I’ve recently had a couple of emails from readers asking for help in identifying what their cameos are made from, so it’s given me an idea to do some blog posts on the different type of cameo available.
Let’s start with the cheapest type of cameo – one’s made from plastic resin. Generally costing between £2 and £15, they are perfect for everyday wear, and many are beautifully detailed.
Tips to identify:
Plastic cameos tend to feel slightly dense and heavy, and make a dull sound when gently tapped on the teeth.
Hold a piece of shell or smooth glass/ pebble in your hand – it’s feels cold. Now, hold a plastic cameo – it will feel warmer and softer in comparison (this is a great tip for identifying plastic beads too).
Stand in front of a window, and with the front of the cameo facing the window (so you are looking at the back of it), a hold a plastic cameo up to the light – it’ll be quite dense and opaque, where as shell cameos would still be detailed and quite transparent.
Here are some pictures of plastic cameos I’ve had, with further identification details:
If you want sparkle, but prefer an understated look, then marcasite gemstone jewellery may be perfect for you. These semi-precious stones are a type of mineral, which range in colour from silver-yellow to bright white silver. When faceted and set into jewellery, they create a subtle sparkling effect, rather than a full on glitz – perfect for adding a hint of shimmer.
Nearly every country has its own systems regarding precious metals. In the UK and many parts of Europe we have detailed hallmarking systems. In other countries (for example the USA) no such systems exists, and a simple ’14K’ or ’18K’ stamp is the norm. This article is a quick-glance new buyers guide to jewellery in the British system only. For further information on hallmarking please contact your local Trading Standards, auctioneers or Assay Office. Please note this guide doesn’t cover bullion or high purity coins or gold objects, just jewellery.
British hallmarks – the basics
In the United Kingdom we have a system of protection when buying gold, silver, platinum or palladium jewellery called hallmarking. This means that in general, any precious metal to be sold in the UK must be stamped with a series of tiny ‘hallmarks’ somewhere on the item. It is one of the oldest laws in the world regarding consumer protection, dating back to the 14th Century. Hallmarks tell you who made the piece, which Assay Office it was tested at, what purity the metal is (eg – 375/ 9ct gold) and usually what year it was made in (will be represented by an alphabet letter).
Generally speaking, a simple 9k…..375…..14k…..585…..18k…..or 750 stamp on its own is not a legal hallmark in the United Kingdom on modern gold jewellery (unless the gold jewellery is under 1g, which doesn’t need to be hallmarked). Always ask a seller about its full UK hallmarks (or equivalent if outside the UK) for your own protection. Also, 8k…10k… 21k stamps are not legally recognized in the United Kingdom, and it is against the law to sell jewellery as ‘gold’ with 8k, 10k or 21k stamps (instead it’s called yellow or white metal, depending on the colour).
Purities of precious metals GOLD: In the UK gold comes in four legal purities for jewellery: ..9ct (375 parts gold to 1000 parts alloy)….14ct (585 parts gold)…..18ct (750parts gold)……22ct (916 parts gold). All modern gold jewelry over 1 gram must be properly hallmarked by an Assay Office. Occasionally you may see ‘990’ as part of the hallmark; this is also recognized finesse amount, though is rarely used for jewellery, and must be accompanied by the normal Assay Office hallmarks. Any gold jewellery stamped ’10k’ is not legally recognized in the UK.
SILVER: In the UK, silver comes in three legal purities used for jewellery….Britannia (958 parts silver to 1000 parts alloy)……Sterling (925 parts silver to 1000 alloy)…. and 800 (800 parts silver to 1000 parts alloy). All silver over 7.78 grams must be properly fully hallmarked by an Assay Office. Silver under 7.78g doesn’t need to be hallmarked, and may have a simple stamp (eg, ‘925’).
PLATINUM: In the UK, platinum comes in three legal purities used for jewellery:…950….900….850. All platinum over 0.5 grams must be properly hallmarked by an Assay Office.
PALLADIUM: In the UK, palladium comes in two legal purities used for jewellery…..500….950. All palladium over 1 gram must be properly hallmarked by an Assay Office.
ABOVE: A well detailed set of Sterling silver British hallmarks on a silver pendant. From the top; the makers initials, below this is a leopards head (meaning it was tested/ assayed in London), then below is the Lion Passant (meaning the item is 925 Sterling Silver), then the italic letter ‘C’, meaning the year it was made was 1977, and finally a special mark bearing the Queen’s head; 1977 was the year of the Queen’s Silver Jubilee, so Assay Office’s created a special stamp to celebrate this.
Always try to confirm with any jewellery business, jewellers or pawnbrokers (both real world and internet) that the gold you wish to purchase is fully British hallmarked.Avoid sellers who refuse to do this, or claim a UK hallmark isn’t necessary (unless the gold is under 1 gram). Also avoid shops that claim 10K gold is legally recognized in the UK – it isn’t, and if you decide to sell your 10K stamped jewellery item at a later date you will legally have to describe as either white or yellow metal, not gold. You’d be surprised how many sellers and shops don’t know or care about hallmarking law, and will tell you anything so they can simply sell the item. This goes for for both ‘real life’ shops and internet shops.
ABOVE: This 9ct gold ring has hallmarks to the back of the band, on its underside. Hallmarks will often be seen as tiny dark squares to the naked eye, like in this photo.
ABOVE: A simple ‘number’ stamp like this is not a legally recognized hallmark in the United Kingdom, with the exception of a proven antique. This is a big area of fake gold jewellery, with sellers claiming a stamp like this on their modern gold jewellery is a hallmark – it isn’t.
A note about 12ct gold and 15ct gold jewellery There used to be other recognized purities of gold on old vintage jewellery, namely 12ct and 15ct gold. In 1932 12ct and 15ct gold was replaced by a new 14ct gold purity. As long as 12ct or 15ct jewellery are stamped on pre-1932 jewellery the hallmarked is legal. It is not legal on post 1932 jewellery.
Also, if you come across an item of gold jewellery which is stamped ’12ct‘ or ’12k’ you need to check if there is are any initials nearby that look like ‘RG’ or ‘GF‘. This means the jewellery is actually Rolled Gold or Gold Filled, which are both a type of gold platingand not solid gold. Again, ask the seller to photograph or list all the hallmarks if necessary.
Now it gets complicated! Antique jewellery made from precious metals
The hallmarking rules for old vintage and antique jewellery can be quite different to modern precious metal jewellery, and hallmarks are possibly not always needed if it is a provenantique or made before a certain date. I strongly recommend that you seek the advise of a professional jeweller, dealer or auction house if you believe you have a valuable un-hallmarked item of jewellery and they can help you further.
Many antique gold or antique silver items for sale by dealers are offered as un-hallmarked ‘acid tested’. This ‘acid test’ is often poorly carried out and can badly damage jewellery, lowering the value of a piece. Also, antique jewellery was often very heavily gold plated, meaning the many acid tests won’t be able to give reliable results anyway. If a seller has acid tested a piece then have a friendly chat to them as to how and why they’ve come to the conclusion the item is antique to begin with. Nicely ask them to photograph the area it was tested (to see the possible damage), and finally make sure they offer a full money back guarantee if the jewellery is not as described on further investigation. If the seller refuses any of these requests then simply avoid them. Genuine sellers are always happy to help any way they can, and will not take offense to questions if asked in a kind, genuinely enquiringlyand friendly manner.
The law on precious metals is called the UK Hallmarks Act 1973 (with amendments). Breaking this law it is a criminal offense, punishable with a heavy fine or even jail. If you believe a shop has broken this law you should contact your local trading standards office. Anyone who sells precious metals (including fine jewellery) must also have a Dealers Notice on display – these are prominently displayed posters which have hallmarking information on them.
This article is for general information purposes only, and not be be used for or as any kind of legal advise. While every attempt has been made to verify the information provided in this report, the author cannot assume any responsibility for errors, inaccuracies or omissions. If any type of advice is needed (legal or otherwise), the services of a fully qualified professional should always be sought, such as Trading Standards, a professional auctioneers or a UK Assay Office. This article is not intended for use as a source of advice.
Cameos have been treasured throughout the ages. They are made from hand carved shell, agate, marble, coral and precious gemstones, and even made from volcano lava.
Early Cameo History
It’s generally thought that cameos originated in the Middle Eastern regions over 2000 years ago. They wouldn’t have been used for the decorative purposes we love them for today – cameos were statement objects. They might depict the portrait of the King or Ruler of the time (therefore showing political allegiance of the wearer), or show a religious icon. Cameos were also used as amulets and charms to guard against evil spirits and promote good luck. The main materials used in the making of ancient cameos were precious gemstones and hard-stones such as marble and agates – shell cameos were considered inferior imitations only to be worn by the poor.
The Cameo Jewellery Golden Era
Although cameos have been esteemed throughout history (Queen Elizabeth I and Napoleon Bonaparte were famously both avid collectors), the heyday of cameo jewellery was between the 18th and 19th Century. They were loved in royal circles and the aristocracy around Europe, who at the time dictated the fashions trends of the time. This period was also the time of the famous Grand Tours, where the wealthy members of high society would travel extensively around Europe, soaking up new cultures. Italy was an especially popular destination due to its prestigious history in arts and culture. Most of the finest cameos came from there, and were often bought as souvenirs, or sent back home as a gift for loved ones.
Modern Cameo Jewellery
By the mid 20th Century the cameos’ popularity was ending. Though they were still being produced, the quality of the carving in many pieces became poor, with figures and portraits being much cruder than their life-like predecessors of the Georgian and Victorian period.
ABOVE: Two cameos. The left one dates from the 19th Century Victorian period, while the one on the right is from the 1960s. Note the difference in quality, with the older cameo benefiting from far superior carving.
The cameo is once again seeing a new lease of life. The 21st Century is bringing new state of the art techniques to the craft, such as laser and ultrasonic stone carvings; portraits of pets and loved ones are notable growing areas. These new cameo artisans use lasers to carve the stone while working from emailed photographs, to create a perfect likeness. It seems no matter what happens throughout history, the art of the cameo survives, adapts and flourishes.
How Cameos Are Made
Cameo carving is a highly skilled craft, which involves a long apprenticeship and a complete understanding of the materials being used. The basic theory behind both hard stone and shell carving is that the artist develops a deep knowledge of how best to cut and shape a material, so the different coloured layers of shell or stone can be carved and manipulated to their best advantage. For example, a piece of agate may have three layers of colour (eg brown at the bottom, white in the centre, and black at the top). The artisans use their knowledge to take advantage of the layers, leaving the brown as a flat base, the white above this is carved as the portrait, and the black above that is carved into hair. This gives the lifelike 3-D appearance of the fine cameos we see.
‘Fake’ or reproduciton cameos jewellery
As with all fine jewellery, you’ll always find fakes and costume jewellery copies. While most people are honest in describing their cameos, you will occasionally come across people trying to pass on costume jewellery copies as a real carved cameo.Reproduction cameos are made from plastic or glass. The most common plastic cameo depicts a side portrait of a young lady with her long hair tied in a ponytail – this is the cameo portrait you see in all the high street shops.
There are also some beautifully detailed plastic cameos depicting mythology on the market, usually dating from around the 1960s, which to a beginner may look real. Plastic cameos feel warm and slightly soft, not hard and ‘clinky’ like shell. The background can also give you clues – the colour is often a little too bright or pink in plastics. Tap a cameo gently on your front teeth if unsure – plastic cameos feel warm and make a slightly ‘dull’ thud sound, while shell and agate are hard, cold and make a lighter ‘clink’. Finally, you could always try a hot pin test (though this could damage the jewellery and its price, so it’s not recommended). Take a very hot sewing pin (hold it with pliers) and touch the cameo with it in an inconspicuous place. Most plastics will melt, while glass, agate or shell won’t.
ABOVE: Two good quality plastic cameo brooches. Note the unrealistic background colour on the left one, and the molded look of the right one.
Glass cameos tend to be either one uniform colour such as cream, black or turquoise, or two contrasting colours (eg black background and a glued on opaque white portrait). Glass is cold to touch (like stone), but the quality is not there. They often look quite molded with little true detail, and sometimes have dyed areas especially around the hair that imitate ‘dirt’. Glass and plastic cameos tend to be thicker and chunkier than agate, while shell cameos are very thin. Occasionally agate cameos can be ‘faked’, with a carved agate portrait being glued to a different agate background (this is called a cameo doublet). A good magnifying glass can help you spot this.
ABOVE: Glass cameos have been with us for many years. This one dates from the late 19th Century, and it imitates the very expensive angel-skin coral cameos that were around at that same time. Note the beige colour varnish glaze the glass has been given, to imitate dirt (angelskin coral cameos became dirty very quickly).
Collecting plastic or glass cameos is a fun hobby in its own right – many of them are beautiful to look at and are durable enough to worn everyday. The problem begins when people try to pass them on as real.
Cameo Themes, Valuation and Starting a Cameo Collection
Putting a value to cameos can be daunting if you’re new to the subject. Many factors have to be taken into account, including materials used (eg shell, volcanic lava or gemstones), quality of the carving, and if subject matter is rare or not. A big factor is also condition. Hold a shell cameo up to the light and you may see lines and cracks. This is not desirable, and any damage to a cameo can affect its value (unless the subject matter is rare or sought after).Some cameos are set into solid gold or silver, though confusingly if the carving quality of a gold set cameo is poor, then it’s often not worth as much as a highly detailed top quality carved cameo in plain base metal.
Most cameos are portraits. Right facing is most common, then left facing after that, and very occasionally you may see a forward facing portrait. Beautiful women are the most common subject, with male profiles being less available and more sought after. The rarest are blackamoors, and these are the most collectable (and expensive).
Mythological Cameos Cameos depicting scenes from Roman mythology were made up until the early 1900s, and are always highly sought after. Popular themes are:
1.The Three Graces ( three dancing women side by side)
2. Hebe and Zeus ( a swan swooping down from the sky towards a lady)
3. Diana the Moon Goddess ( has a moon crescent in her hair)
4. Bacchus the God of Wine/ Intoxication (has grapes in the hair)
5. Athena/ Minerva Goddess of Wisdom, Warriors and the Arts (female warrior with helmet)
6. Peace- Psyche & the Dove (beautiful woman with dove bird)
7. Poseidon/ Neptune (holds a pronged trident)
8. St George and the Dragon
9. Apollo (laurel wreath in his hair)
10. Venus and Cupid (Venus is always a beautiful lady, sometimes playing a harp and if you see a small winged cherub it’s Cupid).
ABOVE: A Victorian cameo depicting Hebe and Zeus (as an eagle). Note the fine quality carving of the brooch. Unfortunately, this one has a crack down one side, which in most cases severely affect the price. However, this cameo was quite special; it had a secret glass compartment at the back which could hold a keepsake – almost unheard of in cameo jewellery.
Other subjects in cameo jewellery.
Cameos of flowers are popular when beginning a collection as they can still be purchased quite cheaply. Occasionally you’ll find cameos depicting rural farm scenes, or animals such as horses. These were often private commissions, and can be highly detailed. Value depends on the theme and quality, and will usually in the same price region as the mythology cameos.
ABOVE: Two rural scene cameos. The one on the left is tiny (less than an inch), and dates from the Georgian period. The right one is from the 20th Century, and shows a cheeky peeping tom boy looking at a girl bathing in the river.
Nothing beats personal experience when it comes to learning how to date a cameo. Go to antiques fairs and vintage jewellery shops and handle as many as possible. Get a feel for them – look at the metal settings, quality of carving and subject matter. Some guidelines below may help:
1.Look at the clasp. This is always a good indication of age. ‘Roll over clasps’ are modern, and won’t really be seen on pre 1920s jewellery. A plain ‘c-clasp’ (ie the brooch pin loops under a c shaped piece of metal with no ‘roll over’ fitting) are a good indication of a possible old/ antique brooch.The pin is a giveaway too. Pre 1920s pins were set in a T-shape.
2.What is the subject? Mythology shell cameos usually date from the 18th Century to the very early 20th Century. Portraits can give hints of age too, and here I’m going to share with you a dealers secret! Look at the persons nose. A strong ‘Roman’ nose indicates pre 1860s. Straighter noses are Victorian, while tiny pert noses are contemporary 20th/ 21st Century. Chunky rounded ladies are generally Victorian in origin Cameos made from Whitby Jet or lava are usually Georgian or Victorian.
Modern vintage (ie after the 1930s) cameos are usually portraits of pretty young dainty ladies, with flowers on their hair. Some cameos wear necklaces which are set with sparking stones such as diamonds. These are known as habille cameos.
Modern laser cut agate cameos are easy to identify, having a vivid background colour (usualluy blue or pink) and white portrait . The portraits are incredibly detailed – often too detailed! Hair is let loose and swirly, and the whole cameo has a wispy, almost Art Nouveau dreamy feel. This type of cameo also can feel slightly ‘gritty’ when gently rubbed across your teeth, whereas the old agate cameos feel much smoother like glass.
Caring For Your Cameo Jewellery
Shell cameos need a little TLC once a year. Simply wash them gently in weak soapy water and dry thoroughly. Rub a little mineral oil all over front and back and leave to soak in for a couple of hours, after which you can wipe away all the access. By treating (called feeding) the cameo in this way once a year you are protecting it from drying out and cracking, preserving it for future generations to enjoy and admire.
Buying and collecting vintage jewellery can be so addictive once you get started, so it pays to make sure what you’ve bought is the genuine article. Here are some tricks of the trade to help you get started! Though these tests aren’t 100% conclusive, they can guide you in the right direction when investigating what a material is.
***WARNING:The tests marked ‘invasive’ are here for historical information only – do not use them – they can seriously damage jewellery. ***
Tests for antique mourning jewellerymaterials such as Whitby Jet can be found at the very bottom of the page.
Amber is fossilized tree resin which is millions of years old. It can come in a variety of colours, from light yellow and green to dark brown-red and even rare glowing blue amber from the Dominican Republic. One of the first items used to make jewellery thousands of years ago, Amber has captivated us ever since. Unfortunately fake amber and the real thing can feel and look the exactly same, and your best bet is to get it tested by a proper expert, such as a long time amber collector (online gemology/ mineral forums are a good place to find some), registered auctioneers or fully qualified gemologist.
Test 1: There’s a lot of fake amber around the internet at the moment. The safest and least invasive test is the static test. Rub the amber vigorously against wool for a few seconds, then place next to a piece of paper, or a strand of hair. Real amber creates static electricity, and should gently pull the paper or hair towards it.
Test 2: Genuine amber usually floats in sea water, so try the salt water test (only works on amber without settings ie plain loose pieces or beads). Mix about 20-25 grams of salt into 200ml of water until it’s dissolved. Real amber generally floats, imitations tend to sink to the bottom.
Test 3: Invasive: The acetone test (try some brands of nail polish remover). Put some acetone on a tiny bit of cotton wool and rub it in an tiny inconspicuous area of the amber – acetone should not affect it. Copal or some plastics become slightly tacky. This test can massively decrease the value of you copal or plastic jewellery.
Test 4: Invasive: Hot needle test. Heat a fine sewing needle and gently pierce the amber with it (in an inconspicuous place so it will not be seen). Plastics will emit a chemical smell, amber will emit a sooty pine smell, with white smoke.This test can massively decrease the value of you amber jewellery.
Some amber will glow gently under UV light – but this isn’t a good test, as some plastic fake amber glows under UV light too.
This organic material comes in a variety of colours, though mainly red and sought after salmon pink. It can be carved into cameos or polished into beads, and has a long and distinguished history in jewellery. It was poular in Victorian jewellery as it was thought to ward off illness and disease. Coral is still popular today, and good quality vintage coral jewellery always demands a high price.
Test 1: You’ll need a good jewellers loupe. Inspect the coral closely with the loupe – it should have tiny ‘grains’ to it, similar to a grain of wood.
Test 2: Invasive: Take some lemon juice and a good magnifying glass/ jewellers loupe for this. In an inconspicuous place, place a tiny pin-head sized drop of lemon juice on the coral. Look at the area with a magnifying glass – tiny little bubbles should start to form from the coral if it is genuine. Thoroughly wash the item immediately after it happens to remove all traces of lemon juice – if you don’t this test will completely ruin the coral. This test can massively decrease the value of you coral jewellery.
The only real way to test diamonds yourself is to purchase a top quality diamond tester, which includes the Moissanite test (moissanite is a type of imitation diamond). It’s always best to take possible diamonds to your local jeweller or auctioneers for proper appraisal,because even if your jewellery is made from diamonds it can vary widely in price. The following are only stepping stones, and must not to be used as conclusive tests.
Test 1: Breath on the stone. A real diamond disperses the ‘breath’ mist immediately, while fakes usually remain misty for a few seconds
Test 2: Diamonds will scratch glass (though many other gemstones will too!)
Test 3: If the stone is loose (ie, not in a setting) then try reading a word in a newspaper through it – it should be impossible to make out.
Test 4: The cost – real diamonds are not cheap! If the price is too good to be true it usually is.
Test 5: Colour. Fakes such as Cubic Ziconias, Diamoniques(TM) and glass are usually much ‘whiter’ in appearance than a diamond, especially when they catch the light. Diamonds can vary in colour – some being an almost almost translucent grey.
Test 6: Some diamonds glow when held under black light (also known as UV or ultra violet light).
Genuine pearls feel slightly gritty when rubbed lightly against your teeth, while glass pearls or plastic pearls always feel smooth. Plastic pearls are light to the touch. Both glass and plastic pearls have a pearl coating which scratches or chips off – this cannot happen with real pearls. Real pearls are often slightly mis-shapen (unless very expensive).
The best way to see if gold is real is to find its hallmarks. However, some antique gold isn’t hallmarked, and you can buy cheap testing kits which use a special acid to test and grade the gold. Please use these kits with extreme caution – I’ve seen dreadful damage done to antiques by well meaning people trying to test their gold. Take your jewellery to a local jewelers or auction house for proper appraisal without damaging potentially valuable items.
Test 1: With a strong magnifying glass or jewelers loupe study the gold. Look at its edges, and the parts that come into direct contact with the skin closely. What kind of wear can you see? Can you see any fading, or another colour showing through underneath? If the item is scratched, can you see the colour of the metal inside the scratch – is it the same colour? Gold is always uniform throughout its depth ie any scratches or dents to gold should only reveal more gold underneath – never another colour.
Test 2: Grab a magnet, and hold it to the item. Precious metals are not magnetic.
As you become used to handling a lot of gold, you’ll develop a ‘feel’ for it. Many professionals can privately tell a good quality gold plated piece from a solid gold piece just by looking and briefly holding it, though this takes a time and practice!
Glass has been used as an imitation for gemstones and in costume jewellery for hundreds of years. It is always cold and hard to the touch. It can be opaque or clear, and molded into impressive shapes and designs. A hot pin test will never damage glass. When rhinestones (also called ‘pastes’) are used to imitate gemstones, they have often been coated at the back with a gold or silver coloured foil, and have a more ‘flat colour’ compared to the real thing. Glass can also be scratched, cracked and chipped quite easily.
The term ‘paste’ or ‘glass paste’ is the correct term used to describe any imitation stones made from glass. French Jet is another term you may often hear- this is simply fancy name for black glass.
Plastic is softer and warmer to touch than glass or gemstones. It is a specialist collectors area in its own right, with Bakelite in particular attracting a huge following and prices to match. Plastics come under ‘costume jewellery’, though many plastic Bakelite pieces can fetch over a thousand pounds at auction.
Plastics are most commonly used to imitate Amber, Jet or Tortoise Shell. It often has ‘seams’ where it has been joined or molded together during manufacture, where as genuine items don’t have these seams.
Bakelite jewellery in particular is flooded with fakes, and many sellers don’t know how to test for it properly. If you see an item of vintage Bakelite for sale always ask the seller how they know it’s genuine Bakelite. I always use the respected Simichrome test (along with my sense of smell) to make sure any Bakelite I have is genuine.
Testing Bakelite: Try and get hold of some Simichrome Polish, which is the easiest way to test for Bakelite. Put a dab of the polish onto cotton wool and rub the item. The cotton wool should turn a yellow colour. If you can’t get hold of any Simichrome, simply rub the item vigorously until hot – it should emit a distinctive chemical odour. Bakelite should never have any mold seams, and is very hard to the touch.
Invasive: Bakelite does not accept a hot needle (though a hot needle will badly damage the Bakelite by leaving a brown permanant scorch mark which decreases its value massively). Using this test will massively decrease the value of your jewellery.
MATERIAL USED IN MOURNING JEWELLERY:
Mourning jewellery has been around for centuries and was created and worn in remembrance of loved ones. It became hugely fashionable during the reign of Queen Victoria. Mourning jewellery often had hidden meaning in it’s symbols (such as flowers or objects) – it could even reveal a Victorian woman’s status in life. Many pieces were typically made from black coloured materials, such as Whitby Jet, Onyx and glass. The richer members of society wore solid gold, sometimes decorated with fine black enamel and detailed with the loved ones woven hair.
This is a type of beautifully carved peat, and was used mainly by the people of Ireland for creating imitation Whitby Jet. It is usually very dark brown in colour.
Test 1: Will leave a brown streak on a white unglazed tile.
Test 2: Feels warm and lightweight (like wood) when held. If you hold a magnifying glass up to it you should see grains, like grains and patterns in a plank of wood. Will not usually be highly polished and shiny like Jet is.
Test 3: The actual design of the item can give bog oak away. Mourning/ Victorian era bog oak jewellery mostly came from Ireland, and usually has shamrocks, castles and harps carved into it.
This fossilized coal-like material was soft to work with, could be intricately carved, and was polished to a shiny finish. Antique Whitby Jet jewellery is today highly prized and desired. It is black in colour, and is prone to cracking and chipping with age.
Test 1: Will leave a dark brown streak on a white unglazed tile.
Test 2: Feels warm and lightweight to touch, similar to black plastic (never feels cold or heavy to hold like black glass). Usually has a good polish and an almost oily in texture like amber. Never truly reflective.
Test 3: Some jet creates static electricity when rubbed against wool. Do this, and then place the jet near a strand of hair or a piece of paper – the jet should pull it slightly towards it.
Test 4:Invasive; Hot pin test. Heat a needle and gently pierce an inconspicuous area of jet. It should not take a needle well, and emit a coal like odour (jet is fossilized coal). Using this test will decrease the value of your jewellery.
One of the earliest forms of ‘plastic’, Vulcanite was invented in the 1840s by combining certain types of tree sap with sulpher. It is usually black to mid-brown in colour, and is often in near perfect condition due to its durability (other than fading to a brown colour).
Test 1: A simple and very reliable rub test. Holding the jewellery, rub a part of the vulcanite vigorously until its quite hot and then smell. It should emit a rubber like (and sometimes slightly sulfuric) odour.
Test 2: Will leave a brown powdery streak on an unglazed white tile.
Never get Vulcanite wet – water will damage it.
Again, another rubber type material used, and is not commonly seen. Tests as for Vulcanite, though with one important and unmistakable addition – the taste test! Touch the Gutta Percha in a tiny inconspicuous area with the tip if the (dry) tongue – it will taste incredibly salty. Never get Gutta Percha damp nor wet as water stains and damages it.
A fancy name for black glass. Cold and hard to touch, and will not be damaged by a hot pin test.
Another material used to imitate Whitby Jet, horn was molded into desired shapes, and then dyed black.
Test 1: Will sometimes leave a grey powdery streak when rubbed on an unglazed white tile.
Test 2: When held to the light the edges are often translucent.
Test 3:Invasive: When gently pierced with a hot needle in an inconspicuous place horn will emit an odour of burning hair. Using this test will damage and massively decrease the value of your jewellery.
One of the most popular gemstones is malachite. With its beautiful green colour, wonderful patterns and heavy, quality feel, its no wonder!
Like all popular gemstones though, there are now increasing amounts of fake malachite flooding the market, especially over the internet. Here are some tips to help you avoid these imitations:
Genuine malachite is very cold, heavy and feels hard. It is heavier than solid glass or plastic, and feels ‘dense’ and ice cold when held and touched. The striped patterns are called ‘banding’. Genuine malachite is not uniform in its patterns and colours; you’ll find circles and thin to thick parts in the patterns, and dark to mid-green hues.
Fake malachite comes in many forms. Plastic fake malachite is lightweight and warm to the touch. Glass fake malachite tends is cold to the touch like genuine malachite, but because it’s glass it will warm up in your hand much quicker, where as real malachite won’t warm up much at all; it remains cold (this applies to a lot of gemstones btw).
*Check out the museums in your area – even the smallest ones can often throw up some big surprises!
When you are purchasing gemstone jewellery you may sometimes come across the word doublet, or triplet. The seller should explain to you what this means, but I’ve noticed that this isn’t always happening, and only a lightning-quick run through of the term is given, if at all.
Doublets and triplet gemstones aren’t fake gemstones, but they aren’t solid gemstones either. They are a mixture of both genuine gemstone and man-made materials.
A doublet is a genuine gemstone which has been thinly sliced and glued on top of another material such as glass. It’s done mainly to make use of small flat pieces of gemstone (opals especially), and to save money.
A triplet is similar to a doublet, however the triplet also has a clear protective ‘cover’ glued over the gemstone (usually made from glass or clear cheaper gemstone, or even plastic). Some gemstones such as ammolite or black opal are so soft that triplets are the most effective way to set some specimens into jewellery. Though be a little wary with black opal doublets/ triplets – they are sometimes inexpensive white or clear opals set onto a black backing of glass.
The website www.opalsdownunder.com has a fantastic page on the subject, with some good photos to help you identify a doublet/ triplet gemstone.
One of the biggest jewelry problems I’m hearing about at the moment is buyers purchasing fake gold over the internet, at markets/ fairs and even occasionally in shops. Here are some helpful tips to consider when purchasing gold in the United Kingdom:
1. If it’s too good to be true it usually is!
2. Only buy gold that has been hallmarked at a British Assay Office. This means the gold has been tested and is real.
3. If buying from a ‘real world’ market stall, fair or shop don’t assume the jewellery item you are seeing is gold (even if it looks gold and is with other labelled gold items). An unscrupulous trick is to place a few non-hallmarked fake gold tone rings on a ring display pad mixed with real British hallmarked gold.
These ‘jewelers’ will label a ring as simply (eg) GARNET ETERNITY RING, and place it on a display pad with other rings labelled ‘9ct topaz gold ring’. Now, the ‘garnet eternity ring’ does have a real garnet in it, and looks gold. And the seller will charge the same price for it as the surrounding rings, which are genuine hallmarked gold, so buyers simply assume it’s another solid gold ring on a pad of other gold rings. But its not.
Notice the wording – no mention is made of gold. It’s actually a dirt cheap garnet stone in a goldtone pot metal ring, and because the seller hasn’tdescribed this particular garnet ring as gold (remember, they simply labelled it ‘Garnet Eternity Ring’) they’re not breaking any law, as far as I know. Do this with 4 costume jewellery rings on one display pad with 16 other real gold rings, and that’s a nice extra profit for dodgy sellers.
4. Gold jewellery in the UK comes in 4 finesses: 9ct (375)…….14ct (585)…….18ct (750)……22ct (916). All non-antique gold over 1 gram must carry a British Assay Office Hallmark. A simple (for example) ‘750’ or ’18k’ stamp on its own is not a proper hallmark, and is not allowed to be called gold or sold as gold in the UK.
ABOVE: This ring has a simple ‘9ct’ stamp. It is not hallmarked, and therefore cannot be legally called 9ct gold or sold as gold (unless it is a genuine antique, which is where things get complicated and I suggest you seek expert advise).
ABOVE: a proper set of British hallmarks, which means this ring can legally be sold as/ called 9ct gold.
5. 10k Gold is not a legally recognized finesse in the UK. The precious metal laws are tough here and so are the punishments – don’t describe any jewellery to sell as ’10k gold’ if you are based in the UK.
If in doubt, always ask a seller about the hallmarks on a piece of fine jewellery.