It’s not often in Geology that you have an opportunity to personally link an item to a historical figure but thanks to Freeman’s auction house we can tie a beautiful piece of jade to one of the later Qing Dynasty emperors. Little did the Qianlong Emperor (born Aisin Gioro Hongli) and sixth emperor of the last Chinese imperial dynasty suspect one of his personal items would appear in an internet auction catalogue, but life is stranger than fiction. The item for sale is a gorgeous pale and luminous high relief carved jade seal in a celadon white tone. The carving depicts three qilong (unicorns) which are symbols of good luck among carved scrolling clouds which likely refers to the Chinese saying “Canlong jiaozi”, which may be translated as “The Eastern [blue] dragon teaching his son[s]”, probably referring to the personal situation of the emperor.
Jade is a traditional carving material in China. In ancient days in China jade was symbolized the inner beauty within humans. This certainly isn’t the first jade imperial seal. The first Chinese emperor, Qin Shi Huang, created the first Imperial seal, in 221 B.C., also of Jade. By the time of the Ming dynasty (starting in 1368) the first imperial seal was lost. Until the Ming dynasty seals were typically reserved for Imperial use. A Chinese seal (印章 yìnzhāng) is a device used to mark important documents, pieces of art, contracts, or any other item that requires a signature – in effect similar to a signet ring or in modern times an ink signature stamp. These seals were usually carven stone, but sometimes were made of wood, bamboo, bone, or ceramic. They would be dipped in either red ink or cinnabar paste.
We may not have any imperial seals, but we have plenty of jade for sale. Check out our selection of Jade. If you don’t see something that tickles your fancy, contact us as we only post only a portion of our inventory online.
The Qianlong Emperor in court dress. Top image by Giuseppe Castiglione – Palace Museum, Beijing, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15172620
A gigantic black diamond, certified by Guiness as the world’s largest cut diamond is for sale through Sotheby’s auctions. Weighing in at a whopping 555.55 carats, the carbonado piece has 55 cuts and is heavier than its rivals the Great Star of Africa and the Golden Jubilee. The typical diamond is an uncovered kimberlite rock that was formed quite deep with the earth. Carbonado diamonds, one of the toughest of natural diamonds, however, are found in alluvial, sedimentary deposits. Lead istotope analyses of carbonados suggest their crystallization about 3 billion years ago, but this poses a paradox as the material carbonado is typically found is much younger than that. This paradox and a lack of mantle minerals often found in non-carbonado diamonds has lead some believe that carbonado has an extraterrestrial origin. In fact Sotheby’s suggest this hypothesis in their auction listing.
Check out Sotheby’s video of the the Enigma above or view their auction listing.
We may not have any black diamonds for sale, but we have plenty of gemstones and lapidary material. Don’t see exactly what you are looking for? Contact us as we make only a small selection of our inventory available online.
Top Photo is the Million Dollar Rarest Natural Black Diamond known as “shaan-e-kolkata” with a weight of 121.32 carats (24.264g) good round-cut presently in India.It’s certified by Golconda Institute of Diamonds, Hyderabad on 25th May 2012, an issued Certification of Authenticity by Mr. Imran Shareef (Certified Diamond Grader GIA New York, USA). Currently owned by Prem Singh from West Bengal,India. Photo by Trishtha – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=35937431
The Cincinnati Art Museum has a new exhibit running through February 6th titled “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s”. This exhibition of approximately 120 explores the international renaissance in fine jewelry in the 1960s and 1970s and features the work of independent jewelers such as Andrew Grima, Gilbert Albert, Arthur King, Jean Vendome and Barbara Anton along with work created for Bulgari, Cartier, Boucheron and other major houses drawn from one of the most important private collections in the world, assembled by Cincinnatian Kimberly Klosterman.
The exhibition is accompanied by a full color illustrated catalogue and includes essays by some of the most important scholars in the field. Biographies of each designer/house represented are paired with full color images, extended text for a select number of highlighted pieces and an appendix of maker’s marks.
The individual makers represented in the exhibition referred to themselves as artists first, jewelers second, approaching their work as a modern art form. Largely utilizing yellow gold and incorporating both precious and semi-precious gems, and inspired by nature they focused on organic forms, favored abstract shapes and concepts related to space-age trends. Using unconventional materials such as coral, shell, geodes and moldavite bringing unrivaled texture to their jewelry. Theirs was a style that was appreciated by individuals who were looking for something different in an era when different was best.
The exhibition is free and located in the Vance Waddell and Mayerson Galleries (Galleries 124 & 125), and is absolutely outstanding. We recommend you take advantage of the opportunity to see these pieces while you can.
The Cincinnati Art Museum is open 11am – 5 pm Tuesday – Sunday except for 11 am – 8 pm on Thursdays. Click here to for more information about the exhibit and the Cincinnati Art Museum.
Artisans have used malachite as material for creating art since ancient times. Today we have an exceptional example of chinese art incorporating malachite. A pommel (likely of a sword) inlaid with malachite. The object dates to the 3rd century B.C.E. during the Eastern Zhou period.
The February birthstone is amethyst. A form of non-fluorescing hard stone quartz whose typically purple shading comes from irradiation of iron or transition element impurities, amethyst was once considered one of the cardinal, or most valuable, gemstones. Occasionally exhibiting secondary shades of blue or red, the beautiful stone is highly popular among mineral collectors, crystal healers, art lovers, lapidaries. While not considered as valuable as it once was due to recent discoveries of large deposits of the mineral, amethyst often produces stunning jewelry.
Traditionally most carved gemstones in the west are a form of quartz, the carving techniques adopted for quartz also apply to amethyst. Amethyst deposits have been found on almost every continent and it’s availability was a key factor in it’s popularity as a carving medium of artisans in antiquity. Deposits have been found in Brazil, Uruguay, Austria, Russia, Zambia, and Korea, as well the eastern and southern areas of the United States, including Texas, North Carolina, and the Lake Superior Region.
Amethysts was carved and treasured by cultures such as those of Japan, Iran, Greece, Rome, Egypt, the Anglo-Saxons and others. Different cultures each put their own spin on the importance, meaning and value of the stone. It was highly treasured by Russian Empress Catherine who sent thousands of miners into the Ural mountains seeking the gemstone. In ancient Rome, the purple color of the gem was associated with the purple color reserved for the elite and the emperor. The medieval Catholic church’s bishops prized amethyst’s color. The ancient Egyptians worked the material into amulets for protection against harm. Moses the prophet is said to have described amethyst as representing the spirit of god. The ancient Greeks believed the stone offered protection from drunkenness. The Tibetans created rosaries from the stone and considered it sacred to Buddha. Leonardo Da Vinci wrote that amethyst quickened intelligence and dissipated evil thoughts. The Anglo-Saxons fashioned beads, while was used for intaglio.
In this article we present a visual tour of the different ways amethyst has been used in art, both ancient, antique, and modern.
Amethyst intaglio portrait of Julius Caesar, Roman, 50-40 B.C.E.
Moss agate is an un-banded (and therefore not a true) agate. It is a chalcedony with dendritic inclusions of other, typically green, minerals forming filaments and patterns that are suggestive of moss. Occasionally brown coloration or red spots due to iron oxide will also be found in moss agate.
A cabochon of moss agate from Australia with black dendritic manganese oxides embedded in milky-white chalcedony (quartz). Moss agate is a semi-precious gemstone. It is a variety of mineral quartz.
Photo By Tiit Hunt – Estonian Museum of Natural History, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=81096800
A cabochon of moss agate from Australia with black dendritic manganese oxides embedded in Australian Moss Agate cabochon
Photo By zygzee from Coarsegold, US – Australian Moss Agate Opus01, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=84652497
Moss agate can be found in India, Brazil, Uruguay, central European countries, and the United States (mostly Montana), although some of the best examples are found in India. It is often tumbled and sold as beads or cabochons for jewelry. The city of Mocha in Yemen was once a source for the this stone, lending the alternate name ‘Mocha Stone’.
Those who believe in crystal healing and that stones and minerals have spiritual properties believe it has the properties of stability, persistence, grounding.
Moss agate has been used for art and jewelry since ancient times. Several examples are below.
A moss agate ring stone portrait bust of a bearded man facing a larger portrait bust of a woman. Roman, 2nd century A.D. Most interesting about this piece is that the woman’s coiffure can be used to date the item, pointing to the time of the Younger Faustina, the wife of Roman Emperor Marcus Aurelius.
A moss agate ring stone of a man riding a tortoise. Roman, 1st century B.C. – 3rd century A.D.
A chatelaine made of gold and moss agate stones. A chatelaine hung from the waist and was designed to hold sewing, writing, or toilet implements. British 1750-1760.
A beautiful stem cup made of enamel, silver and gorgeous moss agate. South German, probably Augsburg
A nécessaire containing moss agate panels mounted in gold and set with diamonds, rubies and emeralds. The moss agate in this piece very strongly resembles moss or ferns. These examples of the stone likely came from Central Europe. A nécessaire usually contained various toilet implements, but this one, made by watchmaker James Cox, also contains a watch and automaton on the inside.
If the mineral is green and gorgeous there is a good chance it’s malachite. Like its copper cousins Turquoise, Azurite, and Chrysocolla, Malachite is found in copper deposits. It first became useful to humans as an ore used by the ancients to produce copper metal. Today, its primary use is decorative: bracelets, necklaces, pendants, as a gemstone and cabochon, and other types of jewelry. It’s also popular as a tumbled stone and as a standout display specimen for rock and mineral collections.
North American deposits include Mexican deposits in Milpillas; American deposits in Bisbee, Morenci, Bingham Canyon and others; African deposits in Namibia, Gabon, Zambia, Uganda, and The Democratic Republic of Congo (Zaire). Russia was at a one a major source of Malachite, particularly gem quality stones, however most of these deposits have been mined out and eclipsed by the quantity and quality of the African deposits. African mines product spectacular massive malachite specimens as well as gem quality malachite, and plancheite, cuprite and carrollite are also present in these deposits.
Malachite from a Smelter’s Crucible, Egyptian, Joint reign of Hatshepsut and Thutmose III, ca. 1479–1458 B.C., 18th Dynasty
Copper deposit don’t typically yield huge amounts of malachite. Previously, Russia was the only significant source of a large volume of gem-grade malachite, but as the Russian mines have declined and the African mines became available the African finds have far exceeded Russian production. African banded layers malachite is sometimes over a foot thick with very tightly packed submicroscopic needle crystals. Since the opening of the African mines, the mineral market has great cutting-grade malachite with bands of very light green to almost black- green.
Malachite was well known to the ancients. It’s Latin name, “Molchitis” derives from the Greek “molochites lithos” whose meaning is “mallow green stone” due to the mineral’s resemblance to the mallow plant’s leaves. Some evidence exists o Malachite mining in Britain at the Great Orme Mines perhaps as far back as the 3rd and 4th millenia B.C. There is also archaeological evidence of Malachite mining and smelting to produce copper 3,000 years ago in the Timna Valley, associated with King Solomon’s Mines in modern day Israel, where it is still mined to today to produce copper.
Lapidary, work with malachite requires a facemask. The copper carbonate dust from Malachite is poisonous. Most lapidaries use water to cut down on the dust in the air. Undercutting is often a problem during polishing, since each malachite band has a slightly different Mohs hardness, however experienced lapidaries shouldn’t have a problem. Banded malachite is always beautiful no matter how it is used.
Qing Chinese Malachite Carving, Late 18th – Early 19th Century. Seated Luohan With Servant
Above is an outstanding example of carved malachite. A Qing era Chinese art work originating in the late 19th through early 20th century, it depicts a seated luohan, or one who has achieved enlightenment. This particular luohan is identified as Nakula who sits in meditation with a rosary; a boy-servant attends at his feet. From his long eyebrows and position beneath a tree. Carved writing in the upper right corner is a poem of praise for Nakula in the upper right was authored by the Jiaqing emperor (r. 1796–1820) and inscribed in the hand of his elder brother Yongxing (1752–1823).
French Monumental Malachite Vase. Lapidary Work Early 19th Century, Pedestal And Mounts By Pierre Phillippe Thomire
The monumental vase above is crafted from Russian malachite, bronze, gilt bronze and a filling material. Malachite grows in layers of tiny crystals its colors correlating with different crystal sizes, creating the pattern. During the late eighteenth and nineteenth centuries, most malachite came from Russian mines by the noble Demidov family. The family exploited hardstone quarries and metal deposits located on their estates in the remote Ural Mountains. In the 1820s on of the great discoveries in the history of semiprecious stones happened when an enormous malachite boulder around five hundred tons was unearthed there. Malachite is extremely brittle, so only small display objects can be cut from single blocks of the material. Large objects require a core structure, to which the malachite can be attached in thin pieces, effectively a veneer. Russian craftsmen developed a method to use the stone’s natural pattern and a precision cutting technique to form a continuing or “endless” ornamentation. This type of veneering appears nearly seemless and is called “Russian mosaic”.
The Demidov family used the flashy appearance of malachite to improve their social status, filling their palaces with the material and even decorating an entire room with the green stone, which inspired Czar Nicolas I to commission the famous Malachite Room in the Czar’s Winter Palace in Saint Petersburg.
The monumental vase above is modeled on an ancient Roman bell-shaped krater, the most famous example of which is the first-century Medici Vase, now in the Galleria degli Uffizi, Florence. This shape was quite much admired through the early nineteenth century. Count Nikolai Demidov commissioned this particular malachite vase for his villa at San Donato, near Florence. Unlike with the Russian mosaic technique, large areas of this vase’s surface is composed of small malachite particles mixed with filling substance in the same way as modern terrazzo. This raw malachite was probably transported from one of his mines to Florence to be shaped and finished by local artists not trained in the specialized Russian technique. The vase would then have been sent onwards to Paris to be fitted with its mounts and pedestal.
The gilded bronze winged female figures on the body of the vase represent Fame. Their trumpets are shaped like handles, although the vase is too heavy to be lifted like a loving cup. A gilded bronze laurel garland of laurel (Laurus nobilis) runs under the lip mount. The laurel had been adopted by Lorenzo de’ Medici (who was also a lavish patron of the arts) as an emblem of his house with the motto “Ita ut virtus,” or “Thus is virtue”— that is to say, virtue is evergreen. It’s use here implies that the Demidov’s hoped that their fortune would also be evergreen.
The mounts and bronze pedestal were made by Pierre-Philippe Thomire (1751–1843), known throughout Europe for his bronze decorations and ornamental sculpture. He established a reputation before the French Revolution with beautiful mounts for Sèvres porcelain vases. In 1804 he founded a workshop that produced furniture as well as luxury bronzes.
Malachite with Azurite
Description of Malachite
3.5 to 4.0
3.6 to 4.0
Perfect in one direction, fair in a second direction
Most examples are opaque while crystals are translucent
Polishes to a very bright luster. Large specimens tend to be dull and earthy. Silky luster in fibrous examples. Unusual crystals trend from vitreous to adamantine.
Even though chyrsocolla and azurite are both copper based minerals, malachite is a better indicator of the presence of significant copper deposits. The Copper Queen mine in Brisbee was created on the basis of malachite deposits.
Malachite Copper Crescent from Zaire (Democratic Republic of Congo)
Image of Malachite Taken Under a Stereoscopic Microscope
Malachite has a number of different cultural meanings and associations. For the Chinese, Malachite is a lucky stone for those born in the Year of the Rabbit or Year of the Tiger. For the ancient Egyptians, the color green was associated with death and the power of resurrection – as well as new life and fertility. They believed that the afterlife contained the “Field of Malachite”, an eternal paradise resembling their lives but with no pain or suffering. They also used the material in powder form for cosmetics, particularly to try to resemble Horus, the falcon headed god Those who believe in crystal healing, crystal spirituality believe the stone has any number of healing, or metaphysical properties on the body, spirit or chakra.
View our collection of beautiful malachite specimens for sale, perfect as display piece on your table or mantle, for your collection, or for use in spiritual or crystal healing.
First image by JJ Harrison (https://www.jjharrison.com.au/) – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=7515677 .
Fifth image by Rob Lavinsky, iRocks.com – CC-BY-SA-3.0, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=10148274.
Sixth image by Rob Lavinsky, iRocks.com – CC-BY-SA-3.0, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=10130475.dex.php?curid=10148274.
Seventh image by Karolina Fok – Own work, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=84931097.rg/w/index.php?curid=10148274.
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