This blog will be served as notes collection of my research to get more knowledge in Arts, Antique and Collectible. It will be a collection of links or articles. Languages will be within my ability in English, Chinese, Danish and Vietnamese. Occasionally Japanese orginal text, but translale to English/chinese by google to be understandable. The interesse subject are in metal, porcelain, painting and more
On exhibition at the Virginia Museum of Fine Arts from July 30, 2011 - November 2011. Thirty lavish Jewels of Jean Schlumberger (1907 -1987) are presently , but "Bird on a Rock" - one of Jean's (and one of the world's) most fantastical pieces, is not among the exhibit at VMFA, so Antique Jewelry investor. com decided to showcase this amazing piece by Jean Schlumberger for August Jewel-of-the-Month on Antique Jewelry Investor.
This famous Tiffany Diamond is a canary yellow diamond (the largest known of such color) weighing 128.51 carats and cut from a rough diamond weighing 287.42 carats that is believed to be found in 1878 in the Kimberley Mine in South Africa.
It was immediately purchased by Tiffany & Co., New York which has had it displayed at several exhibitions and continuously at its shop in New York City.
This magnificent fancy colored Diamond is cushion cut, cut in Paris with 90 facets, having 40 facets on the crown, 48 on the Pavilion, a Table and a Culet. The 32 facets more than the standard BRILLIANT is what gives the Tiffany diamond its extraordinary Brilliance and Fire.
It was first worn in 1957 at the Tiffany Ball at Newport, Rhode Island by Mrs Sheldon Whitehouse, set in a necklace of white diamonds. The present setting of the diamond was designed in the 1960's by Jean Schlumberger. Jean was engaged as a special designer of jewelry in 1956 and given his own studio.
The “Bird on a Rock” clip of platinum with touches of gold setting designed by Jean is both quirky and fantastically splendid. In it, a small jewel-encrusted bird perches atop the magnificent Tiffany Diamond. Although the Tiffany Diamond is estimated to be one of the most valuable gems in the world, it is free for anyone to look at as they stroll down Fifth Avenue in New York, New York.
古玉十三彩 ：
中國人愛玉也喜歡玩玉，其中一個原因就是玉擁有多變的色澤變化，尤其是出土玉的變化程度，更能讓愛好者有莫名成就感的驕傲。因為《古玉出土》【經過人體的盤玩】，其體內的物質成分在受到人氣的涵養後，《玉性又會慢慢復甦》，從而使古玉原先的沁色發生奇妙的變化，呈現出五光十色的豐富色澤。玉的原色在尚未入土前大約有白、黃、青、碧、灰、黑等顏色。而若是經過河水長期滾動的水產玉，則在其外表上常會多一層厚薄不一的《黃褐色》的皮殼，有就是人稱的《玉皮》。
相較於玉的原色，出土古玉的色澤變化就顯得更豐富多采多姿了。古玉長年被埋藏於地下，受地熱、地質、物質、壓力、水氣、各式礦物質等影響，造成玉質受沁產生顏色和質地的改變，不同沁色的礦物質和條件就會讓古玉產生不同的色澤。古玉受浸色變之說，自『明代曹昭』的《格古要論》以來，不斷有人進行著書研究和考證，所論浸色多達80餘種，不過行業內把它總稱為古玉十三彩。就是 陳墨黑、 秋葵黃、 鸚鵡綠、 魚腦凍、 棗皮紅、 茄皮紫、 蝦子青、 松花綠、 雞骨白、 牛毛紋、 鷓鴣斑、 釘金沁、 黑漆古等。 其中以白色、褐色、綠色、黑色的沁色最為常見。 白色沁色： 就是俗稱的「白化」、「鈣化」、「石灰沁」，顧名思義也就是玉器的顏色變白了，這是軟玉色變最普遍的現象。有些白化嚴重者連軟玉原有的透明度都會失去了，造成整體玉質變脆、不透明，而成為十三彩中「雞骨白」。
白化的嚴重程度與年代『並無絕對』的關係，因為一些清代出土的全器深度白化軟玉，就比一些年代久只有局部白化的軟玉來得嚴重。
有關玉器白化的原因，雖然有許多學者進行研究，不過立論卻甚多且雜，目前尚未有一個切確的結論。眾多的立論包含受相鄰之松香、石灰浸入玉中；受《強鹼環境》造成；受《火燒》或曾處在超過900℃以上的地層中；玉器中的《鈣與碳酸氣》結合形成碳酸鈣而析出，產生「脫鈣」現象；玉質結構《變鬆》導致喪失透明度及褪色變白，如同《水與冰》的道理；土壤中《氫氟酸》含量較高…等等。 褐色沁色：
出土玉器為何變成紅褐色的成因，通常認為是玉器與一同入土的鄰近《鐵器》產生作用，鐵離子沁入玉中，而呈現《紅褐色》，也就是俗稱的「鐵沁」。在眾多的考古資料中與鐵器鑲嵌在一起的玉器，往往具有《紅褐色》的色變，就是鐵沁很好的證明。 綠沁色：
玉器色變成綠色的成因，與變褐色一樣，都是入土時被鄰近的《銅器銅離子》沁入玉中而產生變化的。 黑沁色： 入土玉《變黑色》也就是俗稱的《水銀沁》，不過近來的研究資料顯示，水銀沁和我們以往認知是被水銀沁入有很大的誤差。因為水銀本身的比重大於玉的密度，所以玉石是《不可能》把吸收水銀進去的，比較有可能是因為和鄰近的《銀器》產生作用。
觀察古玉的沁色可以發現，最容易發生沁色的位置在《玉器的邊緣地帶》，因為該位置比較接近玉璞，其結構較為《疏鬆》，所以比較容易吸入其他礦物質產生變化。
由於入土玉在墓葬時的環境變數實在太多了，與玉器接觸的物體如泥土、銅器、鐵器、漆器、絲綢、陪葬品…等，或是潮濕、乾燥、水浸、冷熱的地層環境都會造成玉質的變化，所以玉器沁色才會如此豐富多彩，而盤玩、欣賞時也才能產生各式各樣的推敲玩味. Ancient Jade thirteen color: ( translated by google)Chinese people love jade like jade, one of the reasons jade have varied color and changes, especially changes of buried jade, inexplicable sense of accomplishment and allow the fans proud. Because the "jade discovery" through the body plate, the material composition of the body in the popular conservation were after, "jade sex will slowly recover," so that the original impregnation jade wonderful changes occurred, showing a colorful rich color. Jade has not been buried in front of color around the white, yellow, green, Bristol, gray, black and other colors. And if after a long scroll of the river fish jade, its appearance in more than a layer of varying thickness often the "brown" of the hull, there is called the "jade skin."Compared to the color of jade, earth buried jade color change becomes a more abundant colorful. Jade long been buried in the ground by geothermal, geological, physical, pressure, water vapor, and other kinds of minerals, creating a jade color and texture produced by the Qin changes, different impregnation of mineral and conditions will allow Jade produce different colors. Jade mere mention of the baptism, said that since the "Ming Cao Chao" and "grid to the ancient theory" has been some research and write books for research, the theory of color up to 80 kinds of dip, but the industry as it always Jade thirteen color. Is Chen ink black,Okra yellow,Parrot green,Fish brain freeze,Jujubeskinred,Eggplant Purple,Shrimp green,Pin flower green,Chicken bone white,Ox hair pattern,Partridge spot,Golden impregnation nails,Old black and so on.Among them, white, brown, green, black impregnation of the most common. White impregnation:Is commonly known as "bleaching", "calcification", "lime Qin", by definition is the color of white jade, this is the most common soft pale jade phenomenon. Some severe cases, even the albino transparency of the original nephrite are lost, resulting in an overall qualitative change in crisp jade, opaque, and become a thirteen color in the "chicken bone white."Bleaching severity and age "there is no absolute" relationship, because some of the depth of the Qing Dynasty unearthed in full control albino nephrite, a number of years longer than the soft jade only partial albinism is more serious.The jade albino reason, although many scholars to study, but the arguments are many and complex, yet there is indeed a cut conclusion. Adjacent to a large number of arguments that contain the rosin, lime jade immersion; by the "alkali environment" cause; by the "fire" or has more than 900 ℃ in 超过 formation; jade in the "calcium and carbonic acid gas" to form precipitation of calcium carbonate to produce "demineralized" phenomenon; jade structure "loose" causing the loss of transparency and fading white, as "water and ice," the truth; soil "hydrofluoric acid" with higher levels of ... and so on. Brown impregnation:Why become a jade unearthed the cause of red-brown, usually considered to be buried with jade with the adjacent "iron" to be effective, iron Qinru jade, while showing the "red brown", also known as "iron Qin." Among the many archaeological data with iron inlaid with jade, often with a "red brown" and discoloration, iron Qin is a good proof. Green impregnation:Jade green color into the causes, and become brown, are buried nearby when the "bronze copper ions" Qinru jade resulting change. Black impregnation:Buried jade "change the black" is commonly known as "mercury Qin", but recent research data shows that mercury Qin and our knowledge is the past, mercury Qinru a great error. Because mercury is greater than their proportion of the density of jade, jade is so "impossible" to absorb the mercury inside, the more likely because of and adjacent to "silver" to be effective.Observe the color of jade can be found in Qin, the most vulnerable position in the impregnation of the "jade edge" because the location is closer Yupu, its structure is relatively "loose", it is more likely to produce changes inhalation of other minerals.Because buried jade burial environment variables when too many, contact with objects such as soil jade, bronze, iron, lacquer, silk, grave goods ... and so on, or wet, dry, flooding, hot and cold environment will result in the formation Jade qualitative change, so will be so colorful jade impregnation, and set to play, to enjoy when they can produce all kinds of scrutiny interesting.
Georg Jensen Back Ground Georg Arthur Jensen was a Danishsilversmith born August 31, 1866, Raadvad, Denmark – died October 2, 1935, Copenhagen, Denmark). . Georg Jensen Life Timeline 1866 Born in Raadvad, Denmark 1880 began training in goldsmithing at the age of 14 in Copenhagen 1884 finished His apprenticeship, with the firm Guldsmed Andersen. 1892 graduated from the Royal Academy of Fine Arts sculptor studium 1892 Jensen .
1892 exhibited his clay sculpture was well received and won a grant from the Danish Academy to travel in France and Italy ,but difficult to make a living as a fine artist. 1901 he abandoned ceramics and began again as a silversmith and designer with the master Mogens Ballin. 1904 opened his own little silversmithy at 36 Bredgade in Copenhagen. Jensen's training in metalsmithing along with his education in the fine arts allowed him to combine the two disciplines and revive the tradition of the artist craftsman. The beauty and fine quality of his Art Nouveau creations caught the eye of the public and his success was assured.
proved difficult and he turned his hand to the applied arts. First as a modeller at the Bing & Grøndahl porcelain factory.
1906 initially producing modestly priced jewellery and later moving into holloware and flatware.
1908 Many designers contributed to the growing success of the company, particularly Johan Rohde in the early stages, 1908 the business employed nine silversmiths and two apprentices.
1909 The company had also begun to expand quite early on in its history, opening a branch in Berlin for the sale of Jensen products and Royal Copenhagen porcelain.
1914 the branch in Berlin closed
1916 The Company shares were sold in order to cater for increased production and the Georg Jensen Solvsmedie (Georg Jensen Silversmiths) was formed as a result, bolstered further by substantial capital investment in the company in the following year
1920s, before the end of the 1920s, Jensen had opened retail outlets as far ranging as New York, London, Paris, Stockholm, and Berlin.
The early 1920s The company experienced serious difficulties in the economic slump but 1921 the position improved with the appointment of Frederik Lunning (see Lunning Prize) who opened a Georg Jensen Solvsmedie shop in London in 1921
1924 Frederik Lunning opened a Georg Jensen Solvsmedie shop in New York
in Amongst the key designers working for the firm were Harald Nielsen, the Swedish designer Count Sigvard Bernadotte, and Henry Pilstrup.
1925-6 Apart from a brief spell in Paris, Jensen himself held the post of artistic director for the firm, with others controlling the silversmith and retailing operations.
1925 Jensen won award at international exhibitions The Grand Prix at the Paris Exposition des Arts Décoratifs et Industriels.
1929 Jensen won award at international the International Exposition in Barcelona
1935 Jensen won award at the Brussels World's Fair
1935 Georg Jensen died, in the preceding years he imbued the firm with his strongly held ideals concerning both artistry in design and excellence in craftmanship, this tradition has been adhered to throughout the twentieth century. Jensen was a proponent of the Art Nouveau style.He had the wisdom and foresigh to allow his designers their own freedom of expression which expanded the stylistic scope of what the firm produced and allowed it to keep step with time.
After the Second World War the company continued to flourish, attracting new talent
1954 Henning Koppel and Nanna Ditzel, both began working on commissions for the firm from 1954 onwards and, later, Allan Scharff and Jørgen Møller.
1972 onwards Georg Jensen Silversmiths underwent takeovers and mergers with a number of companies involved with jewellery, glass, and tableware, first by the Royal Porcelain Factory
1997 as part of a large group under the name of Royal Scandinavia Ltd. in 1997.
When to collect a important part it to known the time of manufacturing.
An easy way to date silver is by its hallmark. This was for many reasons a company would change its hallmark every few years during its production timeline. Reasons were to keep their marks from being reproduced and a simple methode to date their product.
In this article provided some George Jensen marks to help to date silver items. It also included some artist marks with the dates were used.
Step to identify silver piece of George Jensen
1. Look at the piece of George Jensen silver. A hallmark stamped somewhere on silver piece. Note, This mark is usually on the bottom of the piece. The mark can be found just about anywhere so if not able to find it on the bottom keep looking. Suggestion using a 10x jewelers loop to make it easier to find a silver hallmark.
2. Find the picture below that looks like the mark on your piece of silver.
3. The date range for the silver hallmarks is located just above the pictures.
List of George Jensen Silver Hallmarks
Mark 1(used in 1904-1908)
Mark 2 (used in 1909-1914)
Mark 3 (used in 1910-1925)
Mark 4 (used in 1915-1930)
Mark 5 (used in 1916-1927)
Mark 6 (used in 1925-1932)
Mark 7 (used in 1930′s on hollow-ware). This silver hallmark has engraved letters.
Mark 8 (used in 1933-1944)
Mark 9 (used in 1945 – 1951) on items retailed in Copenhagen.
Mark 10 (used in 1945 – Present ) This silver hallmark has incuse lettering
George Jensen Artist Hallmarks
Addition an artist’s mark is found along with the Jensen maker’s mark. Here are some of the notable artists:
1898 he founded a small pottery workshop in partnership with Christian Petersen. Again the work was well received, but sales were not strong enough to support.
Veteran ROADSHOW appraiser Lark Mason, an Asian Arts expert, poses with the set of five carved rhino-horn cups he discovered in Tulsa
TULSA, OK, July 25, 2011 — On Saturday, July 23, in Tulsa, Oklahoma, PBS's ANTIQUES ROADSHOW recorded the highest-value appraisal in the series' 16 years of production. Veteran ROADSHOW Asian Arts expert Lark Mason identified a collection of five late 17th- or early 18th-century Chinese carved rhinoceros horn cups and valued the set at $1 million to $1.5 million. The second highest-value appraisal recorded by ANTIQUES ROADSHOW was of a collection of Chinese carved jade bowls, estimated to be worth as much as $1.07 million, discovered at the event in Raleigh, North Carolina, in 2009.
The rhino horn cups were brought to the Tulsa Convention Center by one of approximately six thousand ticket holders. The owner, who prefers to remain unidentified, told Mason he started collecting cups inexpensively in the 1970s and had no idea of the collection's current value. Because of today's strong market for Chinese antiques and antiquities, the collection's value has increased dramatically since its original purchase.
ANTIQUES ROADSHOW executive producer Marsha Bemko commented on the record-breaking find: "As we continue our 16th season production tour here in Tulsa, we couldn't be more excited about such an extraordinary, rare treasure, and we look forward to sharing it with the nation!"
Tulsa was the fourth stop on ANTIQUES ROADSHOW's six-city 2011 production tour. The three episodes produced from the Tulsa event will air as part of ROADSHOW's 16th season, from January to June 2012.
ANTIQUES ROADSHOW's summer 2011 production tour will continue in Atlanta on August 6 and wrap up in Pittsburgh on August 13. Tickets to ROADSHOW events are free, but have already been distributed. Additional tickets are not available.
More information about ANTIQUES ROADSHOW's summer 2011 production tour is available online at www.pbs.org/wgbh/roadshow/faq_02.html
Nine-time Emmy® Award-nominated ANTIQUES ROADSHOW is produced for PBS by WGBH Boston. Executive producer is Marsha Bemko. ANTIQUES ROADSHOW is sponsored by Liberty Mutual and Subaru. Additional funding is provided by public television viewers.
ANTIQUES ROADSHOW is closed-captioned for viewers who are deaf or hard-of-hearing by The Caption Center at WGBH Boston.
ANTIQUES ROADSHOW press materials, streaming videos, and downloadable photos are available at pressroom.pbs.org/Programs/a/ANTIQUES-ROADSHOW.aspx Press contacts
Judy Matthews WGBH Boston
617-300-5343 judy_matthews@wgbh.org
John Eliot Jordan WGBH Boston
617-300-5346 john_eliot_jordan@wgbh.org
喬治傑生品牌 
