Today I bought some gemstones (citrine, amethyst, peridot, lemon
quart and garnet to be exact) that are rose cut. (gem show) I looked
through the archives and there is no discussion on how to set them.
Do they require a prong setting on a flat base or do I set them like
cabochons? Also they are fairly light so I’m thinking on not cutting
out the back. Skin showing through is not enhancing. I think that the
silver would make them look better.
First of all, remember that Rose Cut stones/diamonds have no or any
reflective facets underneath (no pavilion) and are almost as flat as
paper. Also as you are looking at them from above, they are not
spherical, and seem to have corners on them.
In the “ye olde days”, it took a setter about 3-4 hours to set an
eternity ring, (before burs and flex-machines). Those setters had to
set their Rose-Cuts in and on a silver strip. Which was then hand
soldered with a low temperature mouth-blow-pipe, fun eh? Not to
mention EACH hole had to be hand-cut to shape for each and every
stones’ irregular shape. That hand cutting tool is called a “Bull
Stick”, I have one just for display and I also have a Pump-drill that
was used prior to the flex-machine, circa 1940’s.
For you, and enough of this back-ground history, shy away from
bead-setting, for these stones are very fragile in nature. I would
stick to the simplest and rudimentary 4 claw setting. I would also
hesitate using cab-settings, why? Too much pressure in forming the
gold OVER the stone. If you must, then use a fine gauge wall to just
hold the stone, and hand-press the gold with a Brass or Copper hand
pushing tool just for these very delicate items. DON’T USE A STEEL
PUSHER!!! If you wish to use a 4 claw setting, try and shy away
from heavy, or thick claws.
What ever the setting you select, remember they have no 'substance’
underneath and your skin WILL DEFINATELY be seen.
The traditional way Rose cuts where set in pieces was to have a
closed back and then bead set and bright cut.
Try to look at some Antique jewelry with Rose cuts in them for
ideas. Instead of looking at Diamond set pieces you may want to look
at some Victorian Garnet jewelry.
Notes on the “antique look” and how it was accomplished. In those
olde days many of those Rose-cut diamonds were Pre-Set. That is, all
of the bright-cutting was done PRIOR to the insertion of the stones
into the metal. The setter did all of the much detailed
bright-cutting and ornamental filigre cutting IN SILVER long before
he even thought of setting one solitary diamond. At many times he
even used his Milgrain tool number #4 or #6+ to enhance the antique
look. Then after all of his bright-cutting was work was finished, he
would very carefully set each stone and slowly push over the “ready
made beads” and secure the stones. As EACH stone was drilled and
prepared for EACH hole, he would place each stone on bee’ wax and
keep that stone available for after his bright-cutting
stage…TEDIUM? After this stage was completed he would oxidize the
finished silver, why? Glad you asked, he wanted to distinguish the
very ‘transparent’ diamond to the silver plate on the item being
manufactured. My goodness, how designs have changed!..
I attach two photos showing my trial with 18karat-gold besel
surrounding approx. 0.2ct rosecut diamond, and other two photos
showing a part of an antique silver-diamond pendant-top. In my trial,
I put a jump-ring underneath the stone to match the hights.
Many rosecut stones we find in antique jewellery are very thin, and
look embedded in the metal completely - wonder how they archive such
elegant setting??
Certainly my settings need more poloshing/training, but anyway just
a thought…
Rose cut stones are beautiful and if you set them over silver you
may want to high polish it and coat it with clear lacquer to keep it
from tarnishing under the stone.
you can set them with either prongs or in a bezel and they will look
great. I have a pair of rose cut diamonds that I bezel set with open
backs in dangle earrings.
I agree with you - skin showing through is not as attractive. The
rings I have set rose cuts into have had prongs in a basket style
head. (or you might call it a step bezel with prongs) I build a bit
of space in the head then set a high polished white or gold plate,
depending on the body color of the gemstone, in the back behind the
rose cut.
This is sort of my modern version of the early Victorian foil-back. I
leave a bit of space for cleaning. Rose cuts are such an open cut
that dirt will quickly detract from their sparkle.
This might be fun, roll-print a texture and experiment with it
showing through the facets.
Having read Lisa’s post, I looked for and found the "rose cut"
stones she bought at the show here in town.
These stones are not the traditional rose cut, like diamonds. The
are at least as high as they are round. They have girdles probably 1
mm thick. So, Lisa, I will set them only in bezel settings, and they
will needto have the bezel a little taller than the girdle. If you
were to try prong setting them, I think a six prong setting would
work best, but I don’t know if it would look good. Another thing I
noticed is that they used two different cutting patterns On one stone
the top has three facets, on the other pattern I think there are six.
Today I bought some gemstones (citrine, amethyst, peridot, lemon
quart and garnet to be exact) that are rose cut. (gem show) I
looked through the archives and there is no discussion on how to
set them
First thanks for the history to Gerald. The setters from the past
have my admiration for doing a difficult job to do, and with not much
support.
I’ve personally set rose cut diamonds in antique pieces, the setters
of the past did some great work. I’ve also been given stones to set
in modern reproductions and contemporary pieces of Jewellery.
My solution was to bead set the stone in white gold with half pearl
drills and inverted cone buts to widen the seats for irregular shaped
stones. A lot of the stones I set were not round but more triangular
shaped sort of. I would do all the bright cutting after making the
seats without the stones in place the do the actual setting last.
These stones are fragile but no more so than emeralds. Hand pressure
is a difficult thing to describe and you only get to know how much
with practice. If you can practice on glass it has a similar breaking
point. Carefully break a bottle, and you’ll find something to set in
the pieces. When you hear a crunch, you gone to far.
Good luck,
Jim
Jim Zimmerman
Alpine Custom Jewellers & Repair