Antique Jewellery: Tips for Buyers
If you’re a fan of antique jewels, determining the age and authenticity of an item can be tricky. It is particularly difficult if you are making the purchase sight unseen over the internet, or on good faith of the word of the seller. Megan Austin discusses the intricacies involved when attempting to determine the age and authenticity of a jewel.
If you’re a fan of antique jewels, determining the age and authenticity of an item can be tricky. It is particularly difficult if you are making the purchase sight unseen over the internet, or on good faith of the word of the seller. Megan Austin discusses the intricacies involved when attempting to determine the age and authenticity of a jewel.
There are tricks that a creative jeweller can use to marry antique and modern elements to produce convincing looking ‘antiques’. For example, a genuine setting can be replaced with one that is non-original. Or, the purpose of a jewel can be changed; an earring may be converted into a brooch or a brooch converted into a ring. The result is termed a ‘mixed marriage’, or less a flattering term ‘Franken-jewel’. Another point to consider when assessing the authenticity of a jewel is the identity of the gemstones. Are they original to the piece, or have they been swapped out with other gemstones, perhaps even modern ones that could be synthetic or treated? Another key consideration is any evidence of repairs that may result in genuine hallmarks being defaced or so illegible as to be useless when determining age/authenticity.
Buyers should expect some degree of puffery in the sellers advertising. But ultimately, it’s up to you to ascertain what is fact from fiction. To protect yourself, only buy jewellery from sellers who offer a money-back guarantee within a reasonable time frame if the item is not as described. Check out these examples of bejewelled rings that started life as something different.
The ring featured above was purchased online as a genuine antique and submitted to me for assessment.
At first sight, this ring appears to be antique, for several reasons. It contains serpent motifs typical of antique jewellery, and the metal is a pleasant light rosy colour that is so often seen in older rings. It has some nice looking hallmarks too, and shows the wear and tear that you would expect from a well-loved ring of this era, along with some additional marks from repairs and resizing. So far, good good. Next, out comes my Bradbury’s book of hallmarks. The hallmarks turn out to be legitimate, confirming that the ring is 15ct gold and antique, and was made in England, Birmingham. The date mark is too unclear to decipher, but the rest looks convincing enough. Looks ok right?
Look closer, much closer.
When acid tested, the centre setting is crafted from 18ct yellow gold; a different carat to the body. This indicates that the setting is non-original. But the most remarkable feature which screams Franken-ring is the large red coloured stone which tests as a modern ruby/glass composite worth a few dollars per carat. Unfortunately, whatever happened to the original centre stone, we will never know. As the original ring has been modified, the value drops. The same concept applies to Franken-watches such as Rolex or Breitling that have had aftermarket components added to them.
The next ring is another beautiful example of a mixed marriage that contains three different elements and three different types of gold from different era’s. The 9ct rose gold foil backed garnet cluster is antique and was converted from a brooch, as evidenced by the solder remnants to the back. Set to the centre of the cluster is a modern 9ct yellow gold setting containing a modern cushion cut pretty pink tourmaline. Finally, a 14ct rose gold band and underrail was soldered to the underside of the cluster to complete the marriage.
At first glance, the last example also looks like it could be antique. It contains traditional vitreous enamelling to the setting and shoulders, has some natural seed pearls and a rather large blue stone which could be paste. However, the inside of the band has a modern ‘14K’ stamp, which indicates a more recent incarnation, and the ring has a combination of cast and handmade techniques. Gemmological tests reveal the centre gemstone to be a synthetic colour change spinel, which is a very modern invention. This gem changes colour from blue in daylight equivalent light to red in incandescent light in an attempt to mimic alexandrite. In this particular case, this piece appears to be a marriage of antique and modern elements but has been altered so much that the original age is unidentifiable.
If you have bought an item of jewellery described as antique make sure you have it authenticated and valued by contacting Megan Austin Valuations. (07) 3210 1975.
Genuine Antique or Modern Replica: Tips for jewellery buyers
How can you ensure you are buying a genuine original antique and not a replica? Many traditional antique styles are reproduced today, and some are so cleverly executed they could outwit even the most savvy of buyers. Megan Austin discusses the intricacies involved when attempting to separate an antique from a replica.
How can you ensure you are buying a genuine original antique and not a replica? Many traditional antique styles are reproduced today, and some are so cleverly executed they could outwit even the most savvy of buyers. Megan Austin discusses the intricacies involved when attempting to separate an antique from a replica.
There are many factors to consider when separating a genuine antique from a replica. Unless the item is blessed with a set of good, crisp hallmarks and has no obvious signs of alteration we must rely on other clues. These include design, type of metal and carat, construction technique, quality of craftsmanship, findings, setting style, finishes, gemstone type, cutting style, and treatments.
A seller should always represent an item of jewellery accurately by stating if it’s antique, vintage, modern or a mixed marriage. Certainly, it’s preferable to buy from a trusted seller or one who offers a reasonable return period. This is trickier if you’re buying online but then if the item is not as described when you receive it, you are technically entitled to a full refund. Consumer friendly payment options such as Paypal will investigate any claims with the seller on your behalf. Otherwise, the ACCC or Office of Fair Trading should help you out in the event of any difficulties in this regard. Some sellers are unaware of the true age of the item and so I would also advise that you do your research and ask lots of questions pre-sale.
Below are some pairs of rings that might look similar in style, but only one is a genuine antique. Can you guess which one?
Crisp hallmarks found on the inside of the ring shank on the left indicate the name of the maker (S.H&C), Country (England), Town (Birmingham), the carat stamp (18ct) and a date letter that indicates the year of manufacture, which in this case is 1919, making this ring a genuine antique. Hallmarks aside, other clues that indicate this ring is an antique include the style of design, it’s high quality handmade execution and setting style that features beautifully finished and very fine claw tips. The turquoise gemstones are not exactly matched in terms of cut and shape and show some signs of discolouration that is consistent with age.
The ring on the right is of similar ‘London bridge’ style. However, this item has been manufactured using the casting technique, which is often used in modern mass production. Another red flag is the perfectly even coloured blue of the turquoise gemstones, which appear to be stabilised (a modern treatment) and perfectly symmetrical, and that lack the minor cutting inconsistencies of the first ring. Fortunately, this ring also contains hallmarks. These allow us to deduce the maker (S&K), Country (England) and Town (London), the purity as 9ct carat gold and the 1993 date letter, making this ring late 20th century, not antique. That is a whopping age difference of 74 years between the two rings.
An inexperienced buyer may not pick up these differences.
We have a similar dilemma with the two rings pictured below. Both rings have a similar style of band that contain one or more hammer set gemstones, however each ring has a distinct set of hallmarks.
The ring on the left has a hallmark which indicates it was made by E.V in England (Birmingham) in 1889 and is 18ct gold, so it’s late Victorian in age. The ring on the right has hallmarks that tell us it was made by J.H.W. in England (Birmingham) in 1928 and is 18ct rose gold. So, technically the first ring is antique, and the second is considered vintage and should be sold as such.
Have a guess about the age of these rings? Antique or modern reproduction?
Genuine Antique
This is a genuine antique early Victorian 22ct yellow gold rhodolite garnet ring, made in England in 1847. It contains a rhodolite garnet which has suffered some small chips and has some surface pits and cracks, consistent with the age of the ring. The ring is handmade and the setting contains multiple claw tips that are quite finely shaped to hold the centre gem.
Vintage Replica
This is a modern vintage replica of an antique ‘basket’ ring. It contains modern round brilliant cut synthetic rubies, brilliant cut diamonds and onyx. It is of budget cast construction that potentially could have been made in the hundreds, and is let down by poor finish.
Mixed Marriage
This is a mixed marriage of antique and modern. The antique silver topped setting contains a garnet surrounded by old cut diamonds and the band has been later added. The setting may have originally been a brooch.
If you are in doubt about the age and origin of your latest purchase, contact Megan Austin Valuations to obtain a professional opinion.
(07) 3210 1975 or email info@meganaustinvaluations.com.au
Cast Jewellery: Tips for jewellery buyers
The word ‘cast’ evokes cynicism within the jewellery trade and is traditionally associated with a low-end mass-produced product. So you might be surprised to learn this centuries-old technique is practised by luxury high-end brands including Tiffany & Co and Van Cleef & Arpels? Megan Austin explains.
The word ‘cast’ evokes cynicism within the jewellery trade and is traditionally associated with low-end mass-produced product. So you might be surprised to learn this centuries-old technique is practised by luxury high-end brands including Tiffany & Co and Van Cleef & Arpels. Megan Austin explains.
Today, jewellery is cast using one of two techniques: traditional lost-wax casting where a mold maker creates a custom wax model; or CAD (Computer Aided Design) – CAM (Computer Aided Manufacturing). The latter technique uses computer software to design a piece of jewellery. The digital files are then sent to mills, printers or growing machines where they are transformed from data to a 3-D wax or resin form.
When assessing casting quality, it’s important to acknowledge that there are different levels in the market each offering different qualities of cast jewellery. The adage of ‘you get what you pay for’ is generally true in this sense. High end cast jewellery should have barely visible solder joins, no porosity (minute surface holes), securely set gemstones, a superior mirror-like finish and evenly applied rhodium plating. The middle of the market covers the widest range of quality in various price points and should still display many of these factors although not quite to such a high standard. Budget construction typical of the lower end of the market is manufactured to suit lower price points. eg. $100, $250, $500 etc. At this level of the market, the items are very lightweight, hollowed out and generally hold small gems of lower quality.
Factors to consider when assessing cast jewellery include the quality, suitability and complexity of the design, the skill of the mold maker and the expertise of the technician used to assemble, polish and plate the final product. To emery and polish metal, different grades of abrasive compounds are used in a multi-step process. Very fine scratches are gradually removed, leaving a smooth, mirror-like surface. The area inside a prong or bezel setting is often overlooked during pre-finishing and polishing so it’s important to carry out a full inspection. Although these areas take time to finish properly, it will add value to the piece and make it more attractive to the eye.
Casting Fails
Although there’s a significant difference in price between luxury high end cast jewellery and mass-produced cast jewellery, the perception that the former is always superior to the latter is outdated and incorrect. Each item should be judged individually. Make sure you examine the underside of the item and all the ‘nooks and cranny’s’ as it’s these areas that are traditionally overlooked in cheaper quality finishing.
Photo 1 shows a poorly finished ring from a high-end Danish brand. Distracting growth lines from the CAD/CAM process have been left unchecked, resulting in a substandard product.
Photo 2 shows a mid-range ring with distinct growth lines resulting from CAD/CAM.
Photo 3 shows distracting lumpy mold marks on the underside of a traditionally cast ring.
Careful examination of cast jewellery will help you make an informed decision at the time of purchase.
To have your cast jewellery valued contact Megan Austin Valuations on (07) 3210 1975
Pink Diamond Online Jewellery Auction Fail - Reasons to use a Registered Valuer
Imagine investing your hard-earned cash in a rare pink diamond for your Superfund, only to discover that it’s worth 2.5% of its supposed value. Megan Austin explains the benefits of having your online purchase checked by a National Council Of Jewellery Valuers (NCJV) registered valuer.
Imagine investing your hard-earned cash in a rare pink diamond for your Superfund, only to discover that it’s worth 2.5% of its supposed value. Megan Austin explains the benefits of having your online purchase checked by a National Council Of Jewellery Valuers (NCJV) registered valuer.
My client bought a cushion cut 0.73ct Fancy Brownish Purple-Pink diamond (Photo 1) through an online auction with supporting paperwork that seemed to tick all the boxes. One of these documents was a GIA report (see below Photo 2), dated the 1st of February 2017. Usually, if you are offered a GIA report with a purchase, you would be on solid ground. However, in this case, and unbeknownst to the buyer, the diamond was laser drilled and fracture filled sometime after the GIA report was created, drastically reducing the value of the diamond.
The second document (see below Photo 3) supplied by the auction house was a formal valuation for $95,000 that was completed by a non-registered, non-gemmologist valuer – who despite his lack of qualifications operates a Fine Jewellery Valuation and Consultancy service – stating that the diamond was worth ten times what she paid for it. These two documents together provided the basis upon which my client decided to bid for the diamond in the online auction, which she won.
Photo 1
photo 2 - original gia report
photo 3 - auction valuation
In a further twist to the tale, my client says she contacted a diamond broker in Queensland, and after examining the diamond with a loupe he instructed her merely to put it in her safe until she retired. If my client had followed the broker’s instructions, she would’ve not only been paying excessive premiums for decades, but she also would have reaped absolutely no return with potentially no recourse for recovery of her funds.
Despite having the documents provided by the auction house and the subsequent discussion with the diamond industry so-called 'expert', some red flags had been raised and the buyer decided to make an appointment with me to get another opinion of the stone. After examining the gem with a loupe and subsequent testing by Spectra Gemmological Laboratory on the Gold Coast, the report confirmed that the diamond had been laser drilled and fracture filled. Not only this but it was worth about a quarter of the purchase price paid.
What is laser drilling and fracture filling? Laser drilling is a technique whereby a channel is burnt from the surface of a diamond to meet with an inclusion (generally black) with a laser. The channel is used as a conduit to allow for chemical treatment of the inclusion, usually changing its appearance from black to white. Fracture filling is a technique involving the occupation of part or whole of the diamond with a substance, e.g. glass with the purpose of making the fracture less visible.
FRONT
back
Many may think that a valuation higher than the purchase price indicates a bargain; however, I urge consumers to beware of online purchases that come with an inflated valuation certificate. The fact is this auction house deliberately uses overstated or incorrect valuations from non-registered valuers as a sales tool; they’re designed to convince customers that they’ve got a great deal when, in fact, they are potentially overpaying. Worse, this inflated figure also becomes the figure upon which years of insurance premiums are paid.
The sad truth is that anyone can claim to be a valuer and this is not illegal; however, there are industry bodies that specialise in jewellery valuation, and it’s up to the client to choose a suitably-qualified professional. Always select a valuer who is registered with the National Council of Jewellery Valuers as they must undertake many years of formal training in gemmology and other specialist areas to become registered and then commit to ongoing education for the duration of their registered status to remain up-to-date with industry changes.
Even though non-NCJV registered valuers are not answerable to the NCJV they are still expected to comply with Australian Consumer Law (ACL) which makes it illegal for a business to engage in misleading or deceptive conduct, by failing to disclose that gemstones have been treated and are not natural, even if they didn’t intend to mislead or deceive.
Furthermore, sellers in the jewellery industry also have a responsibility to comply with ACL which states that a customer is entitled to a refund if an item is significantly different from the description. If a retailer uses a valuation misleadingly or deceptively, irrespective of whether he/she knew it was misleading then the retailer will have contravened the Act. In addition, if the valuer knows the retailer is using the valuations misleadingly and deceptively and does nothing to prevent that misuse, then the valuer may also contravene the Act as a person knowingly concerned in the contravention.
Louise Sylvan, a former Deputy Chair for the Australian Competition and Consumer Commission says “The problem for consumers is that very few consumers have the expertise to be able to determine if the gemstones they are being sold are as authentic as is claimed, and in particular, if the price they are being quoted is a genuine bargain. In short, in most cases, consumers are relying on the honesty and reputation of the jeweller”.
Even if a diamond comes with a diamond certificate from a reputable diamond grading laboratory, ensure you use a registered valuer to verify it. Also, even though the vendor may issue you with an ‘in-house’ valuation certificate, a ‘Certificate of Authenticity’ or if it has a reputable laboratory grading report – as in this case – it’s still important to have the item checked over by a professional and valued for replacement in the Australian marketplace.
Fortunately, this story has a very happy ending as my client managed to recover her funds from the Auction house, and additionally was reimbursed the cost of the laboratory report and my valuation.
To obtain a valuation on your purchase, call today on (07) 3210 1975 and let qualified experts help you.
How to Identify Good Quality Gemstone Setting - Part 2
Setting a gemstone might look like a simple enough task to a casual observer, however in reality this job requires extensive experience, good problem-solving skills and good old-fashioned nerves of steel. The setter is one of the last technicians to work on a piece of jewellery and so must work well under intense pressure, usually in the midst of a super-busy workshop. Megan Austin explains.
Claw setting remains one of most popular setting techniques today as it highlights the beauty of a single gem. When executed correctly, the centre gem becomes the hero of the ring, shining in all its glory. So how hard could it be to set a diamond into a mount of your choice and how can you tell if it's a good quality job? Megan Austin explains.
The mechanics of setting a diamond into a claw set mount might seem simple in theory, but in reality, this process requires extensive experience, excellent problem-solving skills and good old-fashioned nerves of steel on the part of the setter. The key is to understand the specialist nature of gemstone setting. Many professional setters begin their career as seasoned trade-qualified jewellers who have decided to specialise. Many years of practice follow in a bid to refine his or her technical expertise so that your diamond can be set with confidence in a reasonable amount of time.
A setter must possess the mental flexibility to be able to solve any emergent problems quickly and efficiently. For example, securing a gemstone into a simple claw set mount can be complicated by an asymmetrical gem with unusual proportions. In this instance, the setting might require modification before the gem can be correctly secured, and this is why it's crucial for the setter to have a solid foundation of jewellery making skills. In extreme cases, the mount must be partially or wholly remade, adding precious time and potentially exceeding the original budget. In this case its best to have a mount custom made to accommodate the eccentricity of your gemstone.
There are other factors for the setter to consider. Are the stones are secured level and straight? Are the claws shaped? If the gem is not seated properly or the claws left unshaped, this can result in your precious gemstone at risk of falling out or being damaged.
To get a general understanding of some setting 'do's and dont's', see the detailed examples below that illustrate good and bad claw setting practices.
Photo 1 shows a combination of issues including an incorrectly prepared mount, differently sized and proportioned gemstones and mismatched claw heights which have resulted in badly tilted gems.
Photo 2 shows a poorly set opal. The claws are ramrod straight, lending no security whatsoever to the opal. It has also been badly seated as there’s a significant gap between the base of the gem and the setting. These oversights can lead to gem loss if left unchecked.
Photo 3 shows claws that have been notched but do not appear to fit the curved dome of the opal, suggesting that the setting could have initially held a different gem. Additionally, the claws are bent over unevenly, and the base of the opal is not in proper contact with the top of the bearing.
In contrast, photo 4 shows a well-executed four claw setting. The claws are notched to seat the diamond perfectly and the girdle is parallel to the claws. Photo 5 & 6 similarly show a well set coloured gemstone with nicely notched and pointed claw tips.
To make an appointment for a professional appraisal of your setting contact me on (07) 3162 5424.
How to identify good quality gemstone setting - Introduction
It takes an entire team of talented craftspeople to manufacture a bespoke piece of jewellery from start to finish. But there's one role that is routinely overlooked despite playing a crucial part in the production of your jewellery – and that is the setter. So, what should consumers reasonably expect from a professional gemstone setter? Megan Austin explains.
It takes an entire team of talented craftspeople to manufacture a bespoke piece of jewellery from start to finish. But there's one role that is routinely overlooked despite playing a crucial part in the production of your jewellery – and that is the setter. So, what should consumers reasonably expect from a professional gemstone setter? Megan Austin explains, in the first of a series of articles on gemstone setting.
There are many different types of setting techniques. Some are meant to attract the eye to a large number of diamonds as a group, such as pave. Other techniques are intended to draw the observers eye to a single gem, as in a claw or bezel set solitaire. Setting is also used to protect a fragile gem from excessive wear and breakage.
The groundwork for good quality setting begins with a good quality mount. A good setter is able to overcome some limitations of poorly proportioned gemstones or inadequately constructed mounts, however, there is a limit to what can be achieved.
Photo 1 shows a popular type of setting called ‘pave’ which in this case has been attempted on a low-quality cast mount. The rows are badly spaced and poorly finished producing an overall affect that is uneven and unattractive. This quality is typical of low budget castings that are sold by the thousands. They are advertised using heavily retouched images that look great online or in print but are substantially inferior when examined close-up in real life. Photo 2 is another example of pave that shows the consequences of inadequate metal to hold the diamonds, causing them to fall out. Sadly, the future security of the other gemstones in this piece are also now compromised. Rather than investing in good quality setting up front the consumer will be paying for the cost of resetting and probably replacement stones for years to come, out of their own pocket.
Photo 3 is a close-up of a pair of earrings that were expertly set by Robert Kennedy of Pavection in Brisbane. This is an example of excellent quality setting work properly executed on a high-quality well prepared mount. Here the gems have been individually selected and sieved so they are precisely matched not only for colour, clarity, weight and diameter, but also their table sizes and crown height is consistent. These diamonds are seamlessly integrated into the overall beauty of the jewel, producing a beautiful, superior product.
When you are considering a piece of jewellery for purchase and want to make an informed decision ensure you carry out a careful examination of the item. Ultimately, high-quality diamonds will always be enhanced by excellent design, manufacture and setting.
To make an appointment for a professional appraisal of your setting contact me on (07) 3162 5424.
6 Tips for Buying Jewellery Online
You've decided to take a leap of faith into the exciting world of buying jewellery online. So where do you begin and how can you protect yourself? Read these 6 tips to point you in the right direction.
You've decided to take a leap of faith into the world of buying jewellery online. So where do you begin and how can you protect yourself? Read these 6 tips to point you in the right direction.
1. Research the seller
Select an established seller or venue that has positive consumer reviews and offers secure shipping and insurance on all purchases. The seller should be easily contactable and willing to answer any questions via email in a timely and professional manner.
2. Return policy
You should expect a full refund for an item that is not as described so select a seller that accepts returns. Make sure the seller gives you enough time to examine the piece and to return it.
3. Authentication & Certification
A written description should be provided, with measurements and gemstones identified. Independent grading reports from a reputable source such as the GIA should be offered to back up the sellers descriptions. Any claims of provenance or history should be clearly explained.
4. Lots of images
The more photos, the better as you are not able to handle the item as you would in a brick and mortar store. Obtain images from different angles that show any imperfections and highlight any notable details such as markers marks, hallmarks etc. If the item is second hand, make sure there's a comprehensive condition report.
5. Research
Make sure you do your research to find out if the asking price is fair in the current marketplace and never buy on impulse without doing your homework.
6. Valuation
To ensure you received what was described by the seller, have your item verified and valued by an NCJV Registered Valuer. The valuer will test the metal, assess the manufacturing method and quality, identify gemstone type and quality and provide a replacement value.
To make an appointment for a jewellery valuation call (07) 3162 5424
5 tips to rate your handmade Engagement ring setting
You've just spent endless hours researching a stunning diamond for the most significant purchase of your adult life - an engagement ring. So make sure that the quality of your setting is worthy of your diamond and not just an afterthought.
You've spent endless hours researching a stunning diamond for the most significant purchase of your adult life - an engagement ring. So make sure the quality of your setting is worthy of your diamond and not just an afterthought. Ensure you choose a handmade setting that will not only compliment your diamond but will ensure its security for long term wear.
You can easily determine the quality of your setting using your eyes, a loupe and a good light source. Rotate the piece in your hand to view it from all angles and read through the following checklist to rate your jewellers job -
1. Design - Good design is the first benchmark of a quality handmade engagement ring. The mount must primarily allow adequate security for your gemstone, however, the overall design should be aesthetically pleasing, proportional and practical. The ring must be comfortable to wear everyday with no sharp edges to catch on clothing or people. When selecting a metal type, keep in mind that some metals require more maintenance than others; for example white gold requires regular rhodium plating; while platinum and yellow gold can simply be polished.
Design
2. Manufacture - A good quality jeweller will demonstrate their technical expertise by bringing your design to life. Each component of the design should be pre-polished so as to produce a high end finish when soldered together. A quality handmade piece will have solder lines that are almost invisible to the naked eye because the joins are well aligned and are evenly filled with solder, with no ugly gaps. Lopsided or badly centred settings are a sign of poor craftsmanship and lack of attention to detail.
Manufacture
3. Gem setting - Preparation is the key to a top quality setting job. The mount should be carefully prepared and gems should be positioned and seated before they are securely set. Symmetrical gemstones such as squares, ovals or rectangles should be dead centre with all claws being of equal size. When examining shoulder gems, bright cut borders should be even and smooth with no rough edges while channel edges should be uniform. Gems set in a row should be consistently spaced, with no tilting or overlapping. Overlapping can cause chipping to the gemstones which will need to be replaced and reset, a costly and time consuming process.
Gem setting
4. Finish - After construction has been completed, your jeweller should pay particular attention to the finish of your ring. Subtle shaping of the shank and setting will elevate an average piece of jewellery to exceptional. Particular attention should be paid to preparing the piece for polishing using the correct grades of emery paper, then graduating through the various types of polishing compound to produce a bright mirror-like surface. But be warned, over polishing can result in losing too much metal and detail. For white gold rings, the final stage of finishing is rhodium plating. The rhodium should be white and even, with no spotting or spilling into non-rhodium areas.
Finish
5. Valuation - Once your ring is finished, ensure you obtain an independent appraisal to verify its quality and workmanship. A valuation is particularly important if you have bought your diamond and/or setting online or overseas as it will provide a current insurance replacement value from Australia. And if your purchased diamond has a laser inscribed identification number on its girdle your valuer will verify this number against the Diamond Report.
Valuation
To make an appointment for a jewellery valuation call Megan Austin Valuations
(07) 3162 5424