1.29ct Pigeon's Blood Ruby & Diamond Three Stone Ring
A Burmese ruby and diamond ring by Hancocks. The handcrafted ring is centred on an unheated 'pigeon's blood' Burmese ruby, claw set in 18ct yellow gold and set between two old European brilliant cut diamonds totalling 1.10ct, claw set in platinum. Bordering the top and bottom of each stone is a single row of baguette cut diamonds, all to a split shoulder platinum band with a square profile and geometric hand engraving detail.
£39,500.00
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1.29ct antique cushion cut unheated Burmese ruby - with SSEF certificate
2 x old European brilliant cut diamonds, combined total 1.10ct
12 x baguette cut diamonds, combined total 0.50ct
Setting
Platinum
Dimensions
UK finger size L, US size 5.75 (can be adjusted to fit any size)
Front centre: 16mm x 10mm
Band: 2.5mm
Weight Description
8.9 grams
REF
130006
Discover this Jewel
Rubies
Burma Ruby
Rubies mined in Burma have long been held as the absolute ideal in terms of colour for a ruby,
they are an exceptionally beautiful rich deep red with neither too much brown nor pink in it.
The term ‘pigeon’s blood’ has historically been used in an attempt to define this colour that is
found in the best examples produced by this region. The Mogok Valley in Upper Burma (now known
as Myanmar) has been the world’s primary ruby source for centuries and the origins of the mines
are swathed in mystery and
legend. What is certain is that references to these gems have been found dating back to the Shan
Dynasty in the 6th Century. The mines were taken over by the King of Burma in 1597 and all
rubies over a certain size had to be given to him on discovery rather than sold. Today there are
many different mines in the area both privately owned and government run. New deposits were
found in the Mong Hsu area of the country in the 1990’s and more recently a new source has been
discovered in the northern region of Namya.
The design of the French cut had developed from the addition of extra facets to 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.
Pigeon’s Blood Rubies
Historically, the term ‘pigeon’s blood’ has been used to describe the most beautiful and coveted
colour for rubies, allegedly due to its similarity in colour to the blood of a pigeon.
Opinions differ as to the exact origin of the term with some saying it came from the Burmese,
others that it was first used by the
Chinese who had previously owned the area where the Burmese ruby mines were discovered and yet
others sighting it as having Hindustani origins where lapidaries compared the colour to the
blood red of a pigeon’s eye. Whatever the truth, one thing everyone agreed on is that only
rubies of the finest vivid red colour with deep saturation and which showed a soft red
fluorescence in daylight were referred to this way. Today rubies from both Burma and Mozambique
can show this coveted colour and be certified as such.
Mozambique Rubies
The first significant ruby deposit in Mozambique was discovered in 2009 in an area called
Montepuez. Remarkably, in less than fifteen years this country has become the world’s most
productive source of gem-quality rubies.
Importantly, the output is not only significant in quantity but also in quality. The rubiesoccur
in a wide range of qualities and characteristics but the best of them are low in iron and high
inchromium like those from Burma and exhibit a similar vibrant colour with a strong
fluorescence. The bestof the best of these will be given with the coveted ‘pigeon’s blood’
colour grade. A percentage of thesecombine this highly desirable colour with a level of clarity
that means the stones require no treatment toimprove them. This means that excellent quality,
untreated stones are available and these are the oneswe select for our jewellery.
Carat
The term carat refers to the weight of a diamond which naturally impacts its size.
One carat is equal in weight to a fifth of a gram and each carat can be divided into one
hundred points.
Therefore a diamond weighing one and three quarter carats would be written as 1.75
carats and one weighing 0.70 carats would be said to weigh 70 points.
The term ‘carat’ comes from the word carob because historically the seeds of the carob
tree were used by traders as a means to judge the weight of gemstones.
The seeds of this tree were relatively uniform in weigh at around 0.2 grams so they were
used as a comparison to gauge the weight of gems.
Today, this C is often the first thing someone asks about but it is worth remembering
that not all diamonds that weigh the same will look the same size to
the eye because it will depend on the cut of the stone and particularly its depth.
With regards to the impact of weight on price then the price per carat will obviously
rise as the carat weight increase.
However, it must be noted that as larger diamonds are rarer than smaller ones the price
does not rise evenly,
for example a 2ct diamond is not simply double the price of a 1ct diamond.
0.5CT
0.5 carat
1.0CT
1 carat
1.5CT
1.5 carat
2.0CT
2 carat
3.0CT
3 carat
4.0CT
4 carat
5.0CT
5 carat
6.0CT
6 carat
(Diagrams not to precise scale)
0.5CT
0.5 carat
1.0CT
1 carat
1.5CT
1.5 carat
2.0CT
2 carat
3.0CT
3 carat
4.0CT
4 carat
5.0CT
5 carat
6.0CT
6 carat
(Diagrams not to precise scale)
Today, this C is often the first thing someone asks about but it is worth remembering that not all diamonds that
weigh the same will look the same size to
the eye because it will depend on the cut of the stone and particularly its depth.
With regards to the impact of weight on price then the price per carat will obviously rise as the carat weight
increase.
However, it must be noted that as larger diamonds are rarer than smaller ones the price does not rise evenly,
for example a 2ct diamond is not simply double the price of a 1ct diamond.
Colour
Perhaps a little confusingly, the colour of a white diamond is actually judged by its
lack of colour. The vast majority of diamonds have a slight hint of yellow to
them, some more noticeable than others. The less of this yellow tint a diamond has, the
whiter and rarer it is. Diamonds are colour graded using an alphabetical
scale starting at D (pure white) moving sequentially down the alphabet to Z (light
yellow). It is the presence of nitrogen within a diamond that causes the yellowish
tint, the more nitrogen, the more yellow the diamond will appear.
In terms of how this affects price, essentially, the whiter the diamond and higher the
colour grade the greater the value of the diamond. However, it is important to
remember that a lower colour grade does not equate to a lower quality, the grade is a
measure of rarity, the whiter stones are simply rarer and therefore command
higher prices.
The chart below shows the colour grading scale used by the GIA, the Gemmological
Institute of America.
D
Exceptional White +
E
Exceptional White
F
Rare White +
Colourless
G
Rare White
H
White
I
Slightly Tinted
J
Slightly Tinted White
Near Colourless
(Diagrams not to precise scale)
D
Exceptional White +
E
Exceptional White
F
Rare White +
Colourless
G
Rare White
H
White
I
Slightly Tinted
J
Slightly Tinted White
Near Colourless
(Diagrams not to precise scale)
In terms of how this affects price, essentially, the whiter the diamond and higher the colour grade the greater
the value of the diamond. However, it is important to
remember that a lower colour grade does not equate to a lower quality, the grade is a measure of rarity, the
whiter stones are simply rarer and therefore command
higher prices.
The chart below shows the colour grading scale used by the GIA, the Gemmological Institute of America.
Clarity
The term clarity refers to the presence of small inclusions inside the diamond or
blemishes on its surface. These are a natural part of the diamond and include
features such as tiny crystals and feathers. For the most part these formed with the
diamond billions of years ago during its creation deep in the earth’s mantle
under intense heat and pressure. The clarity grading scale ranges from ‘Flawless’ down
to ‘Included’. Determining a clarity grade depends on several considerations
such as how many inclusions a diamond has, how big they are, what sort they are and what
position they are in i.e. right in the centre of the stone or over at the
edge.
All these factors are taken into account and a judgement is made as to how detrimental
they are to the overall appearance of the diamond. It is worth remembering
that, unlike colour grading, clarity grading is done under 10x magnification with a
microscope so any inclusion in a diamond will be far less noticeable to the naked
eye than it is to the diamond grader. Ultimately the cleaner the diamond, the fewer the
inclusions and less impact they have – the better the clarity grade will be.
The table below shows the grading system used by the GIA.
FL
Flawless
No inclusions or blemishes of any sort are visable to a skilled diamond
grader using 10x magnification.
IF
Internally Flawless
No inclusions and only blemishes are visable to a skilled diamond grader
using 10x magnification.
VVS
Very Very Slightly Included
Inclusions are difficult for a skilled diamond grader to see using 10x
magnification.
VS
Very Slightly Included
Inclusions are noticeable to a skilled diamond grader to see using 10x
magnification.
SI
Slightly Included
Slight inclusions are noticeable to a skilled grader using 10x magnification.
(Diagrams not to precise scale)
FL
Flawless
No inclusions or blemishes of any sort are visable to a skilled diamond grader using 10x
magnification.
IF
Internally Flawless
No inclusions and only blemishes are visable to a skilled diamond grader using 10x
magnification.
VVS
Very Very Slightly Included
Inclusions are difficult for a skilled diamond grader to see using 10x magnification.
VS
Very Slightly Included
Inclusions are noticeable to a skilled diamond grader to see using 10x magnification.
SI
Slightly Included
Slight inclusions are noticeable to a skilled grader using 10x magnification.
(Diagrams not to precise scale)
All these factors are taken into account and a judgement is made as to how detrimental they are to the overall
appearance of the diamond. It is worth remembering
that, unlike colour grading, clarity grading is done under 10x magnification with a microscope so any inclusion
in a diamond will be far less noticeable to the naked
eye than it is to the diamond grader. Ultimately the cleaner the diamond, the fewer the inclusions and less
impact they have – the better the clarity grade will be.
The table below shows the grading system used by the GIA.
Cut
The term cut is often used to refer to a diamond’s overall shape or style of faceting
but when it comes to diamond grading, what matters is the quality of the cut
rather than its style. We are looking to judge the particular sizes and angles of the
facets (the flat faces polished onto a gem) and their relationship to each other
because it is this, more than anything else, that will dictate the life, sparkle and
overall beauty of a diamond.
The proportions of a diamond affect the way it interacts with the light that enters it,
determining how much of that light is returned to the viewer. A poorly cut
diamond will allow light to leak out of the back and will look dull in comparison to a
well cut one that will return the most amount light and therefore look bright
and sparkling. There are several factors that a GIA diamond grader will assess before
assigning a cut grade. The three below have the most impact on the overall
appearance of the diamond to the naked eye when viewed face up, ie through the table.
1. Brilliance: This refers to the reflection of white light from both the surface and
the inside of a diamond.
2. Fire: This is the term we give to the coloured flashes you see in a diamond resulting
from the splitting up of white light into its spectral colours.
3. Scintillation: This is the sparkle a diamond displays, the pattern of light and dark
flashes caused by reflections of light as a diamond is moved. Other
considerations include symmetry and the quality of the polish which impacts how well the
light reflects off the surface of the diamond.
(Diagrams not to precise scale)
(Diagrams not to precise scale)
1. Brilliance: This refers to the reflection of white light from both the surface and the inside of a diamond.
2. Fire: This is the term we give to the coloured flashes you see in a diamond resulting from the splitting up
of white light into its spectral colours.
3. Scintillation: This is the sparkle a diamond displays, the pattern of light and dark flashes caused by
reflections of light as a diamond is moved. Other
considerations include symmetry and the quality of the polish which impacts how well the light reflects off the
surface of the diamond.
The Silent 5th C! Certificate
For diamonds, the only laboratory we trust for certificates is the GIA (Gemological
Institute of America) so you will find all our diamonds over 0.75cts come with a GIA
certificate as standard. This means that you don’t just have to take our word on the
quality of the stone you are looking at, you have an independent expert opinion in black
and white that will be yours to take away with you at point of purchase. This will
confirm the colour, clarity, carat weight and cut grade of the diamond, features known
as the 4 C’s. If you are unfamiliar with these characteristics, we have explained them
all here (Henry – can this be a hyperlink to the 4C’s info page) along with how they
impact value but not necessarily beauty.
Old European Brilliant Cut
The old European brilliant cut is the forefather of today’s modern round brilliant cut diamond.
It was developed towards the end of the 19th Century when new machinery was invented, in particular the motor-driven saw, which allowed diamonds to be cut in attractive, symmetrical round shapes without wasting the excess rough crystal that was cut off.
This revolutionised the industry and gradually, through a process of trial and error, cutters discovered which proportions produced the finest balance of brilliance and fire within these new round stones.
Diamonds were now able to dazzle even in the dimly candle-lit rooms of the turn of the century.
Along with their characteristic polished culet facet, finely cut old European brilliants can be distinguished from their modern counterparts by their higher crowns and smaller table facets.
These features combine to create a greater amount of fire (the coloured flashes of light you see in a diamond) from inside the stone than we typically see in modern cut diamonds.
During the 1900s and 1910s the profile of these old European cut stones slowly starts to flatten out and later stones lose the depth of the older stones.
This revolutionised the industry and gradually, through a process of trial and error, cutters discovered which proportions produced the finest balance of brilliance and fire within these new round stones.
Diamonds were now able to dazzle even in the dimly candle-lit rooms of the turn of the century.
Along with their characteristic polished culet facet, finely cut old European brilliants can be distinguished from their modern counterparts by their higher crowns and smaller table facets.
These features combine to create a greater amount of fire (the coloured flashes of light you see in a diamond) from inside the stone than we typically see in modern cut diamonds.
During the 1900s and 1910s the profile of these old European cut stones slowly starts to flatten out and later stones lose the depth of the older stones.
This revolutionised the industry and gradually, through a process of trial and error, cutters discovered which proportions produced the finest balance of brilliance and fire within these new round stones.
Diamonds were now able to dazzle even in the dimly candle-lit rooms of the turn of the century.
Along with their characteristic polished culet facet, finely cut old European brilliants can be distinguished from their modern counterparts by their higher crowns and smaller table facets.
These features combine to create a greater amount of fire (the coloured flashes of light you see in a diamond) from inside the stone than we typically see in modern cut diamonds.
During the 1900s and 1910s the profile of these old European cut stones slowly starts to flatten out and later stones lose the depth of the older stones.
Old Mine Brilliant Cut
Old mine brilliant cut diamonds are sometimes referred to as old miners or OMBs and are either square or rectangular diamonds with obviously rounded corners and sides.
This softened profile is called a cushion shape as the convex edges and curved corners are said to resemble an actual cushion.
The style developed during the 18th century after the discovery of diamonds in Brazil in about 1725.
This facilitated experiments in cutting due to the large increase in available stones.
Eager as ever to retain as much weight as possible, cutters still followed the overall shape of the rough crystals but now corners became more rounded and the number of facets were increased.
The profile proportions of the stones also echoed the rough with the crowns being relatively high and the top table facet generally fairly small.
Another typical feature of these stones is the point at the bottom of the stone, known as the culet, which was polished flat.
The discovery of diamonds in South Africa during the late 1860’s coincided with revolutionised mechanical cutting methods.
This saw the fashion for new circular cut diamonds begin to replace these cushion shaped stones which then became known as ‘old mine’ diamonds.
Today the name ‘old mine brilliant’ still describes a cushion shaped diamond with a small table facet, high crown and polished culet.
These features enable old mine cuts to display a huge amount of fire (the coloured flashes of light you see in a diamond) and life.
The style developed during the 18th century after the discovery of diamonds in Brazil in about 1725.
This facilitated experiments in cutting due to the large increase in available stones.
Eager as ever to retain as much weight as possible, cutters still followed the overall shape of the rough crystals but now corners became more rounded and the number of facets were increased.
The profile proportions of the stones also echoed the rough with the crowns being relatively high and the top table facet generally fairly small.
Another typical feature of these stones is the point at the bottom of the stone, known as the culet, which was polished flat.
The discovery of diamonds in South Africa during the late 1860’s coincided with revolutionised mechanical cutting methods.
This saw the fashion for new circular cut diamonds begin to replace these cushion shaped stones which then became known as ‘old mine’ diamonds.
Today the name ‘old mine brilliant’ still describes a cushion shaped diamond with a small table facet, high crown and polished culet.
These features enable old mine cuts to display a huge amount of fire (the coloured flashes of light you see in a diamond) and life.
The style developed during the 18th century after the discovery of diamonds in Brazil in about 1725.
This facilitated experiments in cutting due to the large increase in available stones.
Eager as ever to retain as much weight as possible, cutters still followed the overall shape of the rough crystals but now corners became more rounded and the number of facets were increased.
The profile proportions of the stones also echoed the rough with the crowns being relatively high and the top table facet generally fairly small.
Another typical feature of these stones is the point at the bottom of the stone, known as the culet, which was polished flat.
The discovery of diamonds in South Africa during the late 1860’s coincided with revolutionised mechanical cutting methods.
This saw the fashion for new circular cut diamonds begin to replace these cushion shaped stones which then became known as ‘old mine’ diamonds.
Today the name ‘old mine brilliant’ still describes a cushion shaped diamond with a small table facet, high crown and polished culet.
These features enable old mine cuts to display a huge amount of fire (the coloured flashes of light you see in a diamond) and life.
About The Maker
Hancocks
Within the archives of the London jewellers Hancocks, there exists the most extraordinary book. Large, heavy and showing distinct signs of age it is filled with page after page of diary entries documenting almost one hundred and twenty years of not only company history but social history as well.
