POPUP PAINTING & EVENTS LTD

ABOUT POPUP PAINTING & EVENTS LTD

Christian Klein from diamond cutter Ph. Hahn confirms the importance of this issue. “Many competitors offer diamonds over the internet complete with an expert assessment but they are classed incorrectly or are not graded strictly enough to keep prices low. There is no clear distinction between different qualities and so lower value items are included in batches.” “Unidentified etic stones from the Far East can also be included”. That’s why each individual stone is checked at Ph. Hahn Söhne.

The same is true of rubies where the highly valuable stones come from Myanmar (Burma). The treatment of gemstones has a significant influence on their value. It is standard commercial practice for sapphires and rubies to be heat-treated. This process does not have to be declared. However, if stones are subjected to a colouring process (e.g. diffusion or lead glass filling), this significantly reduces the value and the customer should be made aware of this. Trust is a key issue here. If purchasing from a long-standing dealer or stone-cutter in Idar-Oberstein, the customer can assume that the products received are of impeccable quality, even without an expert report.

“The coloured gemstone business is about trust above all else,” Nicole Ripp from Groh + Ripp confirms. “The market is characterised by asymmetries in terms of its offers and information. We focus on absolute transparency. Customers should know exactly what they are getting”.

Following on from the success of her inaugural solo exhibition ‘Intimate’ which toured to Velvet da Vinci (San Francisco), Atta Gallery (Bangkok) and Contemporary Applied Arts (London), we are delighted

Following on from the success of her inaugural solo exhibition ‘Intimate’ which toured to Velvet da Vinci (San Francisco), Atta Gallery (Bangkok) and Contemporary Applied Arts (London), we are delighted to host a new collection of works titled ‘Rationed’ by internationally-renowned jewellery artist, Jo Pond.

Domestic bakeware, biscuit and medicine tins serve as visual references for the feminine domestic role of the wartime wife and mother. Leather from old wallets and worn bone tokens reference ‘worth’ in the pre-decimal sense. Materials which no longer hold value beyond their collectability are re-framed to provide the narrative: they become objects with which to tell the stories of wartime women.