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
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.
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