Hancocks
1.12ct Colombian Emerald & French Cut Diamond Halo Ring
A Colombian, no oil emerald and French cut diamond ring by Hancocks. The handcrafted ring is centred on a 1.12ct octagonal step cut Colombian emerald, bezel set in 18ct yellow gold and within a halo of calibrated French cut diamonds, in a platinum bezel setting. The shoulders are accented with tapered French cut diamonds, to a square profile 18ct yellow gold band with signature hand engraved decorative detailing.
£45,000.00
Information
Maker
Hancocks
Origin
London
Period
Contemporary
Gemstone
1.12ct octagonal step cut Colombian emerald with no indications of clarity enhancement - with SSEF certificate
18 x French cut diamonds of D/E colour and VVS clarity, combined total weight 1.56ct
Setting
18ct yellow gold and platinum
Dimensions
UK finger size L 1/2, US size 6 (can be adjusted to any size)
Band width: Band: 6.0mm at the shoulders tapering to 2.0mm at the centre back
Weight Description
4.7 grams
REF
130299
Discover this Jewel
Emeralds
Colombian Emerald
Historically, the very finest quality emeralds have been found in Colombia, in particular three key mining areas - Muzo, Coscuez and Chivor - which between them have been supplying the world with exceptional gems for many hundreds of years.
Stones from these locations are widely regarded to be the most beautiful and intense in colour with a purity of green unmatched by those from any other source. Whilst the earliest record of emerald mining was in Ancient Egypt, indeed Cleopatra loved these gems so much she is reputed to have had her own mine, the beauty of the stones from Colombia could not be rivalled. Since the 16th Century these stones have been widely traded throughout Europe and their superiority in terms of colour and size meant they quickly became the most highly prized emeralds in the world. Mining in these areas continues today and they are still producing exceptional quality gems which are as desirable today as they were to the early Colombians who first discovered them.
No Oil
Emeralds that have been certified as having no traces of oil in them are particularly rare. Almost all emeralds are treated with oil, usually at source, to enhance their clarity. This is such common practice that finding an emerald without any trace, however minor, is something special and truly noteworthy.
Zambian Emeralds
The first emeralds were found in Zambia as far back as the 1920s but they were not mined in any significant quantities until the 1970s. Today, Zambia is considered second only to Colombia as an important source of emeralds in terms of value.
The primary mining area is Kafubu and the most significant concessions are Kagem, Grizzly and
Chantete, all of which are open-pit mines. Currently Kagem alone is producing in the region of
20-25% of the worlds emerald supply. The output is varied in terms of both colour and clarity
but the top end of the range is acknowledged as very fine indeed. These emeralds get their
intensely saturated green colour from a combination of chromium, iron and beryllium. This iron
content is also significant in terms of durability as it helps to create a stronger internal
structure meaning that emeralds from this area measure slightly higher on the gemstone hardness
scale than those from other localities.
In 2018, the Kagem mine uncovered a significant 5,655-carat emerald. Named Inkalamu (meaning
lion) this gem was notable not only for its size but also for its exceptional clarity and evenly
saturated colour. Two years later in 2020, the same mine produced an even larger 6,225-carat
emerald which was subsequently named Insofu (meaning elephant). These extraordinary finds, like
all the emeralds in this area were formed more than 450 million years ago thanks to surging
magma from the earth’s mantle encountering a specific set of minerals in just the right
environment to allow for emerald crystal growth
Ural Mountain Emeralds
Emeralds were first discovered in the Ural Mountains in the early part of the 19th Century in an area about 100km northeast of Ekaterinburg. The story goes that in 1830 a local man noticed some green crystals around the roots of a fallen tree near the Takovaya river.
It didn’t take long to establish what they were and organised mining began within just a few
months. However, the world didn’t see any of the emeralds that were excavated over the coming
decades as they were regarded as property of the Russian crown. It wasn’t until the very end of
the century that this changed, when the Tsar took the decision to lease the mines to the New
Emerald Company (due to the ever-increasing costs of running them) and over the next 18 years
the company exported over 40 million carats of rough emerald. Quality varied with some crystals
suitable only for carving whilst others were perfect for faceting into beautiful gems with good
strong colour and high transparency and clarity.
In 1918 the Soviet government took ownership and control of the mines and production continued
apace with millions of carats mined each year, sometimes even exceeding the output of the
world-famous Colombian mines. During the 1940s and 50s the focus of mining in this area turned
towards beryllium ore, however emeralds were still recovered as a by product of this search and
production.
The focus shifted back again in the 1970s as demand for emeralds increased and new localities
for the ore were discovered elsewhere. Mining continues today and a walk around any major gem
fair will reveal a selection of Ural Mountain emeralds available for sale. However, these stones
are unquestionably rarer than those from larger more commercial localities such as Zambia and
Colombia.
As diamond cutting techniques progressed, stones with a greater number of facets had become increasingly sought after because they displayed more brilliance than earlier, simpler cuts. The design of the French cut had developed from the addition of extra facets to the old table cut diamonds thereby altering them into much more lively stones. This style of cut has changed very little to this day and its evolution marks one of the earliest milestones in the development of the brilliant cut diamonds we know today.
Asscher Cut
The Asscher cut diamond was designed by and named after Joseph Asscher, co-founder of the Asscher Diamond Company in Amsterdam whose family had been dealing in diamonds since the mid 19th Century.
The cut was created in 1902, in an attempt to best utilise the natural shape of rough octahedral diamond crystals. The cut is often square in shape with deeply truncated corners creating an almost octagonal outline to the stone.
The facets are carefully arranged in three rows of straight, step-like faces to the top and bottom of the stone which has a wonderfully elegant and clean appearance with a more subtle sparkle than brilliant style cuts. A characteristic high crown and deep pavilion are further hallmarks of this cut and these help to create a wonderful brilliance in the stone. This was the first diamond cut to ever be officially patented and it became increasingly popular during the early 20th century. In particular, the straight lines and geometric form of the cut lent itself beautifully to the aesthetic of the Art Deco period. Just a few years after creating his eponymous diamond cut, Joseph Asscher would become internationally famous as the man who cut the Cullinan diamond, at that time, the largest diamond in the world. Popular rumour has it that after the first attempt to cleave the diamond in half, Asscher fainted but in fact his family state he simply collapsed with the effort it took to strike a blow hard enough to cleave a diamond that size.
Antique asschers particularly stand out from their modern counterparts with much bigger cut corners that enhance the play of light within the steeper facet pattern.
The facets are carefully arranged in three rows of straight, step-like faces to the top and bottom of the stone which has a wonderfully elegant and clean appearance with a more subtle sparkle than brilliant style cuts. A characteristic high crown and deep pavilion are further hallmarks of this cut and these help to create a wonderful brilliance in the stone. This was the first diamond cut to ever be officially patented and it became increasingly popular during the early 20th century. In particular, the straight lines and geometric form of the cut lent itself beautifully to the aesthetic of the Art Deco period. Just a few years after creating his eponymous diamond cut, Joseph Asscher would become internationally famous as the man who cut the Cullinan diamond, at that time, the largest diamond in the world. Popular rumour has it that after the first attempt to cleave the diamond in half, Asscher fainted but in fact his family state he simply collapsed with the effort it took to strike a blow hard enough to cleave a diamond that size.
Antique asschers particularly stand out from their modern counterparts with much bigger cut corners that enhance the play of light within the steeper facet pattern.
The facets are carefully arranged in three rows of straight, step-like faces to the top and bottom of the stone which has a wonderfully elegant and clean appearance with a more subtle sparkle than brilliant style cuts. A characteristic high crown and deep pavilion are further hallmarks of this cut and these help to create a wonderful brilliance in the stone. This was the first diamond cut to ever be officially patented and it became increasingly popular during the early 20th century. In particular, the straight lines and geometric form of the cut lent itself beautifully to the aesthetic of the Art Deco period. Just a few years after creating his eponymous diamond cut, Joseph Asscher would become internationally famous as the man who cut the Cullinan diamond, at that time, the largest diamond in the world. Popular rumour has it that after the first attempt to cleave the diamond in half, Asscher fainted but in fact his family state he simply collapsed with the effort it took to strike a blow hard enough to cleave a diamond that size.
Antique asschers particularly stand out from their modern counterparts with much bigger cut corners that enhance the play of light within the steeper facet pattern.
