[Jewelry making - Article 00181] - [Orchid] Goldsmithing Research Question from a Fiction Writer

[Jack Ogden]

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    First of all there is no problem having a large 'real gold' fake -
    I've seen many fake gold objects over the years some weighing many
    many kilos - including a complete set of 'Antique Russian' gold
    tableware (I mean candlesticks and plates etc, not just knives and
    forks) 

    There are dozens of ways in which techniques can identify fakes,
    running from analyses (such as cadmium in solders - patented in 1860s
    and rare before c 1900) to casting, forming etc processes. If you
    were dealing with a fake of a far older object then there are all
    sorts of 'clues' - for example: filigree embellishments using drawn
    wires (not pre circa 8th century - except possibly Korea, but that is
    another story...), characteristic marks left by files, fine saws,
    engraving tools and so on. Then, of course, there are the minute
    changes to surface and internal structure resulting from age (don't
    want to be too specific about these) and finally the research in St
    Petersburg into ageing gold by the gradual change in uranium:helium
    ratios over time (very new, of uncertain potential, hellishly
    expensive to do, but, hey, who knows.) 

    However if it is a fake of a 60 year old object then there are fewer
    options. There are some modern alloy additions that might show it
    up, but the most obvious thing for a solid gold statue might be
    tell-tail signs of lost wax casting via a silicon rubber mold. This
    is a bit borderline for 60 years ago, since the technique was
    patented in 1933 (72 years ago), but it was very rarely used prior to
    after World War 2 (ie dead on 60 years ago)- so depends where the
    fake was made. It's the best simple solution I can offer - a
    specialist should spot the signs with just a hand lens (though it is
    weird how many jewellers fail to spot these clues on supposed
    'Victorian' jewellery) 

    There will be more information on all this stuff in due course as a
    result of the research we are doing here in the London Gem Lab
    (oldest established gem lab in the world) that has now extended its
    remit to look at the other components of jewellery and decorative
    objects and develop a clearer idea of the development of jewellery
    materials and techniques. 

Regards to all
 
Jack Ogden
(CEO Gemmological Association of GB)

 
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