Show on W. Starr Pass but did not have time. I wish I had bought my tickets in advance, it would have saved about 30-40 minutes of waiting in line at the Convention Center. I'm glad I brought a Circular Polarizer to cut some of the glare of the glass exhibit cases.

 

www.visittucson.org/tucson-gem-mineral-fossil-showcase/

"Every year the world-renowned Tucson Gem, Mineral & Fossil Showcase is like a time portal, a trip around the world, and a treasure hunt all rolled into one. Every winter, more than 65,000 guests from around the globe descend upon Tucson, AZ, to buy, sell, trade, and bear witness to rare and enchanting gems, minerals, and fossils at more than 40 gem show locations across the city. If you're planning a winter visit to Tucson, you won't want to miss this three-week-long event.

"Whether you’re looking for a $5 shimmering crystal necklace or a show-stopping $200,000 crystallized rock from an exotic location, the Tucson Gem, Mineral, & Fossil Shows have something for everyone.

 

www.visittucson.org/blog/post/gems-and-minerals/

www.tgms.org/show

 

TGMS 2024

Tucson Gem Show 2024

Not too much to say, he just really likes shiny rocks

 

Built for the Bio-Cup 2024 Prelims: Space

ancient Tibet

You can see photos of this necklace in a separate album.

www.flickr.com/photos/195636791@N03/albums/72177720299869459

 

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

Blue color Ye Ming Zhu cabochon and Moonstone wrap - YMZ - Night Glowing Pearl also called Celestial Energy Gems or Dragon's stone. The only gems I have ever felt a significant positive change in my life and I have been around every crystal, gem, pearl in the world. Charges by sunlight, blacklight, and chi (your own energy). Very limited and priced accordingly based on size and strength, please message me if you are interested. I am the only distributor in South East Asia. The YMZ motto is: Health, Wealth, Happiness, and Luck. #russian #artist #gemologist #gem #crystal #yemingzhu #glowingpearl #glow #rare #unique #chakra #healing #celestial #energy #meditation #luciddreaming #health #wealth #happiness #luck #gift #love

The Hope Diamond...

 

The history of the stone which was eventually named the Hope diamond began when the French merchant traveller, Jean Baptiste Tavernier, purchased a 112 3/16-carat diamond. This diamond, which was most likely from the Kollur mine in Golconda, India, was somewhat triangular in shape and crudely cut. Its color was described by Tavernier as a "beautiful violet."

 

Tavernier sold the diamond to King Louis XIV of France in 1668 with 14 other large diamonds and several smaller ones. In 1673 the stone was recut by Sieur Pitau, the court jeweler, resulting in a 67 1/8-carat stone. In the royal inventories, its color was described as an intense steely-blue and the stone became known as the "Blue Diamond of the Crown," or the "French Blue." It was set in gold and suspended on a neck ribbon which the king wore on ceremonial occasions.

 

King Louis XV, in 1749, had the stone reset by court jeweler Andre Jacquemin, in a piece of ceremonial jewelry for the Order of the Golden Fleece (Toison D'Or). In 1791, after an attempt by Louis XVI and Marie Antoinette to flee France, the jewels of the French Royal Treasury were turned over to the government. During a week-long looting of the crown jewels in September of 1792, the French Blue diamond was stolen.

 

In 1812 a deep blue diamond described by John Francillion as weighing 177 grains (4 grains = 1 carat) was documented as being in the possession of London diamond merchant, Daniel Eliason. Strong evidence indicates that the stone was the recut French Blue and the same stone known today as the Hope Diamond. Several references suggest that it was acquired by King George IV of England. At his death, in 1830, the king's debts were so enormous that the blue diamond was likely sold through private channels.

 

The first reference to the diamond's next owner is found in the 1839 entry of the gem collection catalog of the well-known Henry Philip Hope, the man from whom the diamond takes its name. Unfortunately, the catalog does not reveal where or from whom Hope acquired the diamond or how much he paid for it.

 

Following the death of Henry Philip Hope in 1839, and after much litigation, the diamond passed to his nephew Henry Thomas Hope and ultimately to the nephew's grandson Lord Francis Hope. In 1901 Lord Francis Hope obtained permission from the Court of Chancery and his sisters to sell the stone to help pay off his debts. It was sold to a London dealer who quickly sold it to Joseph Frankels and Sons of New York City, who retained the stone in New York until they, in turn, needed cash. The diamond was next sold to Selim Habib who put it up for auction in Paris in 1909. It did not sell at the auction but was sold soon after to C.H. Rosenau and then resold to Pierre Cartier that same year.

 

In 1910 the Hope diamond was shown to Mrs. Evalyn Walsh McLean, of Washington D.C., at Cartier's in Paris, but she did not like the setting. Cartier had the diamond reset and took it to the U.S. where he left it with Mrs. McLean for a weekend. This strategy was successful. The sale was made in 1911 with the diamond mounted as a headpiece on a three-tiered circlet of large white diamonds. Sometime later it became the pendant on a diamond necklace as we know it today. Mrs. McLean's flamboyant ownership of the stone lasted until her death in 1947.

 

Harry Winston Inc. of New York City purchased Mrs. McLean's entire jewelry collection, including the Hope diamond, from her estate in 1949. This collection also included the 94.8-carat Star of the East diamond, the 15-carat Star of the South diamond, a 9-carat green diamond, and a 31-carat diamond which is now called the McLean diamond.

 

For the next 10 years the Hope diamond was shown at many exhibits and charitable events world wide by Harry Winston Inc., including as the central attraction of their Court of Jewels exhibition. On November 10, 1958, they donated the Hope diamond to the Smithsonian Institution, and almost immediately the great blue stone became its premier attraction.

 

The Hope diamond has left the Smithsonian only four times since it was donated. In 1962 it was exhibited for a month at the Louvre in Paris, France, as part of an exhibit entitled Ten Centuries of French Jewelry. In 1965 the Hope diamond traveled to South Africa where it was exhibited at the Rand Easter Show in Johannesburg. In 1984 the diamond was lent to Harry Winston Inc., in New York, as part of the firm's 50th anniversary celebration. In 1996 the Hope diamond was again sent to Harry Winston Inc., in New York, this time for cleaning and some minor restoration work.

 

The weight of the Hope diamond for many years was reported to be 44.5 carats. In 1974 it was removed from its setting and found actually to weigh 45.52 carats. It is classified as a type IIb diamond, which are semiconductive and usually phosphoresce. The Hope diamond phosphoresces a strong red color, which will last for several seconds after exposure to short wave ultra-violet light. The diamond's blue coloration is attributed to trace amounts of boron in the stone.

 

In the pendant surrounding the Hope diamond are 16 white diamonds, both pear-shapes and cushion cuts. A bail is soldered to the pendant where Mrs. McLean would often attach other diamonds including the McLean diamond and the Star of the East. The necklace chain contains 45 white diamonds.

  

In December of 1988, a team from the Gemological Institute of America visited the Smithsonian to grade the great blue stone using present day techniques. They observed that the gem shows evidence of wear, has a remarkably strong phosphorescence, and that its clarity is slightly affected by a whitish graining which is common to blue diamonds. They described the color as a fancy dark grayish-blue. An examination on the same day by another gemologist using a very sensitive colorimeter revealed that there is a very slight violet component to the deep blue color which is imperceptible to the naked eye. Still, one can only wonder that the original 112 3/16-carat stone bought by Tavernier was described as "un beau violet" (a beautiful violet).

 

The Legend Behind The Hope Diamond

 

This great blue diamond is perhaps the most notorious gem in history. It has left behind it a trail of so many unlucky owners that it has been popularly supposed to be cursed. The Hope was mined in India, and the 112-carat gem was brought to France in 1668. It was said that a curse rested on it, for a thief was reputed to have stolen the diamond from the eye of a statue of the Hindu goddess Sita, wife of Rama.

 

Tavernier, who brought the gem from India to France, sold it to Louis XIV, who had it cut into a 67-carat heart-shaped stone and named it the Blue Diamond of the Crown. Tavernier is said to have been killed by wild dogs on his next trip to India.

 

Louis XVI and Marie Antoinette inherited the French Blue, as it was popularly known. In 1792, about the time of their executions, the French Blue was stolen from the Garde-Meuble together with all of the French crown jewels. Some of the gems taken in this robbery were recovered, but not the Blue Diamond of the Crown.

 

It is intriguing to note that a gem resembling the Hope is worn by Queen Maria Louisa of Spain in a portrait painted by Goya in 1800. There are reports that the stolen French Blue was recut to its present size by Wilhelm Fals, a Dutch diamond cutter. Fals is said to have died of grief after his son, Hendrick stole the gem from him. Hendrick, in turn, committed suicide.

 

In 1830, there appeared in London a 44.5-carat deep blue oval-cut diamond the gem experts agree was the French Blue recut to conceal its identity. Henry Hope bought i, and since then it has been known as the Hope diamond.

 

The Hope moved on. An Eastern European prince gave it to an actress of the Folies Bergere and later shot her. A Greek owner and his family plunged to their death over a precipice in an automobile accident. The Turkish sultan Abdul-Hamid II had owned the gem only a few months when an army revolt toppled him from his throne in 1909.

 

Evalyn Walsh McLean, a wealthy and eccentric American social figure, bought the Hope diamond in 1911. Her son was killed in an automobile accident, her husband died in a mental hospital, and her daughter died in 1946 of an overdose of sleeping pills.

 

After Mrs. McLean’s death in 1947, New York jeweler Harry Winston purchased her jewels, including the Hope. He gave the gem to the Smithsonian Institution in Washington, D.C., in 1958, no doubt with a certain sense of relief.

 

***When Harry Winston "gave" the Hope Diamond to the Smithsonian, he mailed it via registered mail which was delivered by the US Postal Service. The package arrived at Union Station in Washington DC via train from an overnight trip from New York City.

The package was insured for $142.00 and had postage in the amount of $2.90 on it.

 

James Todd was the USPS mail carrier who delivered the package to the Smithsonian Museum. As with so many others, the curses of anyone who handled the Hope Diamond also impacted James Todd. Shortly after delivering the package, he was injured by a truck which ran over and crushed his leg. Soon after that, Todd experienced three additional incidents: his wife had a heart attack, his dog died after getting strangled by his own leash, and lastly Todd's house was destroyed in a fire.

 

Coincidence or not, the diamond seems to have brought enormous troubles in its train.

   

MAIN dZi bead Medicine

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

These Historical Figures by George Stuart are in the permanent collection of the Ventura County Museum in Ventura, California. The quarter scale diamond replicas in the historical figures accessories as well as the full size cubic zirconia replicas exhibited with the figures were crafted by gemologist Scott Sucher of Albuquerque, New Mexico.

picture was shot by my dear friend Baqar Nassar ..

 

I got a message on my Facebook wall from another dear friend Dr Robi Ludwig, she loves turquoise,,as much as I do or more...she wants one for Valentines Day..

 

Much of the turquoise I have is from Nishapur Iran.

The two big ones on my hand have a strange story, I got one of them the one on the left hand from a Indo-Iranian jewellery fair that was held at Bandra Reclamation..by Nassar of Lucky Hotel ..the guy who sold it to me was called Fairuz Iranian name turquoise ..my name is derived from the Iranian root Firoze.

 

We became good friends and because of my attire people thronged to his stall, he made a killing and gave me the turquoise stone at a very special price, he also gave me a ruby ring..I too bought a lot of amber from him, Kerba..

 

The ring on my right hand I found at a stall at Bhendi Bazar its an identical twin, just two shades lighter , normally I would dip my rings in badam oil, to get the depth of color ..and it gives a luster too.

 

I have a humongous collection of rings, many I have given away to some of my Gurus..

but my favorite are the claws and my set of black Sulaimani Akeek or agate.

 

I also have a huge rocky turquoise pendant from Tibet.. and two bead turquoise necklaces from Ladakh..

 

About Turquoise

 

Turquoise is an opaque, blue-to-green mineral that is a hydrous phosphate of copper and aluminium, with the chemical formula CuAl6(PO4)4(OH)8·4H2O. It is rare and valuable in finer grades and has been prized as a gem and ornamental stone for thousands of years owing to its unique hue. In recent times turquoise, like most other opaque gems, has been devalued by the introduction of treatments, imitations, and synthetics onto the market, some difficult to detect even by experts.

 

The substance has been known by many names, but the word turquoise was derived around 16th century from the French language either from the word for Turkish (Turquois) or dark-blue stone (pierre turquin).[4] This may have arisen from a misconception: turquoise does not occur in Turkey but was traded at Turkish bazaars to Venetian merchants who brought it to Europe.[4] The colour, however, has been employed extensively in the decorative tiles adorning Turkish places of worship and homes for hundreds of years, beginning with the Seljuks, or was derived from the colour of the Mediterranean Sea on the southern Turkish coast and the association quite possibly has caused the name to take root.

 

Even the finest of turquoise is fracturable, reaching a maximum hardness of just under 6, or slightly more than window glass.[2] Characteristically a cryptocrystalline mineral, turquoise almost never forms single crystals and all of its properties are highly variable. Its crystal system is proven to be triclinic via X-ray diffraction testing. With lower hardness comes lower specific gravity (high 2.90, low 2.60) and greater porosity: These properties are dependent on grain size. The lustre of turquoise is typically waxy to subvitreous, and transparency is usually opaque, but may be semitranslucent in thin sections. Colour is as variable as the mineral's other properties, ranging from white to a powder blue to a sky blue, and from a blue-green to a yellowish green. The blue is attributed to idiochromatic copper while the green may be the result of either iron impurities (replacing aluminium) or dehydration.

 

The refractive index (as measured by sodium light, 589.3 nm) of turquoise is approximately 1.61 or 1.62; this is a mean value seen as a single reading on a gemmological refractometer, owing to the almost invariably polycrystalline nature of turquoise. A reading of 1.61–1.65 (birefringence 0.040, biaxial positive) has been taken from rare single crystals. An absorption spectrum may also be obtained with a hand-held spectroscope, revealing a line at 432 nanometres and a weak band at 460 nanometres (this is best seen with strong reflected light). Under longwave ultraviolet light, turquoise may occasionally fluoresce green, yellow or bright blue; it is inert under shortwave ultraviolet and X-rays.

 

Turquoise is insoluble in all but heated hydrochloric acid. Its streak is a pale bluish white and its fracture is conchoidal, leaving a waxy lustre. Despite its low hardness relative to other gems, turquoise takes a good polish. Turquoise may also be peppered with flecks of pyrite or interspersed with dark, spidery limonite veining.

 

[edit] Formation

 

As a secondary mineral, turquoise apparently forms by the action of percolating acidic aqueous solutions during the weathering and oxidation of pre-existing minerals. For example, the copper may come from primary copper sulfides such as chalcopyrite or from the secondary carbonates malachite or azurite; the aluminium may derive from feldspar; and the phosphorus from apatite. Climate factors appear to play an important role as turquoise is typically found in arid regions, filling or encrusting cavities and fractures in typically highly altered volcanic rocks, often with associated limonite and other iron oxides. In the American southwest turquoise is almost invariably associated with the weathering products of copper sulfide deposits in or around potassium feldspar bearing porphyritic intrusives. In some occurrences alunite, potassium aluminium sulfate, is a prominent secondary mineral. Typically turquoise mineralization is restricted to a relatively shallow depth of less than 20 m, although it does occur along deeper fracture zones where secondary solutions have greater penetration or the depth to the water table is greater.

 

Although the features of turquoise occurrences are consistent with a secondary or supergene origin, some sources refer to a hypogene origin. The hypogene hypothesis, which holds that the aqueous solutions originate at significant depth, from hydrothermal processes. Initially at high temperature, these solutions rise upward to surface layers, interacting with and leaching essential elements from pre-existing minerals in the process. As the solutions cool, turquoise precipitates, lining cavities and fractures within the surrounding rock. This hypogene process is applicable to the original copper sulfide deposition; however, it is difficult to account for the many features of turquoise occurrences by a hypogene process. That said, there are reports of two phase fluid inclusions within turquoise grains that give elevated homogenization temperatures of 90 to 190 oC that require explanation.

 

Turquoise is nearly always cryptocrystalline and massive and assumes no definite external shape. Crystals, even at the microscopic scale, are exceedingly rare. Typically the form is vein or fracture filling, nodular, or botryoidal in habit. Stalactite forms have been reported. Turquoise may also pseudomorphously replace feldspar, apatite, other minerals, or even fossils. Odontolite is fossil bone or ivory that has been traditionally thought to have been altered by turquoise or similar phosphate minerals such as the iron phosphate vivianite. Intergrowth with other secondary copper minerals such as chrysocolla is also common.

 

[edit] Occurrence

Massive turquoise in matrix with quartz from Mineral Park, Arizona.

 

Turquoise was among the first gems to be mined, and while many historic sites have been depleted, some are still worked to this day. These are all small-scale, often seasonal operations, owing to the limited scope and remoteness of the deposits. Most are worked by hand with little or no mechanization. However, turquoise is often recovered as a byproduct of large-scale copper mining operations, especially in the United States.

 

[edit] Iran

Cutting and grinding turquoise in Meshed, Iran. 1973.

 

For at least 2,000 years, the region once known as Persia, has remained the most important source of turquoise, for it is here that fine material is most consistently recovered. This "perfect colour" deposit, which is blue naturally, and turns green when heated due to dehyration, is restricted to a mine-riddled in Neyshabur,[5][6][7] the 2,012-metre mountain peak of Ali-mersai, which is tens of kilometers from Mashhad, the capital of Khorasan province, Iran. A weathered and broken trachyte is host to the turquoise, which is found both in situ between layers of limonite and sandstone, and amongst the scree at the mountain's base. These workings, together with those of the Sinai Peninsula, are the oldest known.

 

Iranian turquoise is often found replacing feldspar. Although it is commonly marred by whitish patches, its colour and hardness are considered superior to the production of other localities. Iranian turquoise has been mined and traded abroad for centuries, and was probably the source of the first material to reach Europe.

 

[edit] Sinai

 

Since at least the First Dynasty (3000 BCE), and possibly before then, turquoise was used by the Egyptians and was mined by them in the Sinai Peninsula, called "Country of Turquoise" by the native Monitu. There are six mines in the region, all on the southwest coast of the peninsula, covering an area of some 650 km². The two most important of these mines, from a historic perspective, are Serabit el-Khadim and Wadi Maghareh, believed to be among the oldest of known mines. The former mine is situated about 4 kilometres from an ancient temple dedicated to Hathor.

 

The turquoise is found in sandstone that is, or was originally, overlain by basalt. Copper and iron workings are present in the area. Large-scale turquoise mining is not profitable today, but the deposits are sporadically quarried by Bedouin peoples using homemade gunpowder. In the rainy winter months, miners face a risk from flash flooding; even in the dry season, death from the collapse of the haphazardly exploited sandstone mine walls is not unheard of. The colour of Sinai material is typically greener than Iranian material, but is thought to be stable and fairly durable. Often referred to as Egyptian turquoise, Sinai material is typically the most translucent, and under magnification its surface structure is revealed to be peppered with dark blue discs not seen in material from other localities.

 

In proximity to nearby Eilat, Israel, an attractive intergrowth of turquoise, malachite, and chrysocolla is found. This rock is called Eilat stone and is often referred to as Israel's national stone: it is worked by local artisans for sale to tourists.

 

[edit] United States

A selection of Ancestral Puebloan (Anasazi) turquoise and orange argillite inlay pieces from Chaco Canyon (dated ca. 1020–1140 CE) show the typical colour range and mottling of American turquoise.

Bisbee turquoise commonly has a hard chocolate brown coloured matrix, and is considered some of the finest in the world.

 

The Southwest United States is a significant source of turquoise; Arizona, California (San Bernardino, Imperial, and Inyo counties), Colorado (Conejos, El Paso, Lake, and Saguache counties), New Mexico (Eddy, Grant, Otero, and Santa Fe counties) and Nevada (Clark, Elko, Esmerelda County, Eureka, Lander, Mineral County and Nye counties) are (or were) especially rich. The deposits of California and New Mexico were mined by pre-Columbian Native Americans using stone tools, some local and some from as far away as central Mexico. Cerrillos, New Mexico is thought to be the location of the oldest mines; prior to the 1920s, the state was the country's largest producer; it is more or less exhausted today. Only one mine in California, located at Apache Canyon, operates at a commercial capacity today.

 

The turquoise occurs as vein or seam fillings, and as compact nuggets; these are mostly small in size. While quite fine material—rivalling Iranian material in both colour and durability—is sometimes found, most American turquoise is of a low grade (called "chalk turquoise"); high iron levels mean greens and yellows predominate, and a typically friable consistency precludes use in jewellery in the turquoise's untreated state. Arizona is currently the most important producer of turquoise by value, with the vivid Bisbee Blue being a good example of the state's natural endowment; much of the Arizona material is recovered as a byproduct of copper mining. Currently the only two active Turquoise mines in the world exist in the state.[citation needed] The first is the Kingman Turquoise Mine which was started up again on the back of the copper mine in the area. The other is the Sleeping Beauty Mine found near Globe. Both mines work together in order to better pull out the material and both have been finding some of their best material in decades, including material out of the Kingman mine similar to what was once found in the Ithica Peak mine.[citation needed]

 

Nevada is the country's other major producer, with more than 120 mines which have yielded significant quantities of turquoise. Unlike elsewhere in the US, most Nevada mines have been worked primarily for their gem turquoise and very little has been recovered as a byproduct of other mining operations. Nevada turquoise is found as nuggets, fracture fillings and in breccias as the cement filling interstices between fragments. Because of the geology of the Nevada deposits, a majority of the material produced is hard and dense, being of sufficient quality that no treatment or enhancement is required. While nearly every county in the state has yielded some turquoise, the chief producers are in Lander and Esmerelda Counties. Most of the turquoise deposits in Nevada occur along a wide belt of tectonic activity that coincides with the state's zone of thrust faulting. It strikes about N15E and extends from the northern part of Elko County, southward down to the California border southwest of Tonopah. Nevada has produced a wide diversity of colours and mixes of different matrix patterns, with turquoise from Nevada coming in various shades of blue, blue-green, and green. Nevada produces some unique shades of bright mint to apple to neon yellow green. Some of this unusually coloured turquoise may contain significant zinc and iron, which is the cause of the beautiful bright green to yellow-green shades. Some of the green to green yellow shades may actually be Variscite or Faustite, which are secondary phosphate minerals similar in appearance to turquoise. A significant portion of the Nevada material is also noted for its often attractive brown or black limonite veining, producing what is called "spiderweb matrix". While a number of the Nevada deposits were first worked by Native Americans, the total Nevada turquoise production since the 1870s has been estimated at more than 600 tons, including nearly 400 tons from the Carico Lake mine. In spite of increased costs, small scale mining operations continue at a number of turquoise properties in Nevada, including the Godber, Orvil Jack and Carico Lake Mines in Lander County, the Pilot Mountain Mine in Mineral County, and several properties in the Royston and Candelaria areas of Esmerelda County.[8]

Untreated turquoise, Nevada USA. Rough nuggets from the McGuinness Mine, Austin; Blue and green cabochons showing spiderweb, Bunker Hill Mine, Royston

 

In 1912, the first deposit of distinct, single-crystal turquoise was discovered in Lynch Station, Campbell County, Virginia. The crystals, forming a druse over the mother rock, are very small; 1 mm (0.04 inches) is considered large. Until the 1980s Virginia was widely thought to be the only source of distinct crystals; there are now at least 27 other localities.[9] The specimens are highly valued by collectors.

 

In an attempt to recoup profits and meet demand, some American turquoise is treated or enhanced to a certain degree. These treatments include innocuous waxing and more controversial procedures, such as dyeing and impregnation (see Treatments). There are however, some American mines which produce materials of high enough quality that no treatment or alterations are required. Any such treatments which have been performed should be disclosed to the buyer on sale of the material.

 

[edit] Other sources

 

China has been a minor source of turquoise for 3,000 years or more. Gem-quality material, in the form of compact nodules, is found in the fractured, silicified limestone of Yunxian and Zhushan, Hubei province. Additionally, Marco Polo reported turquoise found in present-day Sichuan. Most Chinese material is exported, but a few carvings worked in a manner similar to jade exist. In Tibet, gem-quality deposits purportedly exist in the mountains of Derge and Nagari-Khorsum in the east and west of the region respectively.[10]

 

Other notable localities include: Afghanistan; Australia (Victoria and Queensland); northern Chile (Chuquicamata); Cornwall; Saxony; Silesia; and Turkestan.

 

[edit] History of its use

Moche turquoise nose ornament. Larco Museum Collection. Lima-Peru

Trade in turquoise crafts, such as this freeform pendant dating from 1000–1040 CE, is believed to have brought the Ancestral Puebloans of the Chaco Canyon great wealth.

 

The pastel shades of turquoise have endeared it to many great cultures of antiquity: it has adorned the rulers of Ancient Egypt, the Aztecs (and possibly other Pre-Columbian Mesoamericans), Persia, Mesopotamia, the Indus Valley, and to some extent in ancient China since at least the Shang Dynasty.[11] Despite being one of the oldest gems, probably first introduced to Europe (through Turkey) with other Silk Road novelties, turquoise did not become important as an ornamental stone in the West until the 14th century, following a decline in the Roman Catholic Church's influence which allowed the use of turquoise in secular jewellery. It was apparently unknown in India until the Mughal period, and unknown in Japan until the 18th century. A common belief shared by many of these civilizations held that turquoise possessed certain prophylactic qualities; it was thought to change colour with the wearer's health and protect him or her from untoward forces.

 

The Aztecs inlaid turquoise, together with gold, quartz, malachite, jet, jade, coral, and shells, into provocative (and presumably ceremonial) mosaic objects such as masks (some with a human skull as their base), knives, and shields. Natural resins, bitumen and wax were used to bond the turquoise to the objects' base material; this was usually wood, but bone and shell were also used. Like the Aztecs, the Pueblo, Navajo and Apache tribes cherished turquoise for its amuletic use; the latter tribe believe the stone to afford the archer dead aim. Among these peoples turquoise was used in mosaic inlay, in sculptural works, and was fashioned into toroidal beads and freeform pendants. The Ancestral Puebloans (Anasazi) of the Chaco Canyon and surrounding region are believed to have prospered greatly from their production and trading of turquoise objects. The distinctive silver jewelry produced by the Navajo and other Southwestern Native American tribes today is a rather modern development, thought to date from circa 1880 as a result of European influences.

 

In Persia, turquoise was the de facto national stone for millennia, extensively used to decorate objects (from turbans to bridles), mosques, and other important buildings both inside and out, such as the Medresseh-I Shah Husein Mosque of Isfahan. The Persian style and use of turquoise was later brought to India following the establishment of the Mughal Empire there, its influence seen in high purity gold jewellery (together with ruby and diamond) and in such buildings as the Taj Mahal. Persian turquoise was often engraved with devotional words in Arabic script which was then inlaid with gold.

The iconic gold burial mask of Tutankhamun, inlaid with turquoise, lapis lazuli, carnelian and coloured glass.

 

Cabochons of imported turquoise, along with coral, was (and still is) used extensively in the silver and gold jewellery of Tibet and Mongolia, where a greener hue is said to be preferred. Most of the pieces made today, with turquoise usually roughly polished into irregular cabochons set simply in silver, are meant for inexpensive export to Western markets and are probably not accurate representations of the original style.

 

The Egyptian use of turquoise stretches back as far as the First Dynasty and possibly earlier; however, probably the most well-known pieces incorporating the gem are those recovered from Tutankhamun's tomb, most notably the Pharaoh's iconic burial mask which was liberally inlaid with the stone. It also adorned rings and great sweeping necklaces called pectorals. Set in gold, the gem was fashioned into beads, used as inlay, and often carved in a scarab motif, accompanied by carnelian, lapis lazuli, and in later pieces, coloured glass. Turquoise, associated with the goddess Hathor, was so liked by the Ancient Egyptians that it became (arguably) the first gemstone to be imitated, the fair structure created by an artificial glazed ceramic product known as faience. (A similar blue ceramic has been recovered from Bronze Age burial sites in the British Isles.)

 

The French conducted archaeological excavations of Egypt from the mid-19th century through the early 20th. These excavations, including that of Tutankhamun's tomb, created great public interest in the western world, subsequently influencing jewellery, architecture, and art of the time. Turquoise, already favoured for its pastel shades since c. 1810, was a staple of Egyptian Revival pieces. In contemporary Western use, turquoise is most often encountered cut en cabochon in silver rings, bracelets, often in the Native American style, or as tumbled or roughly hewn beads in chunky necklaces. Lesser material may be carved into fetishes, such as those crafted by the Zuni. While strong sky blues remain superior in value, mottled green and yellowish material is popular with artisans. In Western culture, turquoise is also the traditional birthstone for those born in the month of December.

 

[edit] In Judeo-Christian scripture

 

Turquoise may have significance in Judeo-Christian scripture: In the Book of Exodus, the construction of a "breastplate of judgment" is described as part of the priestly vestments of Aaron (Exodus 28:15–30). Attached to the ephod, the breastplate (Hoshen) was adorned with twelve gemstones set in gold and arranged in four rows, each stone engraved with the name of one of the Twelve Tribes of Israel. Of the four stones in the third row, the first and second have been translated to be turquoise by various scholars and English bible versions (usually not having both as turquoise at the same time); many others disagree, however.[12]

 

In regard to the first of these stones, the translation is based on the Septuagint rendering the identity of the stone as chrysolithos (the masoretic text calls it tarshish, which just refers to Tarshish, a place, and gives no clue to the gem in question); at the time it was written chrysolithos did not mean Chrysolite specifically, but only golden stone (chryso-lithos). Chrysolithos is considered by scholars to possibly mean Topaz, Chrysolite, yellow Jasper, yellow Serpentine, or Turquoise - the last of these on the basis that Turquoise contains golden flecks, and that targums identified the stone as being sea coloured. Scholars favour stones which are mostly yellow as being the more likely solution, and opaque stones (Jasper or Serpentine) as more likely than translucent ones, on the consideration of nearby stones in the Hoshen.

 

In regard to the second of these stones, the masoretic text calls it shoham, and the Septuagint calls it Beryllios (Beryl), though elsewhere it translates shoham as onychion (Onyx), or as smaragdos (green stone). Shoham is of uncertain meaning. Following the Septuagint, some people think the stone should be an onyx (and many more traditional English versions of the Bible take this translation), but scholars think that the stone is actually Malachite (because it is green like beryl and smaragdos, cloudy as beryl can be, and in bands like onyx).

 

Scholars also disagree as to which tribes of the Israelites each stone is meant to represent; traditional sources are in just as much disagreement.

 

[edit] Imitations

 

The Egyptians were the first to produce an artificial imitation of turquoise, in the glazed earthenware product faience. Later glass and enamel were also used, and in modern times more sophisticated ceramics, porcelain, plastics, and various assembled, pressed, bonded, and sintered products (composed of various copper and aluminium compounds) have been developed: examples of the latter include "Viennese turquoise", made from precipitated aluminium phosphate coloured by copper oleate; and "neolith", a mixture of bayerite and copper phosphate. Most of these products differ markedly from natural turquoise in both physical and chemical properties, but in 1972 Pierre Gilson introduced one fairly close to a true synthetic (it does differ in chemical composition owing to a binder used, meaning it is best described as a simulant rather than a synthetic). Gilson turquoise is made in both a uniform colour and with black "spiderweb matrix" veining not unlike the natural Nevada material.

Some natural blue to blue-green materials, such as this botryoidal chrysocolla with quartz drusy, are occasionally confused with, or used to imitate turquoise.

 

The most common imitation of turquoise encountered today is dyed howlite and magnesite, both white in their natural states, and the former also having natural (and convincing) black veining similar to that of turquoise. Dyed chalcedony, jasper, and marble is less common, and much less convincing. Other natural materials occasionally confused with or used in lieu of turquoise include: variscite and faustite;[13] chrysocolla (especially when impregnating quartz); lazulite; smithsonite; hemimorphite; wardite; and a fossil bone or tooth called odontolite or "bone turquoise", coloured blue naturally by the mineral vivianite. While rarely encountered today, odontolite was once mined in large quantities—specifically for its use as a substitute for turquoise—in southern France.

 

These fakes are detected by gemmologists using a number of tests, relying primarily on non-destructive, close examination of surface structure under magnification; a featureless, pale blue background peppered by flecks or spots of whitish material is the typical surface appearance of natural turquoise, while manufactured imitations will appear radically different in both colour (usually a uniform dark blue) and texture (usually granular or sugary). Glass and plastic will have a much greater translucency, with bubbles or flow lines often visible just below the surface. Staining between grain boundaries may be visible in dyed imitations.

 

Some destructive tests may, however, be necessary; for example, the application of diluted hydrochloric acid will cause the carbonates odontolite and magnesite to effervesce and howlite to turn green, while a heated probe may give rise to the pungent smell so indicative of plastic. Differences in specific gravity, refractive index, light absorption (as evident in a material's absorption spectrum), and other physical and optical properties are also considered as means of separation. Imitation turquoise is so prevalent that it likely outnumbers real turquoise by a wide margin. Even material used in authentic Native American and Tibetan jewellery is often fake or, at best, heavily treated.

 

[edit] Treatments

An early turquoise mine in the Madan village of Khorasan.

 

Turquoise is treated to enhance both its colour and durability (i.e., increased hardness and decreased porosity). As is so often the case with any precious stones, full disclosure about treatment is frequently not given. It is therefore left to gemologists to detect these treatments in suspect stones using a variety of testing methods—some of which are necessarily destructive. For example, the use of a heated probe applied to an inconspicuous spot will reveal oil, wax, or plastic treatment with certainty.

 

[edit] Waxing and Oiling

 

Historically, light waxing and oiling were the first treatments used in ancient times, providing a wetting effect, thereby enhancing the colour and lustre. This treatment is more or less acceptable by tradition, especially because treated turquoise is usually of a higher grade to begin with. Oiled and waxed stones are prone to "sweating" under even gentle heat or if exposed to too much sun, and they may develop a white surface film or bloom over time. (With some skill, oil and wax treatments can be restored.)

 

[edit] Stabilization

 

Material treated with plastic or water glass is termed "bonded" or "stabilized" turquoise. This process consists of pressure impregnation of otherwise unsaleable chalky American material by epoxy and plastics (such as polystyrene) and water glass to produce a wetting effect and improve durability. Plastic and water glass treatments are far more permanent and stable than waxing and oiling, and can be applied to material too chemically or physically unstable for oil or wax to provide sufficient improvement. Conversely, stabilization and bonding are rejected by some as too radical an alteration.[14]

 

The epoxy binding technique was first developed in the 1950s and has been attributed to Colbaugh Processing of Arizona, a company that still operates today. The majority of American material is now treated in this manner although it is a costly process requiring many months to complete. Without such impregnation, most American mining operations would be unprofitable.

 

[edit] Dyeing

 

The use of Prussian blue and other dyes (often in conjunction with bonding treatments) to "enhance" – that is, make uniform or completely change – colour is regarded as fraudulent by some purists,[14] especially since some dyes may fade or rub off on the wearer. Dyes have also been used to darken the veins of turquoise.

 

[edit] Reconstitution

 

Perhaps the most radical of treatments is "reconstitution", wherein fragments of fine turquoise material, too small to be used individually, are powdered and then bonded to form a solid mass. Much, if not all, of this "reconstituted" material is likely artificial with no natural components, or may have foreign filler material added to it (see Imitations section).

 

[edit] Irradiation

 

Not well known, but some turquoise is irradiated to become less "chalky". This treatment is rarely disclosed. Like all irradiated gemstones, it should be tested by a Nuclear Regulatory Commission licensed laboratory before being sold in the USA.

  

[edit] Backing

 

Since finer turquoise is often found as thin seams, it may be glued to a base of stronger foreign material as a means of reinforcement. These stones are termed "Backed" and it is standard practice that all thinly cut turquoise in the Southwestern United States is backed. Native indigenous peoples of this region, because of their considerable use and wearing of turquoise, found that backing increased the durability of thinly cut slabs and cabs of turquoise. They observed that if the stone was not backed it would, for the most part, end up cracking. Early backing materials were the casings of old model T batteries and progressed to old phonograph records and most recently to the use of epoxy steel resins. Backing of turquoise is not known outside of the Native American and Southwestern United States jewelry trade. The value of turquoise of the highest quality is not discounted because it is backed and indeed the process is expected for most thinly cut American commercial gemstones.[citation needed]

 

[edit] Valuation and care

Slab of turquoise in matrix showing a large variety of different colouration

 

Hardness and richness of colour are two of the major factors in determining the value of turquoise; while colour is a matter of individual taste, generally speaking, the most desirable is a strong sky to "robin's egg" blue (in reference to the eggs of the American Robin).[15] Whatever the colour, turquoise should not be excessively soft or chalky; even if treated, such lesser material (to which most turquoise belongs) is liable to fade or discolour over time and will not hold up to normal use in jewellery.

 

The mother rock or matrix in which turquoise is found can often be seen as splotches or a network of brown or black veins running through the stone in a netted pattern; this veining may add value to the stone if the result is complementary, but such a result is uncommon. Such material is sometimes described as "spiderweb matrix"; it is most valued in the Southwest United States and Far East, but is not highly appreciated in the Near East where unblemished and vein-free material is ideal (regardless of how complementary the veining may be). Uniformity of colour is desired, and in finished pieces the quality of workmanship is also a factor; this includes the quality of the polish and the symmetry of the stone. Calibrated stones—that is, stones adhering to standard jewellery setting measurements—may also be more sought after. Like coral and other opaque gems, turquoise is commonly sold at a price according to its physical size in millimetres rather than weight.

 

Turquoise is treated in many different ways, some more permanent and radical than others. Controversy exists as to whether some of these treatments should be acceptable, but one can be more or less forgiven universally: This is the light waxing or oiling applied to most gem turquoise to improve its colour and lustre; if the material is of high quality to begin with, very little of the wax or oil is absorbed and the turquoise therefore does not "rely" on this impermanent treatment for its beauty. All other factors being equal, untreated turquoise will always command a higher price. Bonded and "reconstituted" material is worth considerably less.

 

Being a phosphate mineral, turquoise is inherently fragile and sensitive to solvents; perfume and other cosmetics will attack the finish and may alter the colour of turquoise gems, as will skin oils, as will most commercial jewelry cleaning fluids. Prolonged exposure to direct sunlight may also discolour or dehydrate turquoise. Care should therefore be taken when wearing such jewels: cosmetics, including sunscreen and hair spray, should be applied before putting on turquoise jewellery, and they should not be worn to a beach or other sun-bathed environment. After use, turquoise should be gently cleaned with a soft cloth to avoid a build up of residue, and should be stored in its own container to avoid scratching by harder gems. Turquoise can also be adversely affected if stored in an airtight container.

 

[edit] See also

 

en.wikipedia.org/wiki/Turquoise

  

These Historical Figures by George Stuart are in the permanent collection of the Ventura County Museum in Ventura, California. The quarter scale diamond replicas in the historical figures accessories as well as the full size cubic zirconia replicas exhibited with the figures were crafted by gemologist Scott Sucher of Albuquerque, New Mexico.

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CAPA-016294

سنگ ماه شهریور

 

When I was a kid the Four Corners was the main part of town. Most of the businesses lined both sides of Main and Commerce Street. It was a magical time back in the 60's. The only original businesses left today are Sayers Jewelers & Gemologists, Smyrna Sporting Goods and Faries Funeral Directors Inc.

Strobist: AB1600 with gridded 60X30 softbox overhead. AB800 open behind backdrop of white faux suede. Triggered by Cybersync.

Trinniberg gets a hug after winning the Bay Shore Stakes. (copyright Scott Serio / Eclipse Sportswire, all rights reserved)

  

Turquoise is an opaque, blue-to-green mineral that is a hydrous phosphate of copper and aluminium, with the chemical formula CuAl6(PO4)4(OH)8·4H2O. It is rare and valuable in finer grades and has been prized as a gem and ornamental stone for thousands of years owing to its unique hue.

In many cultures of the Old and New Worlds, this gemstone has been esteemed for thousands of years as a holy stone, a bringer of good fortune or a talisman. The oldest evidence for this claim was found in Ancient Egypt, where grave furnishings with turquoise inlay were discovered, dating from approximately 3000 BC. In the ancient Persian Empire, the sky-blue gemstones were earlier worn round the neck or wrist as protection against unnatural death. If they changed color, the wearer was thought to have reason to fear the approach of doom. Meanwhile, it has been discovered that turquoise certainly can change color, but that this is not necessarily a sign of impending danger. The change can be caused by light, or by a chemical reaction brought about by cosmetics, dust or the acidity of the skin.

  

The pastel shades of turquoise have endeared it to many great cultures of antiquity: it has adorned the rulers of Ancient Egypt, the Aztecs (and possibly other Pre-Columbian Mesoamericans), Persia, Mesopotamia, the Indus Valley, and to some extent in ancient China since at least the Shang Dynasty.[9] Despite being one of the oldest gems, probably first introduced to Europe (through Turkey) with other Silk Road novelties, turquoise did not become important as an ornamental stone in the West until the 14th century, following a decline in the Roman Catholic Church's influence which allowed the use of turquoise in secular jewellery. It was apparently unknown in India until the Mughal period, and unknown in Japan until the 18th century. A common belief shared by many of these civilizations held that turquoise possessed certain prophylactic qualities; it was thought to change colour with the wearer's health and protect him or her from untoward forces.

The Aztecs inlaid turquoise, together with gold, quartz, malachite, jet, jade, coral, and shells, into provocative (and presumably ceremonial) mosaic objects such as masks (some with a human skull as their base), knives, and shields. Natural resins, bitumen and wax were used to bond the turquoise to the objects' base material; this was usually wood, but bone and shell were also used. Like the Aztecs, the Pueblo, Navajo and Apache tribes cherished turquoise for its amuletic use; the latter tribe believe the stone to afford the archer dead aim. Among these peoples turquoise was used in mosaic inlay, in sculptural works, and was fashioned into toroidal beads and freeform pendants. The Ancestral Puebloans (Anasazi) of the Chaco Canyon and surrounding region are believed to have prospered greatly from their production and trading of turquoise objects. The distinctive silver jewellery produced by the Navajo and other Southwestern Native American tribes today is a rather modern development, thought to date from circa 1880 as a result of European influences.

In Persia, turquoise was the de facto national stone for millennia, extensively used to decorate objects (from turbans to bridles), mosques, and other important buildings both inside and out, such as the Medresseh-I Shah Husein Mosque of Isfahan. The Persian style and use of turquoise was later brought to India following the establishment of the Mughal Empire there, its influence seen in high purity gold jewellery (together with ruby and diamond) and in such buildings as the Taj Mahal. Persian turquoise was often engraved with devotional words in Arabic script which was then inlaid with gold.

Cabochons of imported turquoise, along with coral, was (and still is) used extensively in the silver and gold jewellery of Tibet and Mongolia, where a greener hue is said to be preferred. Most of the pieces made today, with turquoise usually roughly polished into irregular cabochons set simply in silver, are meant for inexpensive export to Western markets and are probably not accurate representations of the original style.

The Egyptian use of turquoise stretches back as far as the First Dynasty and possibly earlier; however, probably the most well-known pieces incorporating the gem are those recovered from Tutankhamun's tomb, most notably the Pharaoh's iconic burial mask which was liberally inlaid with the stone. It also adorned rings and great sweeping necklaces called pectorals. Set in gold, the gem was fashioned into beads, used as inlay, and often carved in a scarab motif, accompanied by carnelian, lapis lazuli, and in later pieces, coloured glass. Turquoise, associated with the goddess Hathor, was so liked by the Ancient Egyptians that it became (arguably) the first gemstone to be imitated, the fair structure created by an artificial glazed ceramic product known as faience.

The French conducted archaeological excavations of Egypt from the mid-19th century through the early 20th. These excavations, including that of Tutankhamun's tomb, created great public interest in the western world, subsequently influencing jewellery, architecture, and art of the time. Turquoise, already favoured for its pastel shades since c. 1810, was a staple of Egyptian Revival pieces. In contemporary Western use, turquoise is most often encountered cut en cabochon in silver rings, bracelets, often in the Native American style, or as tumbled or roughly hewn beads in chunky necklaces. Lesser material may be carved into fetishes, such as those crafted by the Zuni. While strong sky blues remain superior in value, mottled green and yellowish material is popular with artisans. In Western culture, turquoise is also the traditional birthstone for those born in the month of December. The turquoise is also a stone in the Jewish High Priest's breastplate, described in Exodus 28.

[edit]Culture

 

In many cultures of the Old and New Worlds, this gemstone has been esteemed for thousands of years as a holy stone, a bringer of good fortune or a talisman. It really does have the right to be called a 'gemstone of the peoples'. The oldest evidence for this claim was found in Ancient Egypt, where grave furnishings with turquoise inlay were discovered, dating from approximately 3000 BC. In the ancient Persian Empire, the sky-blue gemstones were earlier worn round the neck or wrist as protection against unnatural death. If they changed colour, the wearer was thought to have reason to fear the approach of doom. Meanwhile, it has been discovered that the turquoise certainly can change colour, but that this is not necessarily a sign of impending danger. The change can be caused by the light, or by a chemical reaction brought about by cosmetics, dust or the acidity of the skin.

[edit]Imitations

  

Some natural blue to blue-green materials, such as this botryoidal chrysocolla with quartz drusy, are occasionally confused with, or used to imitate turquoise.

The Egyptians were the first to produce an artificial imitation of turquoise, in the glazed earthenware product faience. Later glass and enamel were also used, and in modern times more sophisticated ceramics, porcelain, plastics, and various assembled, pressed, bonded, and sintered products (composed of various copper and aluminium compounds) have been developed: examples of the latter include "Viennese turquoise", made from precipitated aluminium phosphate coloured by copper oleate; and "neolith", a mixture of bayerite and copper phosphate. Most of these products differ markedly from natural turquoise in both physical and chemical properties, but in 1972 Pierre Gilson introduced one fairly close to a true synthetic (it does differ in chemical composition owing to a binder used, meaning it is best described as a simulant rather than a synthetic). Gilson turquoise is made in both a uniform colour and with black "spiderweb matrix" veining not unlike the natural Nevada material.

The most common imitation of turquoise encountered today is dyed howlite and magnesite, both white in their natural states, and the former also having natural (and convincing) black veining similar to that of turquoise. Dyed chalcedony, jasper, and marble is less common, and much less convincing. Other natural materials occasionally confused with or used in lieu of turquoise include: variscite and faustite;[5] chrysocolla (especially when impregnating quartz); lazulite; smithsonite; hemimorphite; wardite; and a fossil bone or tooth called odontolite or "bone turquoise", coloured blue naturally by the mineral vivianite. While rarely encountered today, odontolite was once mined in large quantities—specifically for its use as a substitute for turquoise—in southern France.

These fakes are detected by gemmologists using a number of tests, relying primarily on non-destructive, close examination of surface structure under magnification; a featureless, pale blue background peppered by flecks or spots of whitish material is the typical surface appearance of natural turquoise, while manufactured imitations will appear radically different in both colour (usually a uniform dark blue) and texture (usually granular or sugary). Glass and plastic will have a much greater translucency, with bubbles or flow lines often visible just below the surface. Staining between grain boundaries may be visible in dyed imitations.

Some destructive tests may, however, be necessary; for example, the application of diluted hydrochloric acid will cause the carbonates odontolite and magnesite to effervesce and howlite to turn green, while a heated probe may give rise to the pungent smell so indicative of plastic. Differences in specific gravity, refractive index, light absorption (as evident in a material's absorption spectrum), and other physical and optical properties are also considered as means of separation.

[edit]Treatments

   

An early turquoise mine in the Madan village of Khorasan.

Turquoise is treated to enhance both its colour and durability (i.e., increased hardness and decreased porosity). As is so often the case with any precious stones, full disclosure about treatment is frequently not given. It is therefore left to gemologists to detect these treatments in suspect stones using a variety of testing methods—some of which are necessarily destructive. For example, the use of a heated probe applied to an inconspicuous spot will reveal oil, wax, or plastic treatment with certainty.

[edit]Waxing and oiling

Historically, light waxing and oiling were the first treatments used in ancient times, providing a wetting effect, thereby enhancing the colour and lustre. This treatment is more or less acceptable by tradition, especially because treated turquoise is usually of a higher grade to begin with. Oiled and waxed stones are prone to "sweating" under even gentle heat or if exposed to too much sun, and they may develop a white surface film or bloom over time. (With some skill, oil and wax treatments can be restored.)

[edit]Stabilization

Material treated with plastic or water glass is termed "bonded" or "stabilized" turquoise. This process consists of pressure impregnation of otherwise unsaleable chalky American material by epoxy and plastics (such as polystyrene) and water glass (sodium silicate) to produce a wetting effect and improve durability. Plastic and water glass treatments are far more permanent and stable than waxing and oiling, and can be applied to material too chemically or physically unstable for oil or wax to provide sufficient improvement. Conversely, stabilization and bonding are rejected by some as too radical an alteration.[10]

The epoxy binding technique was first developed in the 1950s and has been attributed to Colbaugh Processing of Arizona, a company that still operates today. The majority of American material is now treated in this manner although it is a costly process requiring many months to complete. Without such impregnation, most American mining operations would be unprofitable.

[edit]Dyeing

The use of Prussian blue and other dyes (often in conjunction with bonding treatments) to "enhance"—that is, make uniform or completely change—colour is regarded as fraudulent by some purists,[10] especially since some dyes may fade or rub off on the wearer. Dyes have also been used to darken the veins of turquoise.

[edit]Reconstitution

Perhaps the most extreme of treatments is "reconstitution", wherein fragments of fine turquoise material, too small to be used individually, are powdered and then bonded to form a solid mass. Very often the material sold as "reconstituted" turquoise is artificial, with little or no natural stone, and may have foreign filler material added to it.

[edit]Backing

Since finer turquoise is often found as thin seams, it may be glued to a base of stronger foreign material as a means of reinforcement. These stones are termed "backed," and it is standard practice that all thinly cut turquoise in the Southwestern United States is backed. Native indigenous peoples of this region, because of their considerable use and wearing of turquoise, have found that backing increases the durability of thinly cut slabs and cabs of turquoise. They observe that if the stone is not backed it will often crack. Early backing materials included the casings of old model T batteries, old phonograph records, and more recently epoxy steel resins. Backing of turquoise is not widely known outside of the Native American and Southwestern United States jewellery trade. Backing does not diminish the value of high quality turquoise, and indeed the process is expected for most thinly cut American commercial gemstones.[citation needed]

[edit]Valuation and care

     

Slab of turquoise in matrix showing a large variety of different colouration

Hardness and richness of colour are two of the major factors in determining the value of turquoise; while colour is a matter of individual taste, generally speaking, the most desirable is a strong sky to "robin's egg" blue (in reference to the eggs of the American Robin).[8] Whatever the colour, turquoise should not be excessively soft or chalky; even if treated, such lesser material (to which most turquoise belongs) is liable to fade or discolour over time and will not hold up to normal use in jewellery.

The mother rock or matrix in which turquoise is found can often be seen as splotches or a network of brown or black veins running through the stone in a netted pattern; this veining may add value to the stone if the result is complementary, but such a result is uncommon. Such material is sometimes described as "spiderweb matrix"; it is most valued in the Southwest United States and Far East, but is not highly appreciated in the Near East where unblemished and vein-free material is ideal (regardless of how complementary the veining may be). Uniformity of colour is desired, and in finished pieces the quality of workmanship is also a factor; this includes the quality of the polish and the symmetry of the stone. Calibrated stones—that is, stones adhering to standard jewellery setting measurements—may also be more sought after. Like coral and other opaque gems, turquoise is commonly sold at a price according to its physical size in millimetres rather than weight.

Turquoise is treated in many different ways, some more permanent and radical than others. Controversy exists as to whether some of these treatments should be acceptable, but one can be more or less forgiven universally: This is the light waxing or oiling applied to most gem turquoise to improve its colour and lustre; if the material is of high quality to begin with, very little of the wax or oil is absorbed and the turquoise therefore does not "rely" on this impermanent treatment for its beauty. All other factors being equal, untreated turquoise will always command a higher price. Bonded and "reconstituted" material is worth considerably less.

Being a phosphate mineral, turquoise is inherently fragile and sensitive to solvents; perfume and other cosmetics will attack the finish and may alter the colour of turquoise gems, as will skin oils, as will most commercial jewellery cleaning fluids. Prolonged exposure to direct sunlight may also discolour or dehydrate turquoise. Care should therefore be taken when wearing such jewels: cosmetics, including sunscreen and hair spray, should be applied before putting on turquoise jewellery, and they should not be worn to a beach or other sun-bathed environment. After use, turquoise should be gently cleaned with a soft cloth to avoid a build up of residue, and should be stored in its own container to avoid scratching by harder gems. Turquoise can also be adversely affected if stored in an airtight container.

  

en.wikipedia.org/wiki/Turquoise

Ancient Tibetan dZi

 

You can see photos of this necklace in a separate album.

www.flickr.com/photos/195636791@N03/albums/72177720299869459

 

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

hole of the old bead

 

Ancient Tibetan dZi Medicine. red dots. Yak Horn/Brass/Karelian Shungite necklace

 

Very beautiful translucent beads from the horn of the Water Buffalo that live in the foothills of the Himalayas. The horns of the water buffalo are hollow. If you take the material from the wall of the horn, then it exfoliates over time. Only at the tip of 3-5 cm is there a dense place that is used to make beads. Therefore, these beads are quite expensive. More expensive than Jasper or Agate beads. Probably the price of these beads is comparable to Turquoise.

 

MAIN dZi bead Medicine

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

I recently bought a 22-gram morganite rough from an antique market. Morganite is a beryl*, the same class of mineral as its much more famous green variety (emeralds) and blue variety (aquamarines). Unlike emeralds and aquamarines, the pale, very slightly purplish pink morganites are not expensive. This 110-carat rough only cost me CAD $20 (USD $15, EUR 14, GBP 11.80).

 

* Beryl is a mineral composed of beryllium aluminium cyclosilicate with the chemical formula Be3Al2(Si O3)6.

 

By the way, morganite was named after John Pierpoint ( J.P. ) Morgan the well-known banker. Mr. Morgan was an avid gemstone collector and close friend of gemologist George Kunz. When the pink beryl was first discovered in Madagascar in 1910, Mr. Kunz proposed the name morganite at a meeting of the New York Academy of Sciences on 5 December 1910 to honor his friend and customer J.P. Morgan.

 

www.gia.edu/morganite-history-lore

 

These Historical Figures by George Stuart are in the permanent collection of the Ventura County Museum in Ventura, California. The quarter scale diamond replicas in the historical figures accessories as well as the full size cubic zirconia replicas exhibited with the figures were crafted by gemologist Scott Sucher of Albuquerque, New Mexico.

This cubic zirconia reproduction of the Cullinan I diamond was made by gemologist Scott Sucher of Albuquerque, New Mexico. The original diamond, also known as the Great Star of Africa, is the largest gem-quality diamond ever found. It was placed into a scepter that is part of the British Crown Jewels kept in the Tower of London. Surprisingly, the replica is slightly heavier than the real diamond.

 

The replica was on display at the "Diamonds are Forever" exhibit at the Ventura County Museum in Ventura, California.

Presented here is another of my upcycled-gemstone jewellery. The gemstone here is a collection of chips of genuine & natural Turquoise, beaten and bonded together with copper, along with little bit of coloured cement-glue. This is probably as close as possibly you can get to large pieces of Turquoise.

Genuine gemologists and gem-traders know very well, how rare are turquoises to get. What you usually get in market are either man-made materials or a natural gemstone, grey-veined Howlite (dyed blue) to imitate Turquoise colour and style.

"With depleting mines, turquoise, the most sacred stone to the Navajo, has become increasingly rare, and that is why Turquoise is becoming rarer than Diamonds." ~Smithsonian Institution (The world's largest museum and research complex).

Read more: www.smithsonianmag.com/…/exquisite-turquoise-more-…/…

 

www.etsy.com/…/statement-pendant-necklace-blue-bond…

 

Medicine Buddha or Medicine dZi bead. Restores healer's power. Fills return ease and laughter. Anyway, everybody is a healer to some extent or other, we are engaged in treatment and self-treatment. dZi bead Medicine does not cure the physical body, but it gives strength and restores the balance of Qi energy. The dZi bead works with our astral body, with such energies that are primary.

 

This dZi bead contains "Dragon's Blood" as the Tibetans call the small red dots of iron oxides, which are known in China as Cinnabar dots.

As a gemologist, I can say that cinnabar as a mineral (HgS - mercury sulfide) is not present in Agate, the Chinese call these points due to their color. Every artist knows the color "cinnabar", as the paint has been made on the basis of this mineral since ancient times. Red dots are formed in old agate beads, but not in all beads. Dragon Blood especially often appears in beads that are continuously worn in contact with the body. This is due to the temperature, when worn, oxidation processes are faster, but still, take hundreds of years. Sometimes the dots are so small that they are only visible at high magnifications.

Many cinnabar beads can be found on sale today,

but almost all of them will be glass copies of old beads. In general, the modern dZi bead market looks like a competition for fakes.

 

The name Chong (or Chung) dZi bead originated in pre-Buddhist times when the Bon religion was widespread in Tibet. This was the name of any beads made of Agate, Carnelian, or Holcedony, possibly ancient, but the creation of which did not use the canons according to which Pure dZi is made. These were natural mineral beads of various shapes, sometimes with stripes of natural origin. Other beads from Asia were also referred to them. Afghanistan, China, and Oceania, and etched carnelian beads.

Dzi Medicine, as well as beads with eyes and other symbols, was considered in Tibet to be Pure dZi, since they were made according to the same canons.

During the reign of the Ming dynasty in China (about 500-600 years ago), a large number of Chinese beads, very similar to the Tibetan Pure dZi of Medicine, came to Tibet. Perhaps this is how China tried to influence Tibet. It has always been a difficult relationship.

Back in the days when beads were not known at all and were not in demand in the West. But in Tibet, beads were involved in the trade, for example, a good bead could be exchanged for a bag of rice. Since there were few good dZi masters in China, the Chinese generally did a lot of Medicine dZi beads, as such a symbol is easy to produce.

 

I heard this version of the origin of the name Chong DZi from my mentor, who lived in Dharamshala and communicated with Tibetan monks. This is different from what I later read on the Internet, however, I think that this information should not be lost.

 

Today many people call "Chong" dZi all the Medicine Striped Beads, although by this version this is not correct.

So Chong dZi translates to "less desirable", but essentially it means "done in some way out of our control, and that doesn't guarantee you quality internal content."

At its core, almost the entire dZi beads in the modern market today are the Chong (or Chung) dZi beads.

You can see photos of this necklace in a separate album.

www.flickr.com/photos/195636791@N03/albums/72177720299869459

Golconda Fort, also known as Golkonda (Telugu: "shepherds' hill"), is a fortified citadel and an early capital city of the Qutb Shahi dynasty (c. 1512–1687), located in Hyderabad, Telangana, India. Because of the vicinity of diamond mines, especially Kollur Mine, Golconda flourished as a trade centre of large diamonds, known as the Golconda Diamonds. The region has produced some of the world's most famous diamonds, including the colourless Koh-i-Noor (now owned by the United Kingdom), the blue Hope (United States), the pink Daria-i-Noor (Iran), the white Regent (France), the Dresden Green (Germany), and the colourless Orlov (Russia), Nizam and Jacob (India), as well as the now lost diamonds Florentine Yellow, Akbar Shah and Great Mogul.

 

HISTORY

Under the Bahmani Sultanate, Golconda slowly rose to prominence. Sultan Quli Qutb-ul-Mulk (r. 1487–1543), sent by the Bahmanids as a governor at Golconda, established the city as the seat of his government around 1501. Bahmani rule gradually weakened during this period, and Sultan Quli formally became independent in 1538, establishing the Qutb Shahi dynasty based in Golconda. Over a period of 62 years, the mud fort was expanded by the first three Qutb Shahi sultans into the present structure, a massive fortification of granite extending around 5 km in circumference. It remained the capital of the Qutb Shahi dynasty until 1590 when the capital was shifted to Hyderabad. The Qutb Shahis expanded the fort, whose 7 km outer wall enclosed the city.

 

During the early seventeenth century a strong cotton-weaving industry existed in Golconda. Large quantities of cotton were produced for domestic and exports consumption. High quality plain or patterned cloth made of muslin and calico was produced. Plain cloth was available as white or brown colour, in bleached or dyed variety. Exports of this cloth was to Persia and European countries. Patterned cloth was made of prints which were made indigenously with indigo for blue, chay-root for red coloured prints and vegetable yellow. Patterned cloth exports were mainly to Java, Sumatra and other eastern countries.

The fort finally fell into ruin in 1687, after an eight-month-long siege led to its fall at the hands of the Mughal emperor Aurangzeb.

 

DIAMONDS

The Golconda Fort used to have a vault where the famous Koh-i-Noor and Hope diamonds were once stored along with other diamonds.

 

Golconda is renowned for the diamonds found on the south-east at Kollur Mine near Kollur, Guntur district, Paritala and Atkur in Krishna district and cut in the city during the Kakatiya reign. At that time, India had the only known diamond mines in the world. Golkonda was the market city of the diamond trade, and gems sold there came from a number of mines. The fortress-city within the walls was famous for diamond trade.

 

Its name has taken a generic meaning and has come to be associated with great wealth. Gemologists use this classification to denote a diamond with a complete (or almost-complete) lack of nitrogen; "Golconda" material is also referred to as 2A.

 

Many famed diamonds are believed to have been excavated from the mines of Golconda, such as:

 

Daria-i-Noor

Noor-ul-Ain

Koh-i-Noor

Hope Diamond

Princie Diamond

Regent Diamond

Wittelsbach-Graff Diamond

 

By the 1880s, "Golconda" was being used generically by English speakers to refer to any particularly rich mine, and later to any source of great wealth.

 

During the Renaissance and the early modern eras, the name "Golconda" acquired a legendary aura and became synonymous for vast wealth. The mines brought riches to the Qutb Shahis of Hyderabad State, who ruled Golconda up to 1687, then to the Nizam of Hyderabad, who ruled after the independence from the Mughal Empire in 1724 until 1948, when the Indian integration of Hyderabad occurred.The siege of Golconda occurred in January 1687, when Mughal Emperor Aurangzeb led his forces to besiege the Qutb Shahi dynasty at Golconda Fort (also known as the Diamond Capitol of its time) and was home to the Kollur Mine. The ruler of Golconda was the well entrenched Abul Hasan Qutb Shah.

 

THE FORT

Golconda Fort is listed as an archaeological treasure on the official "List of Monuments" prepared by the Archaeological Survey of India under The Ancient Monuments and Archaeological Sites and Remains Act. Golconda consists of four distinct forts with a 10 km long outer wall with 87 semicircular bastions (some still mounted with cannons), eight gateways, and four drawbridges, with a number of royal apartments and halls, temples, mosques, magazines, stables, etc. inside. The lowest of these is the outermost enclosure entered by the "Fateh Darwaza" (Victory gate, so called after Aurangzeb’s triumphant army marched in through this gate) studded with giant iron spikes (to prevent elephants from battering them down) near the south-eastern corner. An acoustic effect can be experienced at Fateh Darwazaan, a hand clap at a certain point below the dome at the entrance reverberates and can be heard clearly at the 'Bala Hisar' pavilion, the highest point almost a kilometer away. This worked as a warning in case of an attack.

 

Bala Hissar Gate is the main entrance to the fort located on the eastern side. It has a pointed arch bordered by rows of scroll work. The spandrels have yalis and decorated roundels. The area above the door has peacocks with ornate tails flanking an ornamental arched niche. The granite block lintel below has sculpted yalis flanking a disc. The design of peacocks and lions is typical of Hindu architecture and underlies this fort's Hindu origins.

 

Toli Masjid, situated at Karwan, about 2 km from the Golconda Fort, was built in 1671 by Mir Musa Khan Mahaldar, royal architect of Abdullah Qutb Shah. The facade consists of five arches, each with lotus medallions in the spandrels. The central arch is slightly wider and more ornate. The mosque inside is divided into two halls, a transverse outer hall and an inner hall entered through triple arches.

 

It is believed that there is a secret tunnel that leads from the "Durbar Hall" and ends in one of the palaces at the foot of the hill. The fort also contains the tombs of the Qutub Shahi kings. These tombs have Islamic architecture and are located about 1 km north of the outer wall of Golconda. They are encircled by beautiful gardens and numerous carved stones. It is also believed that there was a secret tunnel to Charminar.

 

The two individual pavilions on the outer side of Golconda are built on a point which is quite rocky. The "Kala Mandir" is also located in the fort. It can be seen from the king's durbar (king's court) which was on top of the Golconda Fort.

The other buildings found inside the fort are: Habshi Kamans (Abyssian arches), Ashlah Khana, Taramati mosque, Ramadas Bandikhana, Camel stable, private chambers (kilwat), Mortuary bath, Nagina bagh, Ramasasa's kotha, Durbar hall, Ambar khana etc.

 

GOLCONDA RULING DYNASTIES

Several dynasties ruled Golconda over year

Bahamani Sultans

Qutb Shahi dynasty

Mughal Empire

 

NAYA QILA (NEW FORT)

Naya Qila is an extension of Golconda Fort which was turned into the Hyderabad Golf Club despite resistance from farmers who owned the land and various NGOs within the city. The ramparts of the new fort start after the residential area with many towers and the Hatiyan ka Jhad ("Elephant-sized tree") - an ancient baobab tree with an enormous girth. It also includes a war mosque. These sites are under restrictive access to the public because of the Golf Course.

 

QUTUB SHAHI TOMBS

The tombs of the Qutub Shahi sultans lie about one kilometre north of Golconda's outer wall. These structures are made of beautifully carved stonework, and surrounded by landscaped gardens. They are open to the public and receive many visitors. It is one of the famous sight seeing places in Hyderabad.

 

UNESCO World Heritage

The Golconda fort, and other Qutb Shahi dynasty Monuments of Hyderabad (the Charminar, and the Qutb Shahi Tombs) were submitted by the Permanent Delegation of India to UNESCO in 2010 for consideration as World Heritage Sites. They are currently included on India's "tentative list".

 

INFLUENCES

IN POPULAR CULTURE

Russell Conwell's book Acres of Diamonds tells a story of the discovery of the Golconda mines.

René Magritte's painting Golconda was named after the city.

John Keats' early poem "On receiving a curious Shell" opens with the lines: "Hast thou from the caves of Golkonda, a gem / pure as the ice-drop that froze on the mountain?"

Referenced in the classical Russian ballet, La Bayadère

Anthony Doerr's Pulitzer Prize–winning novel All the Light We Cannot See references the Golconda Mines as the discovery place of the "Sea of Flames" diamond

In Patrick O'Brian's novel The Surgeon's Mate, a character describes a particularly valuable diamond as being worth "half Golconda".

 

PLACES NAMED AFTER GOLCONDA

A city in Illinois, United States is named after Golconda.

A city in Nevada, United States is named after Golconda.

A village located in the southern part of Trinidad had given the name in the 19th century to a rich tract of land which was once a sugar-cane estate. Currently, mostly descendants of East Indian indentured servants occupy the village of Golconda.

 

WIKIPEDIA

These Historical Figures by George Stuart are in the permanent collection of the Ventura County Museum in Ventura, California. The quarter scale diamond replicas in the historical figures accessories as well as the full size cubic zirconia replicas exhibited with the figures were crafted by gemologist Scott Sucher of Albuquerque, New Mexico.

Blue corundum (sapphire) from Sri Lanka. (~1.65 centimeters tall)

 

A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 6100 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.

 

The oxide minerals all contain one or more oxide anions (O-2). The oxide minerals include species that are hydroxy-oxides. The hydroxide minerals (those with one or more OH-) are usually considered together with the oxides. Many sulfide minerals are not stable in Earth-surface conditions. In the presence of oxygen and moisture, sulfide minerals tend to tarnish or alter to oxides and hydroxy-oxides. All except the most inert elements (such as the platinum-group elements and gold and noble gases) readily form oxides. Gold oxide forms only under special conditions.

 

Corundum is aluminum oxide - Al2O3. At H≡9, it is the hardest common mineral, apart from diamond. Corundum forms hexagonal crystals, which is evident even in many river-worn specimens. The hexagonal columns of corundum typically have well-developed flat tops & bottoms. These flat ends are not cleavage planes - corundum has no cleavage. The cleavage-looking flat tops & bottoms of corundum are called partings (pseudocleavage). Additional breakages will not be along planar surfaces.

 

The color of corundum is variable - it can be any color, including plaid patterns. If transparent and relatively fracture-free & inclusion-free, corundum is said to be of gem-quality, and the color determines the name of the gem.

 

deep red = ruby

blue = sapphire

pale red = sapphire

pale green = sapphire

purple = sapphire

yellow = sapphire

 

Sapphire covers the largest number of colors. Gemologists and gem dealers will often deceivingly use the term "oriental" in referring to non-blue colored sapphires. For example, "oriental amethyst" is purple corundum, "oriental topaz" is yellow corundum, "oriental emerald" is green corundum, etc. Black-colored corundum is often called emery. Corundum-rich rocks are also called emery, or corundite (www.flickr.com/photos/jsjgeology/albums/72157646922258716).

 

The cornflower blue-colored sapphire crystal shown above is from the famous gem gravels of Ceylon, off the southern tip of India.

 

Locality: "gem gravels", unrecorded/undisclosed mine attributed to the Ratnapura area, Ratnapura District, Sabaragamuwa Province, southern Ceylon (Sri Lanka)

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See locality info. at:

www.mindat.org/loc-3147.html

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Photo gallery of corundum and sapphire:

www.mindat.org/gallery.php?min=1136

and

www.mindat.org/gallery.php?min=3529

 

The Hope Diamond

 

•Catalog Number: NMNH G3551-00

•Locality: India

•Weight: 45.52 ct

 

Gift of Harry Winston, Inc in 1958.

 

Over 100 million visitors have experienced the beauty of the Hope Diamond since Harry Winston donated it to the Smithsonian Institution in 1958. Learn more about this remarkable gem using the tiles below.

 

Timeline

 

The French Kings: 1668-1792

 

1668-1669: Tavernier’s Diamond

 

King Louis XIV was fond of beautiful and rare gems, especially diamonds. In December of 1668, the explorer Jean-Baptiste Tavernier met with the king to share a collection of diamonds collected on his recently completed trip to India. In February of 1669, King Louis XIV purchased the lot of diamonds, including a large blue diamond weighing 112 3⁄16 old French carats (approximately 115 modern metric carats) for 220,000 livres (Bapst 1889). In recognition of this transaction, the king honored Tavernier with the rank of nobleman (Morel 1988).

 

It is commonly assumed that Tavernier acquired the diamond on his last journey to India (1664-1668) and that it came from the Kollur Mine of the Golconda region. However, evidence for both source and timing is circumstantial, as Tavernier makes no mention of the acquisition of the diamond in the published accounts of his journeys. The Kollur Mine is considered a likely source because it was known for producing large and colored diamonds (Post and Farges 2014), but there were several diamond mines throughout India during the time of Tavernier’s voyages, and the diamond could have come from any one of them. The diamond must at least have originated in India, as India was the only commercial source of diamonds in Tavernier’s time.

 

1669-1672: Creating the French Blue

 

King Louis XIV ordered one of his court jewelers, Jean Pittan the Younger, to supervise the recutting of the 115-carat blue diamond. The king likely ordered the stone recut because of differences between Indian and European tastes in diamonds: Indian gems were cut to retain size and weight, while Europeans prized luster, symmetry and brilliance. It is not known who actually cut the diamond, but the job took about two years to complete. The result was an approximately 69-carat heart-shaped diamond referred to as “the great violet diamond of His Majesty” in the historic royal archives. At that time, “violet” meant a shade of blue. Today, the diamond is most commonly known as the “French Blue” (Post and Farges 2014).

 

An inventory of the French Crown Jewels from 1691 reveals that the French Blue was “set into gold and mounted on a stick.” In 2012, a computer simulation revealed that eight central facets on the pavilion of the French Blue were cut so as to be visible when one looked through the face of the gem (Farges et al. 2012). When the stone was set in gold, the effect would be the appearance of a gold sun in the center of the blue diamond. Post and Farges (2014) proposed that the stone was cut this way to show the colors of the French monarchy, blue and gold, symbolizing the divine standing and power of King Louis XIV, the Sun King. The diamond was not worn as a piece of jewelry or kept with the French Crown Jewels, but rather was stored in the King’s cabinet of curiosities at Versailles, where he could show it to special guests.

 

1749: The Order of the Golden Fleece

 

Louis XIV’s great-grandson, Louis XV, inherited the royal jewels when he ascended to the throne. Around 1749, King Louis XV tasked the Parisian jeweler Pierre-André Jacqumin with creating an emblem of knighthood of the Order of the Golden Fleece. The finished emblem featured a number of spectacular gems, including the French Blue Diamond, the 107-carat Côte de Bretagne spinel (carved into the shape of a dragon and originally thought to be a ruby), and several other diamonds. It was rarely worn, functioning instead as a symbol of the king’s power (Post and Farges 2014).

 

1791: The Capture of Louis XVI

 

Amidst the turmoil of the French Revolution, King Louis XVI and Marie Antoinette attempted to escape France, but were apprehended and returned to Paris. The French Crown Jewels, including the French Blue Diamond in the Order of the Golden Fleece, were turned over to the revolutionary government and moved to the Garde-Meuble, the Royal Storehouse, where they were put on view for the public once a week until 1792. On visiting days, the doors of the armoires would be opened and a selection of mounted and unmounted jewels could be viewed in special display cases.

 

1792: The Theft of the French Crown Jewels

 

On the night of September 11th, 1792, a group of thieves climbed through the first-floor windows of the Garde-Meuble into the room where the French Crown Jewels were stored and escaped with some of the jewels. At the time, no one in the storehouse even realized that a theft had taken place: The seal on the door to the room had not been broken, and no guards were stationed inside of the room. The thieves returned over the following nights to steal more of the jewels. By the evening of September 17th, the group of thieves had grown to about fifty. Acting loudly and carelessly, they attracted the attention of the patrol, putting an end to one of the most curious thefts in history (Morel 1988).

 

By then, the Order of the Golden Fleece was gone. The French Blue Diamond has not been seen since.

 

From Europe to America: 1812-1958

 

1812: A Blue Diamond Appears in London

 

It is now clear that the French Blue resurfaced in London nearly 20 years later, although no one seems to have recognized it at the time. It had by then been recut to a smaller (though still spectacular) gem, which we know today as the Hope Diamond.

 

The first reference to this diamond is a sketch and description made in 1812 by the London jeweler John Francillon:

 

The above drawing is the exact size and shape of a very curious superfine deep blue Diamond. Brilliant cut, and equal to a fine deep blue Sapphire. It is beauty full and all perfection without specks or flaws, and the color even and perfect all over the Diamond. I traced it round the diamond with a pencil by leave of Mr. Daniel Eliason and it is as finely cut as I have ever seen in a Diamond. The color of the Drawing is as near the color of the Diamond as possible.

Francillon does not mention where the diamond came from or who had cut it, nor does he connect it to the French Blue.

 

Intriguingly, the Francillon Memo is dated just two days after the twenty-year statute of limitations for crimes committed during the French Revolution had passed. The diamond may have resurfaced at this time because the possibility of prosecution and of France reclaiming the diamond was eliminated, making the owner comfortable enough to share the diamond with others (Winters and White 1991).

 

1813-1823: Mr. Eliason’s Diamond

 

Several other British naturalists and gem experts made note of a large blue diamond in London in the years following Francillon’s memo. In the 1813 and 1815 editions of his book, A Treatise on Diamonds and Precious Stones, mineralogist and gem connoisseur John Mawe writes that “there is at this time a superlatively fine blue diamond, of above 44 carats, in possession of an individual in London, which may be considered as matchless, and of course of arbitrary value.” Similarly, James Sowerby, a naturalist known for his illustrations of minerals and other objects, wrote that “Daniel Eliason, Esq. has in London, a nearly perfect blue Brilliant, of 44½ carats, that is superior to any other coloured diamond known” (Sowerby 1817).

 

By 1823, the diamond was no longer in Eliason’s possession. Mawe returned to the subject of the blue diamond in the 1823 edition of his book, writing that:

 

“A superlatively fine blue diamond weighing 44 carats and valued at £30,000, formerly the property of Mr. Eliason, an eminent diamond merchant, is now said to be in the possession of our most gracious sovereign… The unrivaled gem is of a deep sapphire blue, and from its rarity and color, might have been estimated at a higher sum. It has found its most worthy destination in passing into the possession of a monarch, whose refined taste has ever been conspicuous in the highest degree” (Mawe 1823)

 

According to Mawe, then, Eliason had parted with the diamond and it had come into the possession of George IV, the King of England. However, no evidence linking the Hope Diamond to the king has been found in the British royal archives, and we do not know whether George IV ever possessed it as either owner or borrower (Post and Farges 2014).

 

1839: Henry Philip Hope’s Gem Collection

 

Henry Philip Hope (1774-1839) was a wealthy British banker with an affinity for fine art and precious gems. An 1839 catalogue of his gem collection mentions a large blue diamond weighing 45.5 carats. The diamond would take his name, becoming known as “Hope’s Diamond” or the “Hope Diamond.” The catalogue describes the diamond as “a most magnificent and rare brilliant, of a deep sapphire blue, of the greatest purity, and most beautifully cut” (Hertz 1839). It was set in a medallion with smaller, rose-cut, colorless diamonds surrounding it and a pearl that dropped from the bottom of the medallion as a pendant. Unfortunately, Hope does not record when or where he acquired the diamond in his 1839 catalogue.

 

Henry Philip Hope died in 1839, leaving his possessions to his three nephews: Henry Thomas, Adrian, and Alexander. In his will, Henry Philip Hope divided his money and property amongst the brothers, but did not leave instructions for the division of his gem collection. Given the immense value of his collection, the Hope brothers argued for years over who would inherit it. In 1849, after ten years of dispute, the brothers reached an agreement: the property went to Adrian, the Hope Pearl and around 700 precious gemstones went to Alexander, and the Hope Diamond and seven other gems went to Henry Thomas (Kurin 2006).

 

1851: The Great London Exhibition

 

Henry Thomas Hope loaned the Hope Diamond for display at the Crystal Palace during the Great London Exhibition. According to a catalogue from the exhibition, 28 diamonds from the Henry Philip Hope Collection were exhibited. This suggests that the brother of Henry Thomas, Alexander, must have contributed diamonds to the display effort since Henry Thomas had only inherited eight gems from his uncle and Alexander had inherited the rest (Kurin 2006).

 

1858: The French Blue Connection

 

Today, we are certain that the Hope Diamond is the recut French Blue. However, it took 46 years after Francillon described the modern Hope for someone to connect the two diamonds. The French gemologist Charles Barbot was first, speculating in his 1858 book, Traité Complet de Pierres Précieuses, that the Hope Diamond was cut from the French Blue (Post and Farges 2014).

 

Later authors continued in this track. In 1870, Charles W. King wrote about a likely connection between the two blue diamonds in his book, The Natural History of the Precious Stones and of the Precious Metals. On the subject of “Hope’s Blue Diamond” King writes “suspected to be that of the French Regalia (stolen in 1792), and then weighing 67 car., and afterwards re-cut as a brilliant to its present weight of 44½ carat.”

 

In 1882, Edwin Streeter wrote about the diamond’s provenance in his book, The Great Diamonds of the World: Their History and Romance:

 

The disappearance of Tavernier’s rough blue from the French regalia, followed by the unexplained appearance of a cut gem of precisely the same delicate blue tint, and answering in size to the original after due allowance made for loss in cutting, leaves little or no room for doubting the identity of the two stones… It thus appears that the rough un-cut Tavernier, the French “Blue,” lost in 1792, and the “Hope,” are one and the same stone. (Streeter 1882, p. 214).

 

1887: The Extravagant Life of Lord Francis Hope

 

Henry Thomas Hope left his possessions, including the Hope Diamond, to his wife Anne Adéle Hope when he passed away in 1862. Anne, in turn, decided to leave the family treasures not to her daughter, Henrietta (whose husband was careless with money and often on the verge of bankruptcy) but to her grandson, Francis Hope. In her 1876 will, Anne named Francis as heir to the family treasures, stipulating that the estates and heirlooms were to be used during his lifetime and then passed on to another Hope descendant. Anne passed away in 1884, and Francis Hope claimed his inheritance when he turned 21, three years later (Kurin 2006).

 

Lord Francis Hope was less prudent than his grandmother might have hoped. He lived extravagantly, quickly spending his inheritance on traveling, entertainment, and gambling and sinking into tremendous debt. In 1892, he met a showgirl in New York City named May Yohé, a glamorous and charming actress from Pennsylvania. Hope and Yohé married in 1894 and continued to live well beyond their means. To avoid bankruptcy, Hope appealed to his relatives for permission to sell a portion of the family art collection, claiming that he could no longer afford to care for the paintings. After years of litigation, the family finally agreed to allow Hope to sell a selection of the paintings, but the sale was not enough to save him from financial crisis. In 1901, after more litigation with his family, Lord Francis offered the Hope Diamond for sale (Patch 1999).

 

1901-1907: Crossing the Atlantic

 

In 1901, Lord Francis Hope sold the Hope Diamond to London diamond merchant Adolf Weil, who sold the diamond to Joseph Frankel’s Sons & Co. of New York shortly thereafter. Simon Frankel sailed to London from New York to finalize the purchase. One source reported that Frankel paid $250,000 (~6.7 million 2014 dollars) for the diamond (Patch 1999).

 

Frankel brought the Hope Diamond back to New York to try to sell it in America, but received no reasonable offers. By 1907, the market for diamonds had sharply declined due to a slow economy, and Frankel’s company faced the possibility of bankruptcy (Kurin 2006). The Hope Diamond sat locked away in a New York safe deposit box while Frankel tried to find a buyer.

 

1908-1909: Selim Habib and Rumors of a Curse

 

Joseph Frankel’s Sons & Co. finally found a buyer for the Hope Diamond in 1908: Selim Habib, a Turkish diamond collector and merchant who purchased the Hope Diamond for a reported $200,000 (~5 million 2014 dollars). According to the New York Times, Selim Habib soon had financial troubles, and in 1909, he sold his gem collection, including the Hope Diamond (Kurin, 2006). His financial difficulties and a later, incorrect report of his death at sea contributed to the growing myth of a curse on the Hope Diamond.

 

Habib’s collection was put up for auction at the Hotel Drouot in Paris, France on June 24, 1909. Jeweler and gem expert Louis Aucoc oversaw the auction, withdrawing the Hope Diamond from the sale before selling it to jeweler C. N. Rosenau for 400,000 francs (Kurin 2006).

 

1910: Cartier acquired the Hope Diamond

 

Cartier, a French jewelry house, purchased the Hope Diamond from jeweler C.N. Rosenau in 1910. The Hope Diamond arrived in the U.S. on November 23, 1910, where it was valued at $110,000 for customs plus the $10,000 duty for an unmounted gem (Patch 1999).

 

Pierre Cartier took on the responsibility of selling the Hope Diamond. Pierre was a talented salesman: Charming, smooth-talking, and sophisticated, he was experienced in the art of selling to wealthy customers, Americans in particular, having worked at Cartier’s New York office.

 

By this time, the art of developing colorful narratives for famous gems was already well established. Intriguing histories helped with gem sales, and in turn, gave the purchaser an interesting tale to tell admirers at various events. Cartier thus began to fabricate a fanciful story around the Hope Diamond that included a curse, which he would pitch to potential buyers (Kurin 2006).

 

1912: The McLeans buy the Hope Diamond

 

In 1912, Pierre Cartier sold the Hope Diamond to an American couple, Ned and Evalyn Walsh McLean. The sale was the result of two years of work.

 

Pierre identified the McLeans as potential buyers shortly after Cartier purchased the Hope Diamond. Both Evalyn and Ned were heirs to American fortunes, Evalyn’s from mining and Ned’s from newspapers. They were previous, big-spending clients of Cartier, having purchased the 94.8-carat Star of the East Diamond from Cartier in 1908 while they were on their honeymoon. Pierre arranged to meet with them in 1910 while they were on vacation in Paris. He presented his embellished tale of the Hope Diamond’s extraordinary provenance to the McLeans, including the curse that brought bad luck to all who owned it. Evalyn was fascinated with the story and told Pierre that she believed objects that brought bad luck to others would bring good luck to her. Despite her interest, she initially declined to purchase the blue diamond because she did not like its setting (McLean 1936).

 

Pierre, a persistent man, did not let an old-fashioned setting prevent him from securing the sale. He took the Hope Diamond to New York, where he had it reset into a contemporary mounting. In the new mounting (essentially the same mounting it is in today), the Hope was framed by 16 colorless diamonds and could be worn as part of a head ornament or a diamond necklace. Pierre returned to Washington and left the newly set Hope with Evalyn and Ned over a weekend.

 

Pierre’s strategy was successful—Evalyn adored the Hope Diamond, and several months later agreed to purchase it from Cartier, settling on a price of $180,000 (Patch 1999) plus the return of an emerald and pearl pendant with diamond necklace that she no longer wanted (McLean 1936). The Hope Diamond became Evalyn Walsh McLean’s signature in the high society of Washington, D.C. She wore it frequently, layered with her other important gems and jewelry, to events and the lavish parties she hosted. Evalyn would even let her Great Dane, Mike, wear the Hope Diamond on his collar.

 

1947-1949: Evalyn Walsh McLean Passes Away

 

Evalyn Walsh McLean died from pneumonia on April 26, 1947. She dictated in her will that all of her jewelry be held in trust until her youngest grandchild turned twenty-five, at which point her jewels were to be divided equally by all of her grandchildren. Two years after her death, however, the court ordered the sale of her jewelry collection to pay off debts and claims against her estate (Patch 1999). The Hope Diamond, the Star of the East Diamond, and the rest of her jewelry collection were purchased by jeweler Harry Winston of New York.

 

1949-1958: Winston and the Court of Jewels

 

In 1949, Harry Winston purchased the Hope Diamond along with the rest of the Evalyn Walsh McLean’s jewelry collection. Winston incoporated McLean’s jewelry into the Court of Jewels, a traveling exhibition of gems supplemented by a jewelry fashion show. Large and famous diamonds, including the Hope Diamond, the Star of the East Diamond, and the 127-carat Portuguese Diamond (now also part of the Smithsonian’s collection), were featured as part of the show. The exhibit travelled throughout America from 1949 to 1953 to teach the public about precious gems and raise money for civic and charitable organizations (Harry Winston, Inc.). Harry Winston once stated: “I want the public to know more about precious gems. With so much expensive junk jewelry around these days, people forget that a good diamond, ruby, or emerald, however small, is a possession to be prized for generations” (Tupper and Tupper 1947).

 

At the Smithsonian: 1958-Present

 

1958: The Hope Diamond comes to the Smithsonian

 

In 1958, Harry Winston donated the Hope Diamond to the Smithsonian Institution. On November 10th, the Hope arrived at the Smithsonian in a plain brown package shipped by registered mail (and insured for a sum of one million dollars). Mrs. Harry Winston presented the Hope Diamond to Dr. Leonard Carmichael, Secretary of the Smithsonian, and Dr. George S. Switzer, Curator of Mineralogy. The Hope Diamond was exhibited in the Gem Hall at the National Museum of Natural History and almost immediately became its premier attraction.

 

1962: A Visit to France

 

With the encouragement of First Lady Jacqueline Kennedy, the Hope Diamond was loaned for a month to the Louvre Museum for the exhibition “Ten Centuries of French Jewels.” It was displayed with two famous diamonds, the Regent (a 140.50-carat brilliant cushion cut diamond) and the Sancy (a pale yellow 55.23-carat pear-shaped diamond). Also on display was the Côte de Bretagne, a red spinel carved in the shape of a dragon that, along with the French Blue Diamond, had been part of Louis XV’s elaborate emblem of the Order of the Golden Fleece. This exhibition marked the reunion of these two gems after 170 years. In return, the Louvre’s masterpiece, Leonardo da Vinci’s Mona Lisa, was loaned to the National Gallery of Art in Washington, D.C. from January 8 to February 3, 1963.

 

1965: At the Rand Easter Show in South Africa

 

The Hope Diamond was loaned to DeBeers and traveled to Johannesburg, South Africa for the Rand Easter Show, one of the largest consumer exhibitions in the world. The Hope Diamond was the main attraction in the jewel box in the Diamond Pavilion. Surrounded by a cluster of diamonds, it was exhibited on a finely woven spider’s web supported by the bare branches of a rose bush and illuminated from above.

 

1982: At the Metropolitan Museum of Art

 

In November 1982, Ronald Winston, son of Harry Winston, hosted 1,200 guests in the Metropolitan Museum of Art’s Engelhard Court. (Kurin 2006) For the glittering gala, the Hope Diamond was reunited with the Star of the East (a 94.80-carat pear-shaped diamond previously owned by Evalyn Walsh McLean) and the Idol’s Eye (a 70.21-carat rounded pear-shape diamond exhibited at the Rand Easter Show in 1965).

 

1997: The New Harry Winston Gallery

 

The Hope Diamond was put on display in the Harry Winston Gallery of the newly completed Janet Annenberg Hooker Hall of Geology, Gems and Minerals in the National Museum of Natural History. The diamond is mounted on a rotating pedestal so that it can be viewed from all four sides of the vault.

 

2009-2010: Celebrating 50 years at the Smithsonian

 

In September 2009, the Hope Diamond was removed from its setting and exhibited unmounted for the first time ever. To celebrate the 50th anniversary of the Hope Diamond at the Smithsonian, an online contest was used to select a commemorative necklace from one of three designs submitted by Harry Winston, Inc. The winning entry, “Embracing Hope”, was designed by Maurice Galli. This modern design consisted of three-dimensional ribbons set with baguette-cut diamonds wrapping the Hope Diamond in an exquisite embrace. The Hope Diamond was set in the Embracing Hope necklace and displayed for over a year before being returned to its original Cartier mounting.

 

2017: The Hope Diamond Today

 

Today, the Hope Diamond remains one of the most popular objects at the Smithsonian, attracting millions of visitors every year. Even now, the Hope retains much of its mystery, and Smithsonain scientists continue to study it to better understand its eventful history and rare beauty.

 

Grading the Hope

 

For many years, the weight of the Hope Diamond was not precisely known, with reports of its weight ranging from 44 carats to 45.5 carats. On November 13, 1975, the Hope Diamond was removed from its setting and found to weigh 45.52 carats.

 

Gemologists from the Gemological Institute of America (GIA) visited the Smithsonian in 1988 to grade the Hope Diamond. They observed that the gem showed evidence of wear, that it had a remarkably strong phosphorescence, and that its clarity was slightly affected by a whitish graining that is common to blue diamonds. They described its color as fancy dark grayish-blue and its clarity as VS1 (Crowningshield 1989).

 

In 1996, the Hope Diamond necklace was sent to Harry Winston, Inc. for cleaning and minor restoration work. The diamond was removed from its setting and re-examined by the GIA. In this report, the Hope’s color was described as a a natural fancy deep grayish-blue (reflecting a change in GIA’s nomenclature for grading, not a change in the assessment of the diamond).

 

How much is the Hope Diamond worth?

 

We at the Smithsonian like to say that the Hope Diamond is priceless. Its size, color, and eventful history, as well as its long tenure at the heart of the Smithsonian’s gem collection, make it a true American treasure. In any case, it’s not for sale!

 

What can we say about the value of a gem like the Hope, if we’re not going to commit to a specific number? A large part of a gem’s value comes from its physical properties: color, clarity, cut, and carat weight. But other, less tangible factors can also increase the value of a gem. For example, as Pierre Cartier recognized a hundred years ago, an eventful, well-documented history is important, as are the tastes and means of an individual buyer. The price of an individual stone reflects the confluence of these and other factors.

 

Blue diamonds like the Hope are very rare, and the money being spent to purchase them is enormous. Several large blue diamonds have fetched tens of millions of dollars at auction in recent years:

 

•The 9.75 carat, Fancy Vivid Blue Zoe sold at Sotheby’s in 2014 for $32.6 million

•The 13.22 carat, Fancy Vivid Blue Winston Blue sold at Christie’s in 2014 for $24.2 million

•The 35.56 carat, Fancy Deep Grayish Blue Wittelsbach-Graff sold at Christie’s in 2008 for $24.3 million

 

Less well-documented are private sales, where famous stones such as the Heart of Eternity and the Wittelsbach-Graff may have fetched even higher prices.

 

Computer Modeling

 

A computer modeling study of the Tavernier, French Blue and Hope diamonds was conducted. The results support the long-held theory that the diamonds are in fact the same stone, concluding that the Hope Diamond is likely the only surviving piece of the diamond originally sold to King Louis XIV–the rest having been ground away during the various recuttings. This research, conducted by Jeffrey Post, Smithsonian curator of the National Gem Collection, Steven Attaway, engineer and gem cutter, and Scott Sucher and Nancy Attaway, gem cutting experts, was featured on the Discovery Channel. The film, “Unsolved History: Hope Diamond,” premiered Feb 10, 2005.

 

In 2007, a lead cast of the French Blue diamond was discovered in the mineral collection of the Museum National d’Histoire Naturelle in Paris, permitting additional refinements to the modeling study.

 

Boron in Blue Diamonds

 

The blue color in the Hope Diamond and others like it is caused by trace amounts of boron. The Hope Diamond was tested to measure its chemical composition and determine the concentration of boron. This study used various spectroscopic methods and time-of-flight secondary ion mass spectroscopy to analyze for boron in natural type IIb blue diamonds, including the Hope Diamond and the Blue Heart Diamond (also a part of the Smithsonian’s National Gem Collection). The study found that, on average, the Hope Diamond contains about 0.6 parts per million boron.

 

Phosphoresence of the Hope Diamond

 

Curator Dr. Jeffrey Post led a team from the Smithsonian and the U.S. Naval Research Laboratory to investigate the intense, red-orange phosphorescence exhibited by the Hope Diamond after exposure to ultra-violet light. They discovered that all type IIB blue diamonds exhibit similar phosphorescence behaviors and that the specific phosphorescence spectral properties might be unique to each individual blue diamond, enabling the researchers to essentially “fingerprint” each stone.

Golconda Fort, also known as Golkonda (Telugu: "shepherds' hill"), is a fortified citadel and an early capital city of the Qutb Shahi dynasty (c. 1512–1687), located in Hyderabad, Telangana, India. Because of the vicinity of diamond mines, especially Kollur Mine, Golconda flourished as a trade centre of large diamonds, known as the Golconda Diamonds. The region has produced some of the world's most famous diamonds, including the colourless Koh-i-Noor (now owned by the United Kingdom), the blue Hope (United States), the pink Daria-i-Noor (Iran), the white Regent (France), the Dresden Green (Germany), and the colourless Orlov (Russia), Nizam and Jacob (India), as well as the now lost diamonds Florentine Yellow, Akbar Shah and Great Mogul.

 

HISTORY

Under the Bahmani Sultanate, Golconda slowly rose to prominence. Sultan Quli Qutb-ul-Mulk (r. 1487–1543), sent by the Bahmanids as a governor at Golconda, established the city as the seat of his government around 1501. Bahmani rule gradually weakened during this period, and Sultan Quli formally became independent in 1538, establishing the Qutb Shahi dynasty based in Golconda. Over a period of 62 years, the mud fort was expanded by the first three Qutb Shahi sultans into the present structure, a massive fortification of granite extending around 5 km in circumference. It remained the capital of the Qutb Shahi dynasty until 1590 when the capital was shifted to Hyderabad. The Qutb Shahis expanded the fort, whose 7 km outer wall enclosed the city.

 

During the early seventeenth century a strong cotton-weaving industry existed in Golconda. Large quantities of cotton were produced for domestic and exports consumption. High quality plain or patterned cloth made of muslin and calico was produced. Plain cloth was available as white or brown colour, in bleached or dyed variety. Exports of this cloth was to Persia and European countries. Patterned cloth was made of prints which were made indigenously with indigo for blue, chay-root for red coloured prints and vegetable yellow. Patterned cloth exports were mainly to Java, Sumatra and other eastern countries.

The fort finally fell into ruin in 1687, after an eight-month-long siege led to its fall at the hands of the Mughal emperor Aurangzeb.

 

DIAMONDS

The Golconda Fort used to have a vault where the famous Koh-i-Noor and Hope diamonds were once stored along with other diamonds.

 

Golconda is renowned for the diamonds found on the south-east at Kollur Mine near Kollur, Guntur district, Paritala and Atkur in Krishna district and cut in the city during the Kakatiya reign. At that time, India had the only known diamond mines in the world. Golkonda was the market city of the diamond trade, and gems sold there came from a number of mines. The fortress-city within the walls was famous for diamond trade.

 

Its name has taken a generic meaning and has come to be associated with great wealth. Gemologists use this classification to denote a diamond with a complete (or almost-complete) lack of nitrogen; "Golconda" material is also referred to as 2A.

 

Many famed diamonds are believed to have been excavated from the mines of Golconda, such as:

 

Daria-i-Noor

Noor-ul-Ain

Koh-i-Noor

Hope Diamond

Princie Diamond

Regent Diamond

Wittelsbach-Graff Diamond

 

By the 1880s, "Golconda" was being used generically by English speakers to refer to any particularly rich mine, and later to any source of great wealth.

 

During the Renaissance and the early modern eras, the name "Golconda" acquired a legendary aura and became synonymous for vast wealth. The mines brought riches to the Qutb Shahis of Hyderabad State, who ruled Golconda up to 1687, then to the Nizam of Hyderabad, who ruled after the independence from the Mughal Empire in 1724 until 1948, when the Indian integration of Hyderabad occurred.The siege of Golconda occurred in January 1687, when Mughal Emperor Aurangzeb led his forces to besiege the Qutb Shahi dynasty at Golconda Fort (also known as the Diamond Capitol of its time) and was home to the Kollur Mine. The ruler of Golconda was the well entrenched Abul Hasan Qutb Shah.

 

THE FORT

Golconda Fort is listed as an archaeological treasure on the official "List of Monuments" prepared by the Archaeological Survey of India under The Ancient Monuments and Archaeological Sites and Remains Act. Golconda consists of four distinct forts with a 10 km long outer wall with 87 semicircular bastions (some still mounted with cannons), eight gateways, and four drawbridges, with a number of royal apartments and halls, temples, mosques, magazines, stables, etc. inside. The lowest of these is the outermost enclosure entered by the "Fateh Darwaza" (Victory gate, so called after Aurangzeb’s triumphant army marched in through this gate) studded with giant iron spikes (to prevent elephants from battering them down) near the south-eastern corner. An acoustic effect can be experienced at Fateh Darwazaan, a hand clap at a certain point below the dome at the entrance reverberates and can be heard clearly at the 'Bala Hisar' pavilion, the highest point almost a kilometer away. This worked as a warning in case of an attack.

 

Bala Hissar Gate is the main entrance to the fort located on the eastern side. It has a pointed arch bordered by rows of scroll work. The spandrels have yalis and decorated roundels. The area above the door has peacocks with ornate tails flanking an ornamental arched niche. The granite block lintel below has sculpted yalis flanking a disc. The design of peacocks and lions is typical of Hindu architecture and underlies this fort's Hindu origins.

 

Toli Masjid, situated at Karwan, about 2 km from the Golconda Fort, was built in 1671 by Mir Musa Khan Mahaldar, royal architect of Abdullah Qutb Shah. The facade consists of five arches, each with lotus medallions in the spandrels. The central arch is slightly wider and more ornate. The mosque inside is divided into two halls, a transverse outer hall and an inner hall entered through triple arches.

 

It is believed that there is a secret tunnel that leads from the "Durbar Hall" and ends in one of the palaces at the foot of the hill. The fort also contains the tombs of the Qutub Shahi kings. These tombs have Islamic architecture and are located about 1 km north of the outer wall of Golconda. They are encircled by beautiful gardens and numerous carved stones. It is also believed that there was a secret tunnel to Charminar.

 

The two individual pavilions on the outer side of Golconda are built on a point which is quite rocky. The "Kala Mandir" is also located in the fort. It can be seen from the king's durbar (king's court) which was on top of the Golconda Fort.

The other buildings found inside the fort are: Habshi Kamans (Abyssian arches), Ashlah Khana, Taramati mosque, Ramadas Bandikhana, Camel stable, private chambers (kilwat), Mortuary bath, Nagina bagh, Ramasasa's kotha, Durbar hall, Ambar khana etc.

 

GOLCONDA RULING DYNASTIES

Several dynasties ruled Golconda over year

Bahamani Sultans

Qutb Shahi dynasty

Mughal Empire

 

NAYA QILA (NEW FORT)

Naya Qila is an extension of Golconda Fort which was turned into the Hyderabad Golf Club despite resistance from farmers who owned the land and various NGOs within the city. The ramparts of the new fort start after the residential area with many towers and the Hatiyan ka Jhad ("Elephant-sized tree") - an ancient baobab tree with an enormous girth. It also includes a war mosque. These sites are under restrictive access to the public because of the Golf Course.

 

QUTUB SHAHI TOMBS

The tombs of the Qutub Shahi sultans lie about one kilometre north of Golconda's outer wall. These structures are made of beautifully carved stonework, and surrounded by landscaped gardens. They are open to the public and receive many visitors. It is one of the famous sight seeing places in Hyderabad.

 

UNESCO World Heritage

The Golconda fort, and other Qutb Shahi dynasty Monuments of Hyderabad (the Charminar, and the Qutb Shahi Tombs) were submitted by the Permanent Delegation of India to UNESCO in 2010 for consideration as World Heritage Sites. They are currently included on India's "tentative list".

 

INFLUENCES

IN POPULAR CULTURE

Russell Conwell's book Acres of Diamonds tells a story of the discovery of the Golconda mines.

René Magritte's painting Golconda was named after the city.

John Keats' early poem "On receiving a curious Shell" opens with the lines: "Hast thou from the caves of Golkonda, a gem / pure as the ice-drop that froze on the mountain?"

Referenced in the classical Russian ballet, La Bayadère

Anthony Doerr's Pulitzer Prize–winning novel All the Light We Cannot See references the Golconda Mines as the discovery place of the "Sea of Flames" diamond

In Patrick O'Brian's novel The Surgeon's Mate, a character describes a particularly valuable diamond as being worth "half Golconda".

 

PLACES NAMED AFTER GOLCONDA

A city in Illinois, United States is named after Golconda.

A city in Nevada, United States is named after Golconda.

A village located in the southern part of Trinidad had given the name in the 19th century to a rich tract of land which was once a sugar-cane estate. Currently, mostly descendants of East Indian indentured servants occupy the village of Golconda.

 

WIKIPEDIA

The Hope Diamond

 

•Catalog Number: NMNH G3551-00

•Locality: India

•Weight: 45.52 ct

 

Gift of Harry Winston, Inc in 1958.

 

Over 100 million visitors have experienced the beauty of the Hope Diamond since Harry Winston donated it to the Smithsonian Institution in 1958. Learn more about this remarkable gem using the tiles below.

 

Timeline

 

The French Kings: 1668-1792

 

1668-1669: Tavernier’s Diamond

 

King Louis XIV was fond of beautiful and rare gems, especially diamonds. In December of 1668, the explorer Jean-Baptiste Tavernier met with the king to share a collection of diamonds collected on his recently completed trip to India. In February of 1669, King Louis XIV purchased the lot of diamonds, including a large blue diamond weighing 112 3⁄16 old French carats (approximately 115 modern metric carats) for 220,000 livres (Bapst 1889). In recognition of this transaction, the king honored Tavernier with the rank of nobleman (Morel 1988).

 

It is commonly assumed that Tavernier acquired the diamond on his last journey to India (1664-1668) and that it came from the Kollur Mine of the Golconda region. However, evidence for both source and timing is circumstantial, as Tavernier makes no mention of the acquisition of the diamond in the published accounts of his journeys. The Kollur Mine is considered a likely source because it was known for producing large and colored diamonds (Post and Farges 2014), but there were several diamond mines throughout India during the time of Tavernier’s voyages, and the diamond could have come from any one of them. The diamond must at least have originated in India, as India was the only commercial source of diamonds in Tavernier’s time.

 

1669-1672: Creating the French Blue

 

King Louis XIV ordered one of his court jewelers, Jean Pittan the Younger, to supervise the recutting of the 115-carat blue diamond. The king likely ordered the stone recut because of differences between Indian and European tastes in diamonds: Indian gems were cut to retain size and weight, while Europeans prized luster, symmetry and brilliance. It is not known who actually cut the diamond, but the job took about two years to complete. The result was an approximately 69-carat heart-shaped diamond referred to as “the great violet diamond of His Majesty” in the historic royal archives. At that time, “violet” meant a shade of blue. Today, the diamond is most commonly known as the “French Blue” (Post and Farges 2014).

 

An inventory of the French Crown Jewels from 1691 reveals that the French Blue was “set into gold and mounted on a stick.” In 2012, a computer simulation revealed that eight central facets on the pavilion of the French Blue were cut so as to be visible when one looked through the face of the gem (Farges et al. 2012). When the stone was set in gold, the effect would be the appearance of a gold sun in the center of the blue diamond. Post and Farges (2014) proposed that the stone was cut this way to show the colors of the French monarchy, blue and gold, symbolizing the divine standing and power of King Louis XIV, the Sun King. The diamond was not worn as a piece of jewelry or kept with the French Crown Jewels, but rather was stored in the King’s cabinet of curiosities at Versailles, where he could show it to special guests.

 

1749: The Order of the Golden Fleece

 

Louis XIV’s great-grandson, Louis XV, inherited the royal jewels when he ascended to the throne. Around 1749, King Louis XV tasked the Parisian jeweler Pierre-André Jacqumin with creating an emblem of knighthood of the Order of the Golden Fleece. The finished emblem featured a number of spectacular gems, including the French Blue Diamond, the 107-carat Côte de Bretagne spinel (carved into the shape of a dragon and originally thought to be a ruby), and several other diamonds. It was rarely worn, functioning instead as a symbol of the king’s power (Post and Farges 2014).

 

1791: The Capture of Louis XVI

 

Amidst the turmoil of the French Revolution, King Louis XVI and Marie Antoinette attempted to escape France, but were apprehended and returned to Paris. The French Crown Jewels, including the French Blue Diamond in the Order of the Golden Fleece, were turned over to the revolutionary government and moved to the Garde-Meuble, the Royal Storehouse, where they were put on view for the public once a week until 1792. On visiting days, the doors of the armoires would be opened and a selection of mounted and unmounted jewels could be viewed in special display cases.

 

1792: The Theft of the French Crown Jewels

 

On the night of September 11th, 1792, a group of thieves climbed through the first-floor windows of the Garde-Meuble into the room where the French Crown Jewels were stored and escaped with some of the jewels. At the time, no one in the storehouse even realized that a theft had taken place: The seal on the door to the room had not been broken, and no guards were stationed inside of the room. The thieves returned over the following nights to steal more of the jewels. By the evening of September 17th, the group of thieves had grown to about fifty. Acting loudly and carelessly, they attracted the attention of the patrol, putting an end to one of the most curious thefts in history (Morel 1988).

 

By then, the Order of the Golden Fleece was gone. The French Blue Diamond has not been seen since.

 

From Europe to America: 1812-1958

 

1812: A Blue Diamond Appears in London

 

It is now clear that the French Blue resurfaced in London nearly 20 years later, although no one seems to have recognized it at the time. It had by then been recut to a smaller (though still spectacular) gem, which we know today as the Hope Diamond.

 

The first reference to this diamond is a sketch and description made in 1812 by the London jeweler John Francillon:

 

The above drawing is the exact size and shape of a very curious superfine deep blue Diamond. Brilliant cut, and equal to a fine deep blue Sapphire. It is beauty full and all perfection without specks or flaws, and the color even and perfect all over the Diamond. I traced it round the diamond with a pencil by leave of Mr. Daniel Eliason and it is as finely cut as I have ever seen in a Diamond. The color of the Drawing is as near the color of the Diamond as possible.

Francillon does not mention where the diamond came from or who had cut it, nor does he connect it to the French Blue.

 

Intriguingly, the Francillon Memo is dated just two days after the twenty-year statute of limitations for crimes committed during the French Revolution had passed. The diamond may have resurfaced at this time because the possibility of prosecution and of France reclaiming the diamond was eliminated, making the owner comfortable enough to share the diamond with others (Winters and White 1991).

 

1813-1823: Mr. Eliason’s Diamond

 

Several other British naturalists and gem experts made note of a large blue diamond in London in the years following Francillon’s memo. In the 1813 and 1815 editions of his book, A Treatise on Diamonds and Precious Stones, mineralogist and gem connoisseur John Mawe writes that “there is at this time a superlatively fine blue diamond, of above 44 carats, in possession of an individual in London, which may be considered as matchless, and of course of arbitrary value.” Similarly, James Sowerby, a naturalist known for his illustrations of minerals and other objects, wrote that “Daniel Eliason, Esq. has in London, a nearly perfect blue Brilliant, of 44½ carats, that is superior to any other coloured diamond known” (Sowerby 1817).

 

By 1823, the diamond was no longer in Eliason’s possession. Mawe returned to the subject of the blue diamond in the 1823 edition of his book, writing that:

 

“A superlatively fine blue diamond weighing 44 carats and valued at £30,000, formerly the property of Mr. Eliason, an eminent diamond merchant, is now said to be in the possession of our most gracious sovereign… The unrivaled gem is of a deep sapphire blue, and from its rarity and color, might have been estimated at a higher sum. It has found its most worthy destination in passing into the possession of a monarch, whose refined taste has ever been conspicuous in the highest degree” (Mawe 1823)

 

According to Mawe, then, Eliason had parted with the diamond and it had come into the possession of George IV, the King of England. However, no evidence linking the Hope Diamond to the king has been found in the British royal archives, and we do not know whether George IV ever possessed it as either owner or borrower (Post and Farges 2014).

 

1839: Henry Philip Hope’s Gem Collection

 

Henry Philip Hope (1774-1839) was a wealthy British banker with an affinity for fine art and precious gems. An 1839 catalogue of his gem collection mentions a large blue diamond weighing 45.5 carats. The diamond would take his name, becoming known as “Hope’s Diamond” or the “Hope Diamond.” The catalogue describes the diamond as “a most magnificent and rare brilliant, of a deep sapphire blue, of the greatest purity, and most beautifully cut” (Hertz 1839). It was set in a medallion with smaller, rose-cut, colorless diamonds surrounding it and a pearl that dropped from the bottom of the medallion as a pendant. Unfortunately, Hope does not record when or where he acquired the diamond in his 1839 catalogue.

 

Henry Philip Hope died in 1839, leaving his possessions to his three nephews: Henry Thomas, Adrian, and Alexander. In his will, Henry Philip Hope divided his money and property amongst the brothers, but did not leave instructions for the division of his gem collection. Given the immense value of his collection, the Hope brothers argued for years over who would inherit it. In 1849, after ten years of dispute, the brothers reached an agreement: the property went to Adrian, the Hope Pearl and around 700 precious gemstones went to Alexander, and the Hope Diamond and seven other gems went to Henry Thomas (Kurin 2006).

 

1851: The Great London Exhibition

 

Henry Thomas Hope loaned the Hope Diamond for display at the Crystal Palace during the Great London Exhibition. According to a catalogue from the exhibition, 28 diamonds from the Henry Philip Hope Collection were exhibited. This suggests that the brother of Henry Thomas, Alexander, must have contributed diamonds to the display effort since Henry Thomas had only inherited eight gems from his uncle and Alexander had inherited the rest (Kurin 2006).

 

1858: The French Blue Connection

 

Today, we are certain that the Hope Diamond is the recut French Blue. However, it took 46 years after Francillon described the modern Hope for someone to connect the two diamonds. The French gemologist Charles Barbot was first, speculating in his 1858 book, Traité Complet de Pierres Précieuses, that the Hope Diamond was cut from the French Blue (Post and Farges 2014).

 

Later authors continued in this track. In 1870, Charles W. King wrote about a likely connection between the two blue diamonds in his book, The Natural History of the Precious Stones and of the Precious Metals. On the subject of “Hope’s Blue Diamond” King writes “suspected to be that of the French Regalia (stolen in 1792), and then weighing 67 car., and afterwards re-cut as a brilliant to its present weight of 44½ carat.”

 

In 1882, Edwin Streeter wrote about the diamond’s provenance in his book, The Great Diamonds of the World: Their History and Romance:

 

The disappearance of Tavernier’s rough blue from the French regalia, followed by the unexplained appearance of a cut gem of precisely the same delicate blue tint, and answering in size to the original after due allowance made for loss in cutting, leaves little or no room for doubting the identity of the two stones… It thus appears that the rough un-cut Tavernier, the French “Blue,” lost in 1792, and the “Hope,” are one and the same stone. (Streeter 1882, p. 214).

 

1887: The Extravagant Life of Lord Francis Hope

 

Henry Thomas Hope left his possessions, including the Hope Diamond, to his wife Anne Adéle Hope when he passed away in 1862. Anne, in turn, decided to leave the family treasures not to her daughter, Henrietta (whose husband was careless with money and often on the verge of bankruptcy) but to her grandson, Francis Hope. In her 1876 will, Anne named Francis as heir to the family treasures, stipulating that the estates and heirlooms were to be used during his lifetime and then passed on to another Hope descendant. Anne passed away in 1884, and Francis Hope claimed his inheritance when he turned 21, three years later (Kurin 2006).

 

Lord Francis Hope was less prudent than his grandmother might have hoped. He lived extravagantly, quickly spending his inheritance on traveling, entertainment, and gambling and sinking into tremendous debt. In 1892, he met a showgirl in New York City named May Yohé, a glamorous and charming actress from Pennsylvania. Hope and Yohé married in 1894 and continued to live well beyond their means. To avoid bankruptcy, Hope appealed to his relatives for permission to sell a portion of the family art collection, claiming that he could no longer afford to care for the paintings. After years of litigation, the family finally agreed to allow Hope to sell a selection of the paintings, but the sale was not enough to save him from financial crisis. In 1901, after more litigation with his family, Lord Francis offered the Hope Diamond for sale (Patch 1999).

 

1901-1907: Crossing the Atlantic

 

In 1901, Lord Francis Hope sold the Hope Diamond to London diamond merchant Adolf Weil, who sold the diamond to Joseph Frankel’s Sons & Co. of New York shortly thereafter. Simon Frankel sailed to London from New York to finalize the purchase. One source reported that Frankel paid $250,000 (~6.7 million 2014 dollars) for the diamond (Patch 1999).

 

Frankel brought the Hope Diamond back to New York to try to sell it in America, but received no reasonable offers. By 1907, the market for diamonds had sharply declined due to a slow economy, and Frankel’s company faced the possibility of bankruptcy (Kurin 2006). The Hope Diamond sat locked away in a New York safe deposit box while Frankel tried to find a buyer.

 

1908-1909: Selim Habib and Rumors of a Curse

 

Joseph Frankel’s Sons & Co. finally found a buyer for the Hope Diamond in 1908: Selim Habib, a Turkish diamond collector and merchant who purchased the Hope Diamond for a reported $200,000 (~5 million 2014 dollars). According to the New York Times, Selim Habib soon had financial troubles, and in 1909, he sold his gem collection, including the Hope Diamond (Kurin, 2006). His financial difficulties and a later, incorrect report of his death at sea contributed to the growing myth of a curse on the Hope Diamond.

 

Habib’s collection was put up for auction at the Hotel Drouot in Paris, France on June 24, 1909. Jeweler and gem expert Louis Aucoc oversaw the auction, withdrawing the Hope Diamond from the sale before selling it to jeweler C. N. Rosenau for 400,000 francs (Kurin 2006).

 

1910: Cartier acquired the Hope Diamond

 

Cartier, a French jewelry house, purchased the Hope Diamond from jeweler C.N. Rosenau in 1910. The Hope Diamond arrived in the U.S. on November 23, 1910, where it was valued at $110,000 for customs plus the $10,000 duty for an unmounted gem (Patch 1999).

 

Pierre Cartier took on the responsibility of selling the Hope Diamond. Pierre was a talented salesman: Charming, smooth-talking, and sophisticated, he was experienced in the art of selling to wealthy customers, Americans in particular, having worked at Cartier’s New York office.

 

By this time, the art of developing colorful narratives for famous gems was already well established. Intriguing histories helped with gem sales, and in turn, gave the purchaser an interesting tale to tell admirers at various events. Cartier thus began to fabricate a fanciful story around the Hope Diamond that included a curse, which he would pitch to potential buyers (Kurin 2006).

 

1912: The McLeans buy the Hope Diamond

 

In 1912, Pierre Cartier sold the Hope Diamond to an American couple, Ned and Evalyn Walsh McLean. The sale was the result of two years of work.

 

Pierre identified the McLeans as potential buyers shortly after Cartier purchased the Hope Diamond. Both Evalyn and Ned were heirs to American fortunes, Evalyn’s from mining and Ned’s from newspapers. They were previous, big-spending clients of Cartier, having purchased the 94.8-carat Star of the East Diamond from Cartier in 1908 while they were on their honeymoon. Pierre arranged to meet with them in 1910 while they were on vacation in Paris. He presented his embellished tale of the Hope Diamond’s extraordinary provenance to the McLeans, including the curse that brought bad luck to all who owned it. Evalyn was fascinated with the story and told Pierre that she believed objects that brought bad luck to others would bring good luck to her. Despite her interest, she initially declined to purchase the blue diamond because she did not like its setting (McLean 1936).

 

Pierre, a persistent man, did not let an old-fashioned setting prevent him from securing the sale. He took the Hope Diamond to New York, where he had it reset into a contemporary mounting. In the new mounting (essentially the same mounting it is in today), the Hope was framed by 16 colorless diamonds and could be worn as part of a head ornament or a diamond necklace. Pierre returned to Washington and left the newly set Hope with Evalyn and Ned over a weekend.

 

Pierre’s strategy was successful—Evalyn adored the Hope Diamond, and several months later agreed to purchase it from Cartier, settling on a price of $180,000 (Patch 1999) plus the return of an emerald and pearl pendant with diamond necklace that she no longer wanted (McLean 1936). The Hope Diamond became Evalyn Walsh McLean’s signature in the high society of Washington, D.C. She wore it frequently, layered with her other important gems and jewelry, to events and the lavish parties she hosted. Evalyn would even let her Great Dane, Mike, wear the Hope Diamond on his collar.

 

1947-1949: Evalyn Walsh McLean Passes Away

 

Evalyn Walsh McLean died from pneumonia on April 26, 1947. She dictated in her will that all of her jewelry be held in trust until her youngest grandchild turned twenty-five, at which point her jewels were to be divided equally by all of her grandchildren. Two years after her death, however, the court ordered the sale of her jewelry collection to pay off debts and claims against her estate (Patch 1999). The Hope Diamond, the Star of the East Diamond, and the rest of her jewelry collection were purchased by jeweler Harry Winston of New York.

 

1949-1958: Winston and the Court of Jewels

 

In 1949, Harry Winston purchased the Hope Diamond along with the rest of the Evalyn Walsh McLean’s jewelry collection. Winston incoporated McLean’s jewelry into the Court of Jewels, a traveling exhibition of gems supplemented by a jewelry fashion show. Large and famous diamonds, including the Hope Diamond, the Star of the East Diamond, and the 127-carat Portuguese Diamond (now also part of the Smithsonian’s collection), were featured as part of the show. The exhibit travelled throughout America from 1949 to 1953 to teach the public about precious gems and raise money for civic and charitable organizations (Harry Winston, Inc.). Harry Winston once stated: “I want the public to know more about precious gems. With so much expensive junk jewelry around these days, people forget that a good diamond, ruby, or emerald, however small, is a possession to be prized for generations” (Tupper and Tupper 1947).

 

At the Smithsonian: 1958-Present

 

1958: The Hope Diamond comes to the Smithsonian

 

In 1958, Harry Winston donated the Hope Diamond to the Smithsonian Institution. On November 10th, the Hope arrived at the Smithsonian in a plain brown package shipped by registered mail (and insured for a sum of one million dollars). Mrs. Harry Winston presented the Hope Diamond to Dr. Leonard Carmichael, Secretary of the Smithsonian, and Dr. George S. Switzer, Curator of Mineralogy. The Hope Diamond was exhibited in the Gem Hall at the National Museum of Natural History and almost immediately became its premier attraction.

 

1962: A Visit to France

 

With the encouragement of First Lady Jacqueline Kennedy, the Hope Diamond was loaned for a month to the Louvre Museum for the exhibition “Ten Centuries of French Jewels.” It was displayed with two famous diamonds, the Regent (a 140.50-carat brilliant cushion cut diamond) and the Sancy (a pale yellow 55.23-carat pear-shaped diamond). Also on display was the Côte de Bretagne, a red spinel carved in the shape of a dragon that, along with the French Blue Diamond, had been part of Louis XV’s elaborate emblem of the Order of the Golden Fleece. This exhibition marked the reunion of these two gems after 170 years. In return, the Louvre’s masterpiece, Leonardo da Vinci’s Mona Lisa, was loaned to the National Gallery of Art in Washington, D.C. from January 8 to February 3, 1963.

 

1965: At the Rand Easter Show in South Africa

 

The Hope Diamond was loaned to DeBeers and traveled to Johannesburg, South Africa for the Rand Easter Show, one of the largest consumer exhibitions in the world. The Hope Diamond was the main attraction in the jewel box in the Diamond Pavilion. Surrounded by a cluster of diamonds, it was exhibited on a finely woven spider’s web supported by the bare branches of a rose bush and illuminated from above.

 

1982: At the Metropolitan Museum of Art

 

In November 1982, Ronald Winston, son of Harry Winston, hosted 1,200 guests in the Metropolitan Museum of Art’s Engelhard Court. (Kurin 2006) For the glittering gala, the Hope Diamond was reunited with the Star of the East (a 94.80-carat pear-shaped diamond previously owned by Evalyn Walsh McLean) and the Idol’s Eye (a 70.21-carat rounded pear-shape diamond exhibited at the Rand Easter Show in 1965).

 

1997: The New Harry Winston Gallery

 

The Hope Diamond was put on display in the Harry Winston Gallery of the newly completed Janet Annenberg Hooker Hall of Geology, Gems and Minerals in the National Museum of Natural History. The diamond is mounted on a rotating pedestal so that it can be viewed from all four sides of the vault.

 

2009-2010: Celebrating 50 years at the Smithsonian

 

In September 2009, the Hope Diamond was removed from its setting and exhibited unmounted for the first time ever. To celebrate the 50th anniversary of the Hope Diamond at the Smithsonian, an online contest was used to select a commemorative necklace from one of three designs submitted by Harry Winston, Inc. The winning entry, “Embracing Hope”, was designed by Maurice Galli. This modern design consisted of three-dimensional ribbons set with baguette-cut diamonds wrapping the Hope Diamond in an exquisite embrace. The Hope Diamond was set in the Embracing Hope necklace and displayed for over a year before being returned to its original Cartier mounting.

 

2017: The Hope Diamond Today

 

Today, the Hope Diamond remains one of the most popular objects at the Smithsonian, attracting millions of visitors every year. Even now, the Hope retains much of its mystery, and Smithsonain scientists continue to study it to better understand its eventful history and rare beauty.

 

Grading the Hope

 

For many years, the weight of the Hope Diamond was not precisely known, with reports of its weight ranging from 44 carats to 45.5 carats. On November 13, 1975, the Hope Diamond was removed from its setting and found to weigh 45.52 carats.

 

Gemologists from the Gemological Institute of America (GIA) visited the Smithsonian in 1988 to grade the Hope Diamond. They observed that the gem showed evidence of wear, that it had a remarkably strong phosphorescence, and that its clarity was slightly affected by a whitish graining that is common to blue diamonds. They described its color as fancy dark grayish-blue and its clarity as VS1 (Crowningshield 1989).

 

In 1996, the Hope Diamond necklace was sent to Harry Winston, Inc. for cleaning and minor restoration work. The diamond was removed from its setting and re-examined by the GIA. In this report, the Hope’s color was described as a a natural fancy deep grayish-blue (reflecting a change in GIA’s nomenclature for grading, not a change in the assessment of the diamond).

 

How much is the Hope Diamond worth?

 

We at the Smithsonian like to say that the Hope Diamond is priceless. Its size, color, and eventful history, as well as its long tenure at the heart of the Smithsonian’s gem collection, make it a true American treasure. In any case, it’s not for sale!

 

What can we say about the value of a gem like the Hope, if we’re not going to commit to a specific number? A large part of a gem’s value comes from its physical properties: color, clarity, cut, and carat weight. But other, less tangible factors can also increase the value of a gem. For example, as Pierre Cartier recognized a hundred years ago, an eventful, well-documented history is important, as are the tastes and means of an individual buyer. The price of an individual stone reflects the confluence of these and other factors.

 

Blue diamonds like the Hope are very rare, and the money being spent to purchase them is enormous. Several large blue diamonds have fetched tens of millions of dollars at auction in recent years:

 

•The 9.75 carat, Fancy Vivid Blue Zoe sold at Sotheby’s in 2014 for $32.6 million

•The 13.22 carat, Fancy Vivid Blue Winston Blue sold at Christie’s in 2014 for $24.2 million

•The 35.56 carat, Fancy Deep Grayish Blue Wittelsbach-Graff sold at Christie’s in 2008 for $24.3 million

 

Less well-documented are private sales, where famous stones such as the Heart of Eternity and the Wittelsbach-Graff may have fetched even higher prices.

 

Computer Modeling

 

A computer modeling study of the Tavernier, French Blue and Hope diamonds was conducted. The results support the long-held theory that the diamonds are in fact the same stone, concluding that the Hope Diamond is likely the only surviving piece of the diamond originally sold to King Louis XIV–the rest having been ground away during the various recuttings. This research, conducted by Jeffrey Post, Smithsonian curator of the National Gem Collection, Steven Attaway, engineer and gem cutter, and Scott Sucher and Nancy Attaway, gem cutting experts, was featured on the Discovery Channel. The film, “Unsolved History: Hope Diamond,” premiered Feb 10, 2005.

 

In 2007, a lead cast of the French Blue diamond was discovered in the mineral collection of the Museum National d’Histoire Naturelle in Paris, permitting additional refinements to the modeling study.

 

Boron in Blue Diamonds

 

The blue color in the Hope Diamond and others like it is caused by trace amounts of boron. The Hope Diamond was tested to measure its chemical composition and determine the concentration of boron. This study used various spectroscopic methods and time-of-flight secondary ion mass spectroscopy to analyze for boron in natural type IIb blue diamonds, including the Hope Diamond and the Blue Heart Diamond (also a part of the Smithsonian’s National Gem Collection). The study found that, on average, the Hope Diamond contains about 0.6 parts per million boron.

 

Phosphoresence of the Hope Diamond

 

Curator Dr. Jeffrey Post led a team from the Smithsonian and the U.S. Naval Research Laboratory to investigate the intense, red-orange phosphorescence exhibited by the Hope Diamond after exposure to ultra-violet light. They discovered that all type IIB blue diamonds exhibit similar phosphorescence behaviors and that the specific phosphorescence spectral properties might be unique to each individual blue diamond, enabling the researchers to essentially “fingerprint” each stone.

The Star of Bombay, a cabochon-cut star sapphire, on display in the Hall of Gems and Minerals at the Smithsonian Museum of Natural History in Washington, D.C.

 

Sapphires are gemstones that are made of the mineral corundum (crystalline aluminum oxide). Pure corundum is colorless, but when trace elements like chromium, vanadium, iron, or nickel get mixed in it takes on color. The red variety is known as ruby; all the other varities are known as sapphires. The violet-blue color is caused by the presence of titanium, iron, and vanadium.

 

The star effect is known as asterism. Minute fibers of titanium oxide (known as "rutile fibers" or "silk") have formed inside the mineral. These fibers can only form at 60-degree angles to one another. This causes the "star" effect. A gemologist has to carefully analyze the mineral before polishing it to choose exactly the right angle. Only at the right angle does the star effect become most apparent.

 

The “Star of Bombay” is 182 carats. (A carat is 200 milligrams). It is cabochon-cut, which means it is shaped and polied rather than faceted. It is also dome-shaped.

 

The jewel came from Sri Lanka, not India. It was acquired by the jewelry firm of Trabert & Hoeffer (New York), although it is unclear if it was already cut and polished by then or if it already had its name by then. Where it came from in Sri Lanka is completely unknown.

 

The gem was set in a necklace of diamonds and sapphires in a platinum setting, and given by Douglas Fairbanks, Sr. to Mary Pickford as a wedding gift. She bequeathed it to the Smithsonian Institution. At her death in 1979, the Smithsonian actually traded a $15,000 diamond necklace, $45,000 sapphire bracelet, and $34,000 sapphire ring for it.

 

It went on display in 1984.

 

Lots of people erroneously report that this was in a ring setting; sorry! no! They also confuse it with the "Star of Bombay" diamond, which is in a ring setting.