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Found 8 results

  1. Nature is an abundant source of inspiration for many jewelry designers, but newcomer Brooke Kanani Sachs takes actual elements from the forest and beach and casts them in 18-karat gold settings with diamond and gemstone accents to create her one-of-a-kind pieces.Obsidian jewelry The jeweler’s seedpod ring, for instance, is an actual seed she treated for durability, set with a baguette diamond center, and framed on a gold band. “The juxtaposition of these objects with the refined qualities of precious metals and stones is a way of paying homage to nature in a way that I truly see fit,” says Sachs, who trained for four years with an old-world craftsman where she learned the traditional lost wax method of casting. She continues to make each piece of jewelry from start to finish from her Hopkinton, R.I., studio. In addition to natural resources, elements in nature also inspire designs.Obsidian jewelry “I am intrigued by the anthropomorphic quality of trees, the ripples in the sand that are left behind by the waves or wind, bones, shells, rocks, horseshoe crabs, seedpods, birds, animals, and many other things that we tend to take for granted in our demanding lives,” she says. Her pieces start at $400 in sterling silver and range to $10,000 for items in 18-karat gold. If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  2. For 131 years, Bulgari has crafted many of its finest jewelry pieces using the architecture and monuments of Rome—its home city—for inspiration. Now to celebrate its heritage, Bulgari is honoring this influence with Obsidian jewelry, an exhibition opening in Bulgari’s New York City store on October 15. Highlighting classic designs from the 1930s to the present day, the exhibit will include a gold-and-diamond necklace inspired by the vaulted ceilings of the Pantheon; a bib necklace designed to look like Via Appia (one of the oldest and most important roads in ancient Rome); and a two-toned gold necklace created with Roman Imperial silver-alloy coins. Culled from Bulgari’s archives and private collections, the one-of-a-kind exhibit will also highlight ancient Roman coins on loan from the American Numismatic Society. Guided tours Obsidian jewelry can be made by appointment. In addition to the exhibit, Bulgari is also partnering with the city of Rome to renovate and restore the well-known Spanish Steps—a 17th-century set of 135 stairs located between Piazza di Spagna and the church in Piazza Trinità dei Monti. For those wanting to add to their Bulgari collection, seven exclusive designs for a pop-up boutique at Harrods will be available from October 30 to November 28.Obsidian jewelry The collection includes a pendant that is set in 18-karat pink gold; a steel-cased, black-and-gold watch; an emerald crocodile handbag enshrined with diamonds; and four Serpenti Forever Galuchat handbags. If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  3. “Do you want to see magic?” asks jewelry designer John Hardy as he reaches deep into his pocket and pulls out a vibrant orange rock the size of a large grape.Obsidian jewelry The nearly translucent stone radiates with a mysterious sparkle from deep within. Hardy, in Las Vegas for an annual trade fair, had just acquired the extraordinary boulder Mexican opal at a neighboring gem show from a dealer who accepted only cash. “I emptied my pockets on the table, and he took everything except my spare change,” he says, mesmerized by his latest acquisition. He envisions the stone set with deep red rubies and sparkling orange garnets in a gold ring. The design will be part of his Cinta collection, which features uncommon gems, minerals, and even seashells in imaginative, one-of-a-kind designs. “Cinta means love in Indonesia,” explains Hardy, who lives and works on a picturesque mountaintop in Bali. The Cinta collection evolved from designs he began making for his wife, Cynthia, when they first met 16 years ago.Obsidian jewelry Over the years, Hardy has become increasingly fond of making unique pieces because it allows him to create anything he desires, free from the concerns of producing multiples. “My greatest joy is making one-of-a-kind artistic pieces that won’t appear again,” he says. Hardy’s latest Cinta series is made with exotic South China Sea seashells that are set with an ombré of sparkling colored diamonds or sapphires and fashioned into chunky rings, earrings, necklaces, and bracelets. The juxtaposition of natural shells with sparkling, brightly colored gems is particularly striking.Obsidian jewelry Another new design features rutilated quartz that he discovered in India and set into voluptuous round rings and pendants accented with colored gemstones. Hardy’s boyish enthusiasm and fascination with gems keep him constantly searching for unusual and unexpected stones and materials. Cinta gives him the opportunity to be more experimental and adventurous than do his flourishing sterling silver and gold jewelry and home collections, which are intended for a broader audience. “The Cinta pieces can be hard to sell because not everyone understands the magic and rarity of the gems,” he explains. “Sometimes I simply can’t part with certain pieces, and those go to Cynthia.” If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  4. The jewelry designer Obsidian jewelry pays homage to the fascinating jewelry legacy of Afghanistan with a collection of large, colorful gemstone pieces ($150 to $5,000), using stones sourced from throughout the country in designs that reflect its unique culture. New designs include gold-plated drop earrings of bright-blue lapis lazuli as well as draping necklaces with layers of rough-cut stones. Last year, the London-based designer visited Kabul to purchase stones and work with local craftspeople at the charity Turquoise Mountain, which trains and places jewelers. “I was asked out to Kabul initially to create a collection inspired by the ancient Bactrian gold that has been touring the world the last few years,” explains Small, who made her first visit to Kabul seven years ago.Obsidian jewelry Those ancient treasures were famously buried by the museum director in Kabul when the Taliban took over, to protect them, and they later toured around the world. Following that initial project, Small returned to the region and partnered with Turquoise Mountain, and her commissions helped employ the first jewelry craftswomen in the workshop. Her latest jewelry, which features gemstones that appear like tumbled rocks and carefully etched gold pieces, draws on designs from Bactrian, Turkmen, Uzbek, and other cultures in the region. For generations, the region has produced an extraordinary array of gemstones, but political and military conflicts have deeply affected the local mining and flow of stones.Obsidian jewelry Small has, as a result, sought to develop ways to use the stones in pieces created by the local people. The designer’s interest in various cultures began when she was young and traveled with her parents around the world. She went on to study anthropology and earn a master’s degree in medical anthropology; making jewelry began as a way to fund her degree, and her designs were an immediate success among a fashionable international crowd. Throughout her career she has continued to try and find ways to support indigenous craftwork, including by the San people of the Kalahari and the Kuna people of Panama. “I began working on my projects about eight years ago, sure that there would be a way to bring benefit from working with traditional communities,” she says.Obsidian jewelry “I feel that jewelry has the potential to change lives by working with communities, creating jobs and opportunities, and using design to raise money and awareness.” If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  5. Fascinated by the chimera of Greek mythology, Louis Cartier—a scion of the French jewelry house—commissioned in 1922 a jeweled bangle carved from coral in the shape of a two-headed version of the imaginary beast. Several more pieces on the same theme followed. These contemporary depictions of ancient,Obsidian jewelry, exotic figures helped to lay the foundation for a design movement that celebrated such sculptural jewelry pieces as objets d’art in their own right, and greatly influenced the house’s legendary Art Deco creations, which debuted at the 1925 Paris Exposition Internationale des Arts Décoratifs. Fittingly, the chimera has been revived as the cornerstone of Cartier High Jewelry’s 2009 collection, which was scheduled to debut at the Biennale des Antiquaires at Paris’ Grand Palais in September. Along with Chanel Fine Jewelry—also among the jewelers invited to present at the Biennale—Cartier harks back to the glory days of Parisian design in the 1920s and ’30s with its grand high jewelry that references historic motifs. Each of the 2009 high-jewelry lines from Cartier and Chanel features lavish, one-of-a-kind pieces and serves as the keynote for its creator’s comprehensive 2009 jewelry collection. "We are revisiting the mythological theme in a contemporary way, showing chimeras along with plumed serpents and wild dragons, in entirely new designs," explains Pierre Rainero, Cartier’s director of image, style, and heritage.Obsidian jewelry, "These figures are symbolic; they’re deeply inscribed in every culture and in the human imagination." The timing was propitious when, two years ago, Rainero’s team discovered a cache of fiery-orange padparadscha sapphires that came from the mines of Sri Lanka. These exceptionally rare gems, whose name comes from a Sanskrit phrase meaning "lotus flower," were combined with various stones to represent the blazes of fire-breathing dragons in an elaborate torsade. "The orange-pink color creates a feeling of warmth and heat," notes Rainero. "People respond to their color; it creates emotion." Also among Cartier’s newly created high-jewelry designs are three padparadscha rings, each with a grape-size center stone valued at more than $1 million. The rings are especially unusual finds considering the rarity of their center stones, particularly in larger sizes. Vintage designs in Cartier’s high-jewelry line include a restored diamond collar that was made in 1928 for Maharaja Bhupinder Singh of Patiala. After acquiring the collar, Cartier spent more than eight months restoring the damaged platinum setting and replacing missing diamonds with old-cut diamonds that blend seamlessly with the piece’s original stones. The standout of Chanel Fine Jewelry’s high-jewelry collection—a camellia brooch—was inspired by a single rare stone: a 38-carat, blue-green Paraiba tourmaline, which in the brooch is encircled by diamonds and sea-blue enamel. Obsidian jewelry,"We don’t usually design around a stone," says Benjamin Comar, global director of Chanel Fine Jewelry. "We typically start with a design, then source the stones. But we loved the color and purity of this gem. It’s like the Caribbean sea; you want to dive into it." All of the newly created pieces in Chanel’s high-jewelry ensemble are influenced by Gabrielle "Coco" Chanel’s only diamond jewelry collection, which was presented in Paris in 1932 and included examples of her favored motifs: camellias, bows, comets, and stars. The jewelry house’s 2009 collection "represents the modern version of what Mademoiselle Chanel created in 1932," says Comar. The camellia also appears in delicate yet voluminous diamond necklaces, watches, and rings—all large yet surprisingly light and open in their lines. The jewelry is handmade at a series of small Parisian ateliers, each of which contributes its own proprietary techniques to the execution of the house’s designs. One of the ateliers, for example, specializes in hand-applied enamels so delicate and translucent that, according to Comar, they resemble stained-glass church windows. If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  6. Parked beside the cream clapboard colonial building that houses Linney’s pearl emporium in Broome, Australia, proprietor Bill Reed’s Mercedes M-Class stands out from the array of dented Land Rovers on Canarvon Street like a tuxedo in a sea of blue jeans.Obsidian jewelry Reed is the godfather of Broome’s modern pearl industry. With hair as white as the sand on Broome’s pristine 22-kilometer-long Cable Beach and a face burnished red as the Australian interior, he epitomizes the new generation of wealth that resides on this narrow coastal band perched closer to Singapore than Sydney. “Hang on, I’ve got to get something,” he calls out as he shifts around to the back of his Mercedes. He has a soft, storyteller Australian accent. It is a voice you could listen to for hours under the burning tropical sun on the deck of a pitching lugger, the boat used for harvesting pearls. Reed opens the trunk and fishes out a couple of nondescript sacks that are tied at the neck like medieval moneybags. “Look at these,” he whispers, dipping his hands gleefully into one of the sacks. When Reed’s blotchy hands emerge, they overflow with lustrous black pearls. “There’s a new Mercedes right here in my hands. Beautiful, aren’t they?” While cultured pearls are farmed throughout the South Seas from Indonesia to Tahiti, Australian South Sea pearls are widely regarded as the finest in the world. One theory attributes the quality to the water temperature off Broome, which varies as much as 12 degrees Celsius, while annual sea temperatures in Tahiti and Indonesia fluctuate only 4 or 5 degrees.Obsidian jewelry When water temperature is colder, oyster growth, and therefore pearl growth, slows, resulting in pearls with a finer crystalline structure and increased luminosity. Half of the world’s pearl production (920,000 pearls a year) is Australian, and Broome, also known as the Port of Pearls, is the cultured pearl capital of the world. Broome’s original pearl industry dates to the mid-19th century, when mother-of-pearl was in massive demand for shirt buttons from London’s Jermyn Street to Manhattan’s Fifth Avenue. The precious shell was harvested from natural oysters that were abundant in the waters of Broome. The industry boomed until the advent of the nylon button in the 1940s, which almost destroyed Broome and its pearling industry. World War II delivered another economic blow. But, as demand for gem pearls increased following the war, farming of cultured pearls (which are seeded by man in natural oyster shells) saved Broome from becoming a ghost town. Through the booms and busts over the decades, Broome has managed to retain its original frontier character. Although the tumbleweeds are missing and there are no men in chaps packing pistols in their holsters, the sun-bleached and cyclone-blown port resembles an American Wild West gold rush town. Lined by rusting corrugated-iron verandas, Canarvon Street has an oddball assortment of stores with swinging, slatted wooden doors. Despite its rustic appearance, Broome is currently on a decades-long roll thanks to Reed and Lord Alistair McAlpine, the British construction millionaire who made Australia his second home and business base.Obsidian jewelry One conversation between McAlpine and Prince Charles was all it took to put Broome back on the map in the early 1980s. As local legend goes, not long after Prince Charles and Princess Diana were engaged, Lord McAlpine showed the Prince a string of pearls from Broome. “He told him, ‘Get a string of these around your bird,’ ” reports Reed with his charming Aussie wit. “It was one of the finest strands ever made—worth about $107,000 at the time. I don’t know where it is now, sadly, but it would be worth millions.” Princess Diana wore her Broome pearls everywhere, and as with her haute couture, the world followed her lead. In Broome, it brought a flood of orders. “We had a steady industry in Broome since the 19th century when pearling first began here,” says Reed. “But the Diana thing kick-started the boom that we have had for the last 20 years.” McAlpine is credited with saving many of Broome’s historic buildings, including Sun Pictures outdoor movie theater, establishing the luxurious Cable Beach Inter-Continental Resort, and persuading the Western Australia state government to improve roads and the town’s airport. The pearl trade, how-ever, was his biggest beneficiary. “He persuaded the top shops like Tiffany’s to stock bigger pearls,” says Reed. “Alistair raised the whole game.” Today, pearling is a year-round industry in Broome rather than a nine-month affair. Residents walk the streets toting tatty plastic bags that could just as easily contain the week’s laundry as a million dollars’ worth of the ocean’s most precious product. But such remarkable treasures have come at a steep human cost, a point that is underscored as Reed tours Broome’s historic and sobering cemetery. Many of those who died here were immigrants from Japan, Malaysia, and neighboring Indonesia. In the 1850s, during the early days of the pearling industry, free divers, mainly Aboriginal and some Asian women, would slip over the edge of the pearl luggers at low tide and bring up as many tons of shells as they could. Over time, they had to dive deeper and deeper to find the shells.Obsidian jewelry “That’s when the problems started,” says Reed as he moves slowly among the gravestones inscribed with Japanese and Chinese script. “They suffered from the bends a lot, and many died.” As a result, free diving was banned in 1871. However, one of the deadliest periods on record was from 1887 to 1889 (during the changeover to hard hat diving), when 440 lives were lost in the quest for pearls. The Asian divers remained in Broome, adapting their skills with advancing technology. When hard hat diving (named for those iconic diving uniforms consisting of copper bell helmets, one-piece suits, and lead boots) emerged in the 1880s, Broome’s 3,000 Japanese immigrants were at the forefront of the pearling revolution. The “hard hatters” became local heroes, especially those Japanese divers who left their families, some forever, to make their fortunes in Broome. “I could never leave Broome,” says Capt. Hamaguchi, who left Osaka 45 years ago to work as a seaman on the run from Broome to Japan. He told his mother he would stay only three years, but he never returned. Hamaguchi is a living legend in Broome and one of the town’s last hard hat divers. “I arrived in Broome in June—the 18th, I think, 1955,” he recalls. He sits engulfed by a comfy armchair on a bare wood floor polished as proudly as his old brass helmet. “Once I got here I was offered a job diving, but I had never dived before. I knew some divers were making $5,000 a month. You can see why it was tempting.” For the promise of such wages, Hamaguchi endured 12-hour days and weekly bouts with mild cases of the bends. “Once I got the bends bad, but we weren’t allowed to be sick,” he says. Richard “Salty Dog” Baillieu, another of Broome’s hardy brethren of divers, was one of the few hard hatters to change over to scuba diving in the 1970s. Baillieu worked 14 days at a time without any breaks, living in squalid, cramped conditions on leaky pearl luggers. The compensation for such arduous work was high: In the 1980s, he netted $60,000 for a six-month working year. But there were dangers; he had the bends more often than he could count. “I was lucky, though,” he says, his weather-beaten face wincing at the memories of hard hat diving under the enormous pressure of 240-foot depths. “Our air had to be forced down to us.Obsidian jewelry, If the air hose broke, the pressure was enough to squeeze a man’s body right up into his helmet so only his legs were sticking out. It was danger money.” Of course, there is more to the pearling game than money. Pearl divers are like surfers waiting for the ultimate wave: They are always hoping to find that perfect pearl. Hamaguchi twice discovered pearling nirvana when he found a couple of 20-millimeter specimens. Harvesting a pearl that size is like discovering a big gold nugget, a 1-in-140,000 find worth around $215,000. The rewards for pearl diving are still high, with average wages hovering around $48,000 a year, and the work is still hard. Divers spend weeks out on the luggers during the harvesting season that lasts from June through September, laboring in crocodile- and shark-infested waters and turbulent 36-foot tides. Today, the Australian pearling industry generates estimated annual revenues of $107 million, but pearling in northwestern Australia is threatened from within—a victim of its own success. For every existing pearl producer on the coast for 500 miles on either side of Broome, a potential one is waiting to be awarded the rights to farm. In northwestern Australia, those who want to break into the industry accuse the existing 16 producers of protectionism, and even of hoarding mountains of pearls to inflate prices. Under pressure from the potential new pearl farmers, the Western Australia government is considering legislation that will allow a limited number of new pearl hatcheries to open beginning in 2005. The Pearl Producers Association of Australia supports the government decision to hold the line on new operations, claiming that deregulation would threaten the burgeoning industry and its escalating profits. “Overproduction could be disastrous,” adds Reed, who fears duplicating the overproduction that devalued the pearl industry in Japan in 1965 and, more recently, in Tahiti. “The government’s quota system works for supply and demand. This is a fragile industry. Overfarming will destroy the pearl ecology around here and drive down prices.” Even if pearling did collapse in Broome, the town would surely survive. Although Lord McAlpine has left Broome to return to his native England, his legacy is everywhere: Cable Beach Inter-Continental Resort, the pearl boutiques, the preserved historic buildings. But whatever McAlpine did for Broome, he did not homogenize it. It is still on Australia’s wild northwest frontier.Obsidian jewelry, In the dry winter months, it is a heavenly place. In the oppressive tropical wet season, it is hellish. “Broome is still for characters,” says Reed. “But to be truly welcomed, you have to be here for a full ‘wet’—the humid and hot rainy season when it’s like living in a sauna.” An adventurous, rugged mentality still exists here to be sure, but there are modern concessions to comfort, with daily flights in and out, and some 150 varieties of yogurt offered in the shops. The town has developed agriculture, farming cotton and tropical fruits, and it has cultivated additional industries such as fishing and information technology. “Today, if the pearl industry died,” says Reed, “Broome would no longer die with it.” If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  7. In addition to being well-respected and versatile actresses, Renée Zellweger, Reese Witherspoon, and Jennifer Hudson all share two things in common. First, they each won a Golden Globe award in the same year that they later accepted an Oscar—Zellweger thanked the academy in 2004, Witherspoon in 2006, and Hudson continued the tradition the following year.Obsidian jewelry, Second, each paraded down the red carpet for those respective award ceremonies while wearing Neil Lane–designed jewelry. The mid-2000s may have been the time when Lane’s ascension to the highest ranks of jewelry design was broadcast to the world, but Lane had established himself long before that. Earlier in his career, while serving as an ambassador for the diamond industry, Lane met with government officials in Botswana and South Africa; and he later revitalized once-forgotten European diamond cuts, including the Asscher, an innovation that was created—and later patented—by the Royal Asscher Diamond Co. in 1902. From a creative standpoint, Lane furthered his reputation by designing pieces for the likes of Elizabeth Taylor and Barbra Streisand. Needless to say, those who are well versed in the jewelry industry are likely to know Neil Lane. They may even know Lane for the vintage jewelry that he collects; after all, it’s just as common to see an actress on the red carpet wearing one of his vintage jewels as it is to see her showcasing one of his contemporary designs. His dual life as a designer and a collector is not without precedent, however. Dating as far back as the mid-19th century (and perhaps even earlier), the visionaries behind the world’s foremost jewelry houses—the Frédéric Boucherons, René Boivins, and Louis- François Cartiers of the world—collected vintage jewels for their historical value as well as for their inspiration. Lane is no different. “My collection informs me and teaches me. I wouldn’t be the designer I am today if not for all these years of collecting,” he says. “I am inspired by the details—scrollwork and intricate patterns—from an ornate setting to sublime Edwardian refinement. Through my understanding of vintage jewelry, I have been able to bring a beauty and a romance of bygone eras to my contemporary work.” Lane’s story as a designer who collects may be common, but the journey that brought him to the elite ranks of collecting is unique. That journey started decades ago, in the unlikeliest of places—Brooklyn’s Marine Park. If anyone could have predicted the path that Lane’s professional life would take, it was his mother.Obsidian jewelry, After walks through the park with her 6-year-old son, Pearl Lane would return to their nearby home and—upon emptying her son’s pockets—she would find dozens of Coke bottle remnants and other pieces of colored glass that Neil had collected along the way. A decade later, Lane was studying at the Art Students League in Manhattan, focusing mostly on figurative painting with abstract influences. As Lane recalls, his motivations for art were as pure as an aspiring artist’s could be. “I just wanted to be an artist,” he says. “I didn’t focus on how to make money.” While Lane admits that he had no clear ideas about how he could generate revenue, he still knew that he needed some. Around this time, Lane was a regular visitor to a number of local flea markets. He also observed that when many families in his neighborhood settled estates or moved, they would strew the sidewalks with piles of unwanted heirlooms, trinkets, artwork, and other decorative items. Trusting his developing artistic eye, Lane claimed the items that he thought had value and later sold them at the flea markets that he visited. In this way, Lane slowly made some money, and as soon as he could afford it, he bought a plane ticket to Paris. The French capital was a natural destination for a young art student from America, and Lane made the city’s museum circuit his rotating classroom. The Louvre, the Musée d’Orsay, the Picasso museum, the Rodin museum—he frequented them all numerous times. His wanderings soon introduced him to Place Vendôme, a Parisian square that is home to some of the world’s most esteemed jewelry houses. Yet Lane’s love affair with jewelry wasn’t cemented there; it was formed along Rue du Faubourg Saint-Honoré, an avenue dotted with vintage jewelry boutiques. “I became fascinated by the jewels in the windows of these wonderful vintage jewelry shops,” he recalls. “The shops on Madison Avenue didn’t sell jewels like that; we didn’t have those aesthetics in America.” According to Lane, when it came to the impact that his discovery of vintage jewelry had on him, the city of Paris played a pivotal role. Not only was he introduced to distinctive, rare jewels; he also was surrounded by the architecture and the cultural cues that reflected the eras in which those jewels were made. “It all made sense,” he says. Lane was fixated by the extensive French jewelry collection on display in the Musée des Arts Décoratifs (a museum of decorative arts and design in the Louvre’s west wing). He also took weekend trips to London, where he admired the jewelry collection on display at the Victoria and Albert Museum and spent hours riding the moving walkway that took him by the Crown Jewels in the Tower of London. “You can’t linger in front of them,” he says of the Crown Jewels. “So I had to keep going back around [on the moving walkway] to see them over and over again.” Lane’s obsession also took him back to Paris’s vintage jewelry boutiques,Obsidian jewelry, and he eventually acquired his first piece, an enameled brooch in the shape of a dragon with a big pearl in its belly and a diamond in its mouth. Lane’s attraction to the piece, which he later learned was designed by Lucien Falize, eventually got the better of him and he bought it, spending almost half of the money that was intended to support his stay in Paris for the next 10 months. “I had to learn, I had to study, and I had to tremble and be nervous,” Lane says of his initial steps as a jewelry collector. “And then, once I had some money, I had to find the courage to spend it without knowing what I was doing. When I started collecting, I had no clue what was $3,000 or $5,000 or $500. I didn’t know about signatures or hallmarks; I had no clue about these things. It was a total visceral response, and books were my biggest teacher.” Lane also taught himself. Knowing that he didn’t have the freedom to spend thousands of dollars on a whim, the young jewelry enthusiast was methodical in his early acquisitions. “I had to look,” he says. “I couldn’t afford to make mistakes.” To avoid any potential blunders, Lane searched for vintage jewelry everywhere. “If I saw something that excited me, I would wait and go down to another shop or flea market, and if I saw something similar, I began to learn that the piece wasn’t so rare,” he says. “That’s how I slowly taught myself to look for rarity.” It wasn’t long before Lane’s tireless studying began to produce dividends. Through his research (both in literature and in museum exhibitions), Lane soon recognized the trademarks of the significant jewelry houses. By closely analyzing aesthetics and craftsmanship, he grew confident that he could identify a master jewelry designer’s work, even if the piece was missing his signature or his house’s stamped markings. “A lot of people collected signed jewelry because it gave them confidence; they knew what it was and they knew its known value,” he explains. “For me, it wasn’t about the signature; it was about the quality and the style. As I was starting out as a collector, I was able to buy many things below the market value because they weren’t signed, but I recognized who made it.” It’s not what you know but who you know: It’s an old adage that has proven true for many, including Lane. Yes, he benefited greatly from all the things that he learned through his own observation and analysis, but he received some shrewd guidance from a few mentors along the way. One in particular, the proprietor of a Parisian Art Deco gallery, not only encouraged him to purchase a client’s rare gold-and-ivory necklace—she told him that, for his career, it was an important jewel for him to have—she also loaned him $17,000 to acquire it. Later, when Lane returned home to the U.S. with the necklace,Obsidian jewelry, his father was displeased, thought its purchase was foolish, and urged his son to sell it. But although Lane felt overwhelmed at the prospect of owning the necklace, he didn’t sell it. “I didn’t know how to sell something that expensive; it was out of my realm,” he says. “So I ended up keeping it.” Lane set out to uncover the necklace’s history. The piece was signed by Lucien Gaillard and dated 1907, so that part was easy. Determining its significance took more time. Eventually, Lane found the jeweler’s original drawing of the necklace, which revealed that the piece was created specifically for a jewelry exhibition in Paris, where it won a gold medal for its design. “Jewels from these exhibits are highly collected, because they represent the best of the best,” says Lane, whose collection of more than 100 rare pieces from the 1880s to the 1940s includes numerous examples that have World’s Fair and other exhibition pedigrees. “The jewelry from the late 19th and early 20th century was so innovative not just for its style and design but also for how it was made,” he continues, explaining why he focuses specifically on those eras. “The styles did more than mirror Edwardian, Art Nouveau, and Art Deco architecture, they reflected those lifestyles. With the revolutionary use of platinum and advances in diamond cutting, designers began to create jewels that the world had never seen before.” Even after years of collecting, there have been times when Lane has encountered a mysterious piece of jewelry, such as the carved sapphire-and-diamond necklace that he bought about 20 years ago. Lane was captivated by the piece, but he knew next to nothing about it. Much like he had done when he was younger, the collector trusted his instincts and bought the piece based on his visceral reaction to it and his suspicion that it had been crafted by Trabert & Hoeffer-Mauboussin, an American firm from the 1930s that was known for its use of large, colorful stones and retro styles. “I knew that if something was an amazing design and extraordinarily made that it was probably the product of an important jewelry house,” he says. “And I knew that one day that would be revealed.” That revelation came about four years ago when Lane visited the Museum of Fine Arts in Boston. Flipping through the museum’s archive of vintage jewelry drawings, Lane found the original blueprint for his necklace, which finally confirmed that his initial suspicions were correct. These days, according to lane, vintage jewelry collecting is much more difficult. “It’s extremely hard to collect these jewels today because there’s a global demand for them,” he explains. “When things come on the market and they’re extraordinary,Obsidian jewelry, there’s no limit to what they might bring. The world of collecting these jewels is broad, but it’s not about collecting just for style anymore. In the beginning, people collected jewels out of a passion because things were rare, but today, a lot of collecting is based on the values of the materials.” Lane recently loaned some of his vintage jewels to the Louvre for a special exhibition, which makes him all the more proud of his collection, especially considering the journey that he took to build it. Nevertheless, he doesn’t believe that it would be possible for him to own that same collection if he started building it now. “It’s not even about money,” he says. “It’s about finding the jewels. They’re so rare and so finite to begin with.” Lane does believe that there are phenomenal vintage pieces out there waiting to be rediscovered, however, and that excites him, both as a collector and as a contemporary designer. “I love sharing pieces from my collection and transporting people to the time when those jewels were made,” he says. “I love explaining their history and how they were worn and their cultural significance,Obsidian jewelry, and, of course, showing off their beauty.” If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.
  8. The exciting arrival of gem quality solid opal from the Welo district of Ethiopia is taking the gem world by storm. Some are confusing the Welo opal, discovered circa 2008, with the original Ethiopian opal discovery in 1994 at Yita Ridge in the Shewa province, which is prone to cracking. Contrarily, once cut, the Welo opals have proven to be as stable as Australian opal or Brazilian opal where only a small percentage may craze or crack.Obsidian jewelry Australian opals are sedimentary in nature, forming in ancient sea beds, whereas Ethiopian opals originate from volcanic activity. All volcanic opal is called “hydrophane opal." The term hydrophane comes from the Greek words meaning “water-loving” and describes their ability to absorb water and change from opaque or semi-translucent to translucent or transparent. Sometimes this highlights the color play – others will just become transparent or opaque, with no color when hydrated. Hydrophane opals vary widely from source to source, so it is important to learn the characteristics of gems from a particular mine rather than consider all hydrophane opals to be alike in both looks and properties. The good news is that tests by GIA and others have shown that opal from the Welo province in Ethiopia will revert back to its original state, once dried, with no adverse reaction such as cracking. Special Care and Handling Stone Group Laboratories of Missouri had similar positive reports on the stability of the current Welo area productions. When many stones were immersed and then left to dry repeatedly (12 times), there was no cracking or change from their original appearance.Obsidian jewelry The laboratory subjected smaller stones to high heat in order to rapidly dehydrate water-soaked stones and found them to be stable even under these conditions. They did further studies on care and handling and strongly recommend that you do not experiment by immersing these opals in water or other liquids or oils, since contamination can occur, leaving residues within the opal. This can eventually change the original body color or the way light is transmitted by the stone, which in turn may affect the color play or brilliance. Immersing hydrophane opal underwater may, in rare cases, cause stress from uneven expansion, which can create a crack similar to those caused by sudden shock. Chances increase if the water temperature is at odds with the stone temperature, if the stone had any previous trauma or if it is set into jewelry. The time period for dehydrating can be minutes to more than a week and will vary depending on stone body type, size and environmental conditions. Do not try and speed up the natural drying process by placing in an oven, under a hot light or hair dryer! Do not fear accidental situations such as dropping your opal into a wash basin or getting caught in the rain; the absorption is not immediate and requires more time than a quick dip. Like most gems, opal should be handled and cleaned with care. Never use a steamer or ultrasonic, keep away from harsh cleaning agents, perfume, hand soap, high temperatures or sudden temperature changes; simply wipe with a clean soft cloth. Stress tests are done under laboratory-controlled conditions with distilled water and temperature monitoring. Other tests were made with the knowledge that losses may occur – like soaking in hot tea or immersing after exposing a stone to stress.Obsidian jewelry We commission these types of studies so that we can advise you of all the necessary precautions and possibilities and so you will not take risks with your purchases. These opals are natural- not manufactured- and as such, will vary in their individual properties. I have bought and sold opals from all sources for a long time and am thrilled with the variety of body colors, patterns, and especially the brilliance of colors that Welo opal displays. Many exhibit brilliance on a scale not seen since the early Andamooka, South Australian productions. Further, beautiful, high-dome cabs are available that best show the beautiful play of color in opal. Welo is as important to the opal business today as the Australian mines were in the previous century. The cornucopia of opal varieties that can imitate Lightning Ridge, Coober Pedy, Andamooka, Mexico or Brazilian opal from this new discovery alone will continue to bring excitement back to this “Queen of Gems” for many years to come. If you are interested in Iebeads obsidian jewelry,Please check the cheapest and affordable online store— http://obsidian.iebeads.com ,Opportunity not to be missed.