What you see: The Mirror of Paradise, a 52.58-carat Golconda diamond set in a ring. Christie’s estimates it at $7 million to $10 million.
The expert: Daphne Lingon, head of jewelry for Christie’s Americas.
First, could you explain what Golconda is–is it a city? A region? A mine? It’s a district. You could say, in more general terms, it’s an area. It’s near Hyderabad, in south India. Of areas that produce diamonds, it is by far the most famous.
Has anyone done a survey or a census of known Golconda diamonds? I imagine that would be difficult, given that people cut and reshape diamonds… Mining began in 400 B.C.E., and went on for 2,000 years. It’s impossible to know the number of stones, and they can be cut and refashioned. There’s no way to track it.
When did Golconda stop yielding diamonds? About 1725.
What is it about Golconda diamonds that give them their famous limpid quality? Has anyone studied the geography or the chemistry? It’s because of the lack of nitrogen in them. It gives them a unique purity. Nitrogren impedes the transmission of light. Their lack of nitrogen allows them to transmit light in an unimpeded way.
What do we know about the provenance of the Mirror of Paradise? Do we know when it came out of the ground, and how big the rough stone was? No, but we can assume, given that it’s 52 carats, the rough was over 100 carats. But there’s no way for us to know.
The Mirror of Paradise has a rectangular cut. Is it possible to know if that is its original cut? Also, how does the rectangular cut enhance the stone? The rough would have dictated what shape it is. You can find Golcondas in all shapes. The cut of the Mirror of Paradise is so spectacular. It gives it a brilliance you don’t often find in an emerald cut.
Do we know when and how it was placed in a ring, and do we know who designed the ring? We don’t know, unfortunately. It’s how it came to us from the client.
Christie’s New York sold the Mirror of Paradise two times previously, in 1988 and 2013. Was it in the ring setting for both sales? It was in the same mounting the last two times it was sold at Christie’s.
When was the last time a Golconda weighing 50-plus carats came to auction? We sold the 76.02-carat Archduke Joseph diamond in November 2012 in Geneva for CHF 20,355,000 [About $21.4 million. The sale also represents a world auction record for a colorless Golconda diamond.]
So, six years ago. Is it fair to say that Golcondas of 50 carats or more tend to pop up every six to ten years? You never know when they’re going to come up, but I would say that.
How does the market for Golconda diamonds compare to the market for white diamonds generally? This is a very specific subset of a larger market. It’s always highly sought-after by collectors and connoisseurs who are looking for unique and special stones. Certainly among clients there is a premium, and a general interest.
How did the Mirror of Paradise perform when it sold at Christie’s New York in 1988 and 2013, and what does that say about the market? In 1988, it sold for $7.48 million. In 2013, it sold for $10.9 million. The sales show a steady increase for Golcondas.
Have you worn the ring? Yes.
What was that like? [Laughs] It was a bit breathtaking to try it on. It’s an exceptional stone. One of the perks, or requirements, of the job is actually trying jewelry on, because a lot of clients aren’t able to see it in person. Being able to handle and interact with the pieces gives a better sense of what they’re like. They’re not just objects–they’re worn.
How does the Mirror of Paradise compare to other Golcondas in the same sale? We don’t have anything else quite like this [in the auction]. It’s so incredible–the breadth of what’s offered in the collection spans 500 years. I think this stone certainly stands on its own.
What is it like in person? We have photographers that are trained only in jewelry photography, but seeing it in person is different. A camera never fully captures the essence of a stone–the size, the luster, the luminosity–you need to see it in person to fully grasp the presence of it.
Text is copyright Sheila Gibson Stoodley. Image is courtesy of Christie’s.
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