Publish Year: - Title: QVC Host Earns GG, Shares Gem Expertise on National Television Abstract: Nancy Hornback, left, on the air with guest jewelry designer Carolyn Pollack. Photo © QVC

	Most gemologists are accustomed to fielding questions on the fly about gemstones, but not many do it under the bright lights and across the broad reach of live television.

	For Nancy Hornback, a popular program host at QVC who specializes in gems and jewelry segments, every day is a televised pop quiz in gem knowledge.

	“I am constantly approached by friends and work associates who have questions about gemstones, and I get a lot of interesting questions from viewers live on the air,” says Hornback, a GIA Graduate Gemologist who’s been with the network since 2009. “I get asked a wide variety of questions regarding gemstone properties, the colors, the durability, the history and folklore, and how to care for them.”

	Hornback invests hours of planning and research into every segment she hosts for QVC, a video and e-commerce retailer that reaches more than 100 million homes in the U.S. alone. During those programs, she’ll often chat with a special guest about the gemstone or jewelry design on air and invite viewers to call in with questions and personal stories.

	“I love being able to provide education to others about gemstones and enjoy fielding the wide variety of questions I get,” she says.

	She has to be ready for whatever comes her way, and since earning her diploma at GIA’s New York campus in 2014, the woman who says she was “born to perform” feels much more secure that she has the knowledge to back up her camera-ready presentation.

	“Having my GIA education gives me confidence,” she says. “I’m able to describe gemstones that come from the same family that display different properties, or other ‘nuggets’ of information to explain what makes the stones precious, or the different phenomena that occur within them.”

		I can’t stress enough how important it is to continue to educate yourself … Keep your knowledge fresh. If you are passionate about gems and jewelry – just go for it!

		Nancy Hornback

	Though Hornback’s GG credentials are recent, her love affair with gemstones goes back to her childhood in Indianapolis. Her family, avid campers in the woods and creeks around southern Indiana, also made annual ski trips to Colorado. Gemstones often figured into their outdoorsy vacations.

	“I remember being fascinated to discover geodes and being delighted by the mysterious colors and designs formed by the crystallized minerals,” she says. “At first you think it’s just a drab rock, but when you crack it open, it bursts with colorful designs – just like magic! And as I grew, my fascination continued. I recall how romantic it was for my dad to give my mom a distinctive piece of gemstone jewelry for special occasions and milestones.”

	Hornback pursued a career in music, earning both a bachelor’s and master’s degree in music from Indiana University. She was singing at Opryland, studying to be an opera singer, appearing in off-Broadway productions – even starring as Belle in Walt Disney World’s production of “Beauty and the Beast” – when a diagnosis of vocal polyps confirmed that her professional musical ambitions would not be possible.

“I think that giving a gift of jewelry is so personal, especially when you give a piece that has meaning and explain the story behind why you picked it,” says Nancy Hornback, who still has the first turquoise piece her parents gave her. “It’s memorable when someone says something as simple as, ‘The color of this topaz reminds me of your eyes.’ Every time you wear the piece, you remember its significance and the person who gave it to you.” Photo ©QVC

	Her next role, though not musical, would prove to be a breakout: offered a position at televised retailer Gems TV, Hornback soon found herself presenting 60 gems a day, from the ubiquitous to the very rare. She was completely immersed in the world of gemology. Wanting to learn more, Hornback enrolled in the Accredited Jewelry Professional program through GIA’s Distance Education.

	“It gave me so much confidence in my work, but never in my wildest dreams did I think I would pursue the graduate gemology diploma,” she says.

	That all changed one night in 2012, when Hornback – who had since moved to QVC – had a special on-air guest who would give her the courage to jump in.

	“I hosted a special QVC show that featured jewelry inspired by the 10,000 gems and 350,000 minerals in the Smithsonian National Museum of Natural History’s National Gem Collection,” Hornback says. “My guest was gemologist Christine Webb, a veteran of the gems and minerals department in the museum. After the show, we chatted and I told her how I admired her knowledge and expressed my desire to dig deeper and learn more about gemstones. She urged me to study to earn a GG. She told me she had complete faith in me and knew I could do it.”

	Inspired by Webb’s encouragement, Hornback went home, opened her computer at 3 a.m. and started researching her options. Initially concerned about how she could fit studies into a hectic career and family schedule, she realized that with the exception of three lab classes – which she could take on campus in New York – everything could be done at home.

	“I got started immediately,” Hornback says. “I loved taking the deep dive to learn about gemstones, the jewelry design industry, and how the mining operations began. I was fascinated to learn how gems were formed, and the trace elements that make them exhibit certain colors and properties. It was such fun … and learning how to distinguish synthetic gemstones from authentic ones made me realize how critical it is to insist on high ethical standards in our industry.”

	Hornback, who cites instructors like Richard Greene as being a great source of knowledge and experience, believes that GIA’s education options make it possible for anyone to balance their studies with work and family.

	“I can’t stress enough how important it is to continue to educate yourself … Keep your knowledge fresh,” she says. “You can accomplish your studies within your own timeframe. Stay focused, and move through your classes consistently. If you are passionate about gems and jewelry – just go for it!” @topic:11


Publish Year: - Title: GIA Field Gemologists Seek Gems in Luc Yen, Vietnam Abstract: Hunting for Gems in Vietnam

	Join the hunt for Vietnam’s ruby, sapphire, and spinel with GIA field gemologists.

	In this video, you’ll venture into Vietnam’s gem-rich interior and, along with GIA Field Gemologist Vincent Pardieu and his team, climb Luc Yen’s treacherous limestone mountains in search of the region’s gems. You’ll also visit the bustling gem markets of Luc Yen town and skim the waters off Ha Long Bay to visit an akoya pearl farm.

	Pardieu points out that the annual expedition to Vietnam isn’t just a good occasion to collect new reference samples and witness mining and trading activity. It also serves to train and evaluate young gemologists hoping to join the Bangkok GIA Field Gemology department.

	Luc Yen is a mountainous district located in the north of Vietnam’s Yen Bai province. It’s approximately 155 miles (250 km) northwest of Vietnam’s capital city, Hanoi, about a 4- to 5-hour journey by road.

	Its main city, Yen The, is also known as Luc Yen. Once a sleepy provincial area, Luc Yen was the scene of a rich discovery of ruby, sapphire, and spinel in 1987. Yen The is still Vietnam’s premier gem trading district, although the activity is much reduced since the heady days of the 1980s and 1990s.

	Luc Yen is an area of rugged beauty—steep, almost conical limestone mountains rise out of lush, fertile plains. This is karst topography, formed when rainfall dissolved soluble rocks like limestone and created underground drainage systems with sinkholes and caves. These features—combined with the hot climate and abundant vegetation—make it exhausting for the GIA team to reach the mines, where miners recover ruby, sapphire, and spinel from primary and secondary deposits using small-scale artisanal methods. At one point, the high temperatures and humidity force the team to seek shelter: “It’s just superhot…people are not working…” Pardieu explains.

	Some of the rubies from that 1987 discovery rival those from Mogok, Myanmar. “The stones that were mined 20 years ago are still in the trade,” says Pardieu, “and they may come to the laboratory one of these days, so it is important for us at GIA to come here and collect samples from small-scale miners and to study them…so we’ll be able to identify the stones that were mined today, in the future, or in the past.”

	The GIA team also visited the valleys beneath the karsts where local farmers mine gem-quality red, pink, purple, and blue spinel from placers along the streams and from alluvial deposits.

	You’ll also join the GIA team as they explore the gem markets of Yen The. As Pardieu says, “That’s usually the first step when I come in an area. We go to the merchants in order to have an idea of what is available.” This includes a visit to the skilled artisans who create Vietnam’s remarkable gemstone paintings. They use tiny stones in a variety of colors to create intricate scenes modeled after Vietnamese artworks.

	Finally, the team makes the journey to Ha Long Bay. It’s about six hours east of Yen The, a drive of about 224 miles (360 km). This is the heart of Vietnam’s pearl-culturing area.

	This GIA Field Expedition (FE54) took place in June 2014. Besides Pardieu, the participants were cameramen Didier Gruel and Philippe Brunot and expedition members Victoria Raynaud, Stanislas Detroyat, and Marie Daufresne. @topic:9


Publish Year: 2005 Title: Inclusions in Transparent Gem Rhodonite from Broken Hill, New South Wales, Australia Abstract: Solid, vapor, and fluid inclusions in transparent gem rhodonite crystals from Broken Hill, New South Wales, Australia, have been identified for the first time using Raman spectroscopy and gemological/petrographic techniques. Among the solid inclusions are sphalerite, galena, quartz, and fluorite. The rhodonite also contained hollow needle-like tubes and negative rhodonite crystals. Three-phase inclusions were found to contain a saline liquid, a gaseous mixture of nitrogen (N2) and methane (CH4), and ilmenite crystals. @topic:1


Publish Year: 2009 Title: Gem-Quality Yellow-Green Haüyne from Oldoinyo Lengai Volcano, Northern Tanzania Abstract: Yellow-green to green-yellow gem-quality haüyne was found for the first time in an alkaline plutonic rock from the active Oldoinyo Lengai volcano in northern Tanzania. The mineral has optical and physical properties that are typical for sodalite-group minerals. Infrared and Raman spectroscopy showed that in addition to the (SO4)2- group, the haüyne also contains (NO3)-, (CO3)2-, and water in its structure. SEM-EDS and EDXRF analyses confirmed the presence of Na, Ca, Al, and Si as major cations, with minor amounts of K. @topic:1


Publish Year: 1989 Title: Mildly Radioactive Rhinestones and Synthetic Spinel-And-Glass Triplets Abstract: Low levels of radioactivity were found in some greenish yellow to yellow-green (peridot-like) synthetic spinel-and-glass triplets, mirror-backed glass rhinestone chatons, and fully fashioned glass rhinestones. Uranium was detected in the radioactive stones. Although individual stones in jewelry carry virtually no risk, it is recommended that parcels of such stones not be carried on one's person for prolonged periods. @topic:8


Publish Year: 1989 Title: Beryl Gem Nodules from the Bananal Mine, Minas Gerais, Brazil Abstract: Bicolored (aquamarine-morganite) beryl from a 1986 discovery at the Bananal mine is described. Most of the cutting material was of carving grade, but a small percentage of the crystals contained faceting-quality morganite gem nodules. This is the first published report of gem nodules of a species outside the tourmaline group. Much of the Bananal morganite is of a pleasing orange to pink-orange color that changes to pink on extended exposure to heat or sunlight. The inclusions in the nodules appear to be limited to muscovite crystals, while the rest of the material (both aquamarine and morganite) contains two- and three-phase inclusions, but little or no muscovite. The cause of the gem nodules is not established, but it may relate to the presence of the same type of variation in mosaic texture observed in some color-zoned tourmaline crystals. @topic:1


Publish Year: 1985 Title: Gem Pegmatites of Minas Gerais, Brazil: The Tourmalines of the Governador Valadares District Abstract: The previous article in this series focused on tourmaline production around the city of Araçuaí, in northeastern Minas Gerais, and discussed 20 important mines in that area. The present article turns to the major tourmaline mines in southeast Minas Gerais, in the broad area surrounding the gemstone capital, Governador Valadares. Specifically, the Cruzeiro, Golconda, Santa Rosa, and Jonas mines — all of which count among the most famous tourmaline mines in the world — are described. @topic:9


Publish Year: 1985 Title: Gem Pegmatites of Minas Gerais, Brazil: The Tourmalines of the Araçuaí Districts Abstract: The first article in this series discussed the history of gem mining in Minas Gerais from the colonial period to the present, the nature of granitic pegmatites and derived deposits yielding gemstones, and the important deposits of aquamarine and other gem beryls. The present article describes the major tourmaline deposits in the Araçuaí-Itinga and Araçuaí-Salinas districts of Minas Gerais, focusing on the Virgem da Lapa mines, the Salinas mine, and the Ouro Fino mine. Some of the finest green, blue, red and multicolored tourmalines ever produced originated from these mines. @topic:9


Publish Year: 2012 Title: Precision Measurement of Inter-Facet Angles on Faceted Gems Using a Goniometer Abstract: A classic two-circle reflecting goniometer was used to measure inter-facet angles on five faceted diamonds that included round brilliants and fancy shapes. The instrument provided significantly better precision (to within 2 minutes, or 0.034°) than the non-contact optical scanner that is customarily used at GIA for this purpose. With some procedural modifications, the goniometer could make measurements of all inter-facet angles, including the pavilion facets. The technique is potentially valuable for producing a well characterized set of reference stones for calibrating non-contact optical scanners. @topic:8


Publish Year: 1984 Title: Gem-Quality Red Beryl from the Wah Wah Mountains, Utah Abstract: A detailed investigation of the gem-quality red beryl from the southern Wah Wah Mountains, Utah, has confirmed the unique mineralogical and gemological character of this material. At the Violet Claims, red beryl is found associated with minor bixbyite in a volcanic rhyolite host rock. Analytical data gathered on the red beryl indicate relatively high contents of the minor or trace elements Mn, Ti, Zn, Sn, Li, Nb, Sc, Zr, Ga, Cs, Rb, B, and Pb, which are generally low or absent in other gem beryls. Measured refractive indices (1.564-1.574), specific gravity (2.66 -2.70), and unit-cell parameters (a= 9.222 Aº, c= 9.186 Aº) of the red beryl are distinct from most other beryls. The red beryl is thought to have crystallized along fractures, in cavities, or within the host rhyolite from a high-temperature gas or vapor phase released during the latter stages of cooling and crystallization of the rhyolite magma. @topic:1


Publish Year: 1984 Title: Gem Pegmatites of Minas Gerais, Brazil: Exploration, Occurrence, and Aquamarine Deposits Abstract: The northeastern portion of the state of Minas Gerais, Brazil, contains the world's greatest concentration of complex granitic pegmatites, which are especially noted for the production of gem beryl, chrysoberyl, topaz, tourmaline, and kunzite. Pegmatite gemstones were first found in this region over 400 years ago; in the last 100 years, Brazil has supplied most of the world market for these five gemstones. As the first of a series of articles on this region and these gem materials, this article reviews the early exploration for gemstones, their occurrence, and the mining methods and miners responsible for the development of the deposits. Focus is then given to some of the major deposits of aquamarine and other beryls, especially in the Teofilo Otoni-Marambaia and Jequitinhonha River valley districts. @topic:9


Publish Year: - Title: Sapphire Series Part 4: Gem Synthetic Sapphire and Diffusion-Treated Synthetics Abstract: The previous article in this series discussed advances in sapphire crystal growth technology in response to the needs of industrial applications. But what does this mean for the gem segment of the synthetic sapphire industry?

The answer is complex. The industrial sapphire market has changed the landscape of the gem synthetic sapphire market, in that production has shifted to new locations, particularly Asia. Meanwhile, associated input costs such as raw materials, equipment, and other consumables have been affected both positively and negatively. The synthetic gem industry has grown, as more consumers seek affordable luxury.

Yet the industrial sapphire market dwarfs the gem segment. Over the past several decades, synthetic sapphire output has increased from fewer than 100 metric tons annually—when production centered on synthetic gems—to around 1,000 metric tons per year, thanks to the widespread adoption of technological applications. In response, dozens of new crystal growth operations have emerged around the globe, vastly increasing capacity. This means sustained demand is necessary to avoid dramatic price drops and market gluts.

While all colors of gem synthetic sapphire are possible, demand and production are focused on blue, orange, pink, and red. Rich, saturated blue hues are the hardest to create and therefore the priciest. Many producers who tried growing blue have exited the industry or switched to pink, red, or colorless.

	Figure 1. These Vernueil (flame-fusion) synthetic sapphires illustrate a wide variety of cuts and colors. Photo courtesy of Djeva.
Synthetic sapphire rough and cut gems grown by the Verneuil, Czochralski, hydrothermal, and flux techniques are readily available, as are diffusion-treated cut synthetic sapphires. Verneuil (flame-fusion) material can be grown in a matter of hours, and it is inexpensive and plentiful (figure 1). This material is often annealed for a day or two to relieve stress. It shows very distinct curved growth striations and strain and may require careful orientation if the color distribution is not uniform. Flame-fusion sapphire originated in Europe, but operations have emerged in Armenia and China. Some Verneuil facilities that began as gem crystal growth operations have partially or completely switched to high-purity colorless sapphire for industrial applications. This has resulted in fewer available gem synthetic sapphire colors.

Conversely, some Czochralski growth capacity traditionally focused on industrial applications has switched to gem sapphire growth, as equipment sometimes is liquidated for a fraction of the original cost.  The Czochralski technique is advantageous for growing gem synthetic sapphire in that these crystals are large—generally ranging from five to 20 kilograms—providing a large amount of highy uniform faceting rough. Czochralski synthetic sapphire (figure 2) takes days to weeks to grow. It has uniform quality and color but may exhibit color banding and round bubbles.

	Figure 2. These Czochralski-grown sapphires and rubies were produced by Union Carbide Corporation. Photos by Jennifer Stone-Sundberg.
Hydrothermal (figure 3) and flux materials are grown by processes that take months or even a year to produce, but these crystals exhibit very uniform color distribution, far less strain, and more natural-looking inclusions than synthetics grown by the other methods. There is a niche market for “luxury” synthetics such as solution-grown corundum, but it is much smaller than the demand for mass-produced flame-fusion material.

	Figure 3. This blue Tairus hydrothermal sapphire ring is accented by colorless synthetic sapphires. Photo courtesy of Tairus.
The retail pricing of synthetic gem corundum has remained relatively flat over the past couple of decades, even with increasing demand. There are now more producers, particularly in regions with lower operating costs. Just as crystal growth techniques vary widely, so does the retail pricing of faceted gem synthetic sapphires. These goods can range from $1 to $1,000 a carat. The blue synthetics are consistently more expensive in both rough and cut forms, and can be two to three times the price of the least expensive varieties, colorless and pink. Considering the vastly different crystal growth rates among the various techniques, it is not surprising that lengthier processes result in higher per-carat prices, limited supply, and a smaller market for their products. (Also, the price of the key raw ingredient, aluminum oxide, becomes less important.)

A survey of the marketplace revealed that most flame-fusion faceted synthetics retail for less than $5 per carat. Czochralski specimens cost an order of magnitude higher, and solution-grown material costs an additional order of magnitude higher—capping out at around $900 per carat. For each of these growth methods, rough material costs about one-tenth the price of faceted goods. Retail prices for diffusion-treated faceted synthetic sapphire are similar to those for flame-fusion material.

In comparison to the stagnant synthetic gem prices, the wholesale price of volume orders of high-purity white flame-fusion “crackle”—a key raw material used in high-tech sapphire growth—has fluctuated considerably over the past several years, reaching highs of $120 per kilogram (about 2.4 cents per carat) and lows of $40 per kilogram (about 0.8 cents per carat). Meanwhile, colorless rough has been selling to faceters in smaller quantities for approximately 10 cents per carat. Flame-fusion rough in various colors from Wuzhou, China, where hundreds of companies are active in the synthetic gem market, is available for 1−3 cents per carat.

	Figure 4. Top: This diffusion-treated blue synthetic sapphire shows the shallow depth
	of the treatment, confined to a surface layer. Bottom: Diffusion treatment is evident in the
	color concentrations along the girdle and facet junctions. From Robert E. Kane et al.,
	“The Identification of Blue Diffusion-Treated Sapphires,” Summer 1990 Gems & Gemology;
	photos by Shane F. McClure.
The similarities between the natural and synthetic sapphire markets extend beyond the parallels in quality range and pricing. Both natural and synthetic sapphire can be diffusion-treated to produce various effects and colors—in fact, colorless synthetic sapphire that has been diffusion-treated to induce a blue color is widely available (figure 4). Diffusion treatment of synthetic sapphire has been documented since the 1950s. As with natural sapphire, diffusion-treated synthetics are considerably less expensive than untreated specimens. Growth methods and treatments are not always disclosed, especially in less-expensive material. Nevertheless, diffusion-treated blue synthetic sapphire is easy to detect in an immersion cell filled with liquid of matching refractive index; the treated gems display color concentrations along facet junctions and the girdle, as shown in figure 4 (bottom) and figure 5 (top right). Diffusion-treated blue synthetic sapphire is inferior to grown blue sapphire in that the treatment is very shallow, eliminating the possibility of recutting. The treated goods may also be less transparent, as the thin diffused surface may exhibit noticeably different optical qualities from the bulk of the cut specimen. Fortunately, easy and inexpensive detection methods reduce the potential for confusion when purchasing a synthetic sapphire gem.

	Figure 5. The photo on the left shows (left to right) a diffusion-treated synthetic sapphire from JTV, a diffusion-treated synthetic sapphire from Gem Resources, a flame-fusion synthetic sapphire from Gem Resources, and a Czochralski synthetic sapphire from Union Carbide Corporation. Right: Viewed in immersion, diffusion-treated blue synthetic sapphires clearly show outlined girdles and facet junctions (top), unlike the as-grown blue stones (bottom). Photos by Jennifer Stone-Sundberg.
I believe we will see a dramatic increase in the production of diffusion-treated blue synthetic sapphire originating from colorless material—a trend that could bring down the price of higher-quality synthetic blue sapphire. This is reminiscent of the concerns over beryllium-diffused natural sapphire a decade ago, when the market was flooded with pinkish orange padparadscha sapphire. We could start seeing much more of this material in a range of colors, given the large volume of high-purity and very clean commodity-priced colorless sapphire being produced. In the future, I would like to see full disclosure of growth technique and treatment for all synthetic gems, as having such information is of value to the consumer. @topic:3


Publish Year: - Title: Conference Report: 2013 China Mineral & Gem Show in Changsha Abstract: On display at the China Mineral & Gem Show in Changsha was the "Empress of China," one of the world's largest rhodochrosite specimens. Photo by Tao Hsu.

                      The inaugural China Mineral & Gem Show (CMGS) took place in the Hunan city of Changsha May 16–20, immediately after the 15th International Colored Gemstone Association (ICA) Congress. This was the first international mineral and gem show in China’s history. With the vision of making this the “Asian Tucson show,” the Chinese government worked closely with the National Gem Testing Center (NGTC), ICA, and the Gemological Association of China (GAC) to attract more than 1,200 exhibitors from some 54 countries and more than 150,000 buyers and visitors.

The exhibition center was divided into several sections, with themes such as mineral specimens, fossils, museum procurement, the mineral resources of Hunan province, and gems and jewelry. Numerous mineral, fossil, and gemstone dealers brought their rarest collections to the show.

Wayne C. Leicht from Kristella and Crystal Classics debuted the largest known natural gold specimen, a 77 oz. piece found in California in 2012. Also on display was the “Empress of China,” discovered in Guangxi province in 2009, one of the world’s largest crystallized rhodochrosite specimens. The owner, Collector’s Edge Minerals, Inc., brought it back to China for a reunion with its companion piece, the “Emperor of China.” Numerous other Chinese and international mineral dealers presented their best-quality specimens, including tanzanite crystals, various colors of fluorite, calcite in exotic shapes, the world’s largest gypsum specimen, ruby in calcite, watermelon tourmaline, and aquamarine.

In a fossil pavilion covering more than 3,000 square meters, some 50 international dealers displayed their large specimens to professional buyers and the public, with the Chinese debut of the Archaeopteryx bird fossil as the hub. The exhibitors supplied extremely detailed descriptions of the important displays, which effectively connected three realms: the fossil market, science, and education.

	The Changsha show featured a large fossil pavilion. Photo by Tao Hsu.
In the gem and jewelry section, Cody Opal organized a special exhibition featuring more than 20 Australian dealers. One of their highlights was an 11,340.95 ct black opal, the world’s largest. Damien Cody showed the contributors one of the finest black opals from the collection. The piece had a very homogeneous black background with breathtaking play of color spanning the entire spectrum. Jadeite and nephrite dealers from mainland China, Taiwan, Hong Kong, and Myanmar exhibited goods of different qualities. Some of them showed these contributors how to evaluate the quality and value of Asia’s two most popular gems by looking at their color, transparency, and texture. Buyers and the public could even play the “gamble stone” game onsite. Overall, colored stone wholesalers and high-end retailers from mainland China showed their resolve to develop the Chinese colored stone industry.

The main show was accompanied by other events intended to spark interest in minerals and jewelry and Earth sciences in general. The theme of the CMGS International Summit Forum was “Mineral & Fossil and Scientific Civilization.” Government delegates and industry experts from the United Nations, China, Australia, Canada, South Africa, Brazil, Tanzania, the United States, and Sri Lanka joined this event. GIA’s distinguished research fellow, Dr. James Shigley, spoke about the institute’s mission, and educational and laboratory services.

Encouraged by the success of this inaugural show, the Hunan government plans to hold the second CMGS May 15–19, 2014. @topic:2


Publish Year: 2018 Title: Gianmaria Buccellati Foundation Award for Excellence in Jewelry Design Abstract: Figure 1. Gianmaria Buccellati Foundation Award winner Catherine Zheng (center), with GIA president and CEO Susan Jacques and Gianmaria Buccellati Foundation chief officer of North American strategies Larry French. Photo by Kevin Schumacher.

The first annual Gianmaria Buccellati Foundation Award for Excellence in Jewelry Design was presented on February 2, 2018, to GIA graduate Catherine Zheng (figure 1). The competition, open to students who successfully completed the GIA Jewelry Design course in 2017, recognizes artistic excellence in jewelry design. Zheng received the award for her rendering of an Art Deco–inspired pendant necklace. Zheng, who studied at GIA in Carlsbad, was one of 12 finalists from seven campuses whose hand-rendered designs were judged by a committee comprised of jewelry design, manufacturing, retail, and media experts. The finalists’ designs were on display and the recipient of the award was announced at the annual GIA alumni party held during the AGTA Gem Fair in Tucson.

The Gianmaria Buccellati Foundation sponsored the award as a way to inspire beginning jewelry designers and honor the work of the renowned jewelry design house’s founder, Gianmaria Buccellati. The 2018 competition is under way and open to students in GIA’s Jewelry Design course who meet the eligibility requirements. @topic:6


Publish Year: - Title: The Curious Life of Patrick O’Shea: From Ballistics Detective to Gemologist and Jewelry Designer Abstract: Patrick O’Shea’s curiosity and interests led him down many paths throughout his life, but they all came together when he became a jewelry designer. Photo by Ayano Hisa for GIA

Patrick O’Shea’s life sounds a lot like a Dan Brown novel.
He was a ballistics detective for 19 years with the New York City Police Department who played a part in 10,000-plus felony/homicide investigations. A longtime member of the Free and Accepted Masons. A student of history and esoteric symbols, who also had an informal partnership with an expert in symbols who plied his knowledge to crack seemingly unsolvable crimes.
O’Shea’s unusual journey continued with a GIA Graduate Gemologist® diploma and a career that evolved into designing custom-made jewelry for the Masons that showcases the group’s sacred symbols.
“We live in a universe surrounded by a language far more eloquent than words. I use signs and symbols – the language of this alphabet – to represent the glorious mystery surrounding us,” O’Shea said of the imagery that informs his jewelry designs.
But before our story can go further, we must revisit O’Shea’s past.
Born in the Bronx, O’Shea spent nearly two decades on the police force as a ballistics detective on the mean streets of 1980s South Bronx. Days were spent going from one homicide scene to the next. When his fellow detectives were perplexed by evidence at a crime scene, O’Shea and Dr. Marcos Coronas, a New York City police detective and professor of comparative religions, cults and symbology, would examine it, looking for clues like tattoos, drawings, a ring, books – anything that might shed light on the reason for the crime.
“Sometimes Coronas would say, ‘That’s nothing. It’s a symbol for protection against bad luck. Other times he would say, ‘This is a clear message that the murder was an act of revenge.’ Or, ‘These guys are up to something really bad,’” O’Shea said.

O’Shea’s ring for members of the New York City Police Department Club who are Masons displays many meaningful icons, such as the American eagle presiding over the imagery, which stand patriotism. The windmill refers to the Dutch origins of New York and the Indian and pilgrim stand for the inhabitants of early New York. The nightstick stands for equality and the angle of its placement means, “The job isn’t finished.” Individuals who want to wear the ring must be active or retired New York City police department officers and Master Masons. Courtesy of Patrick O'Shea
#TEXT#

O’Shea’s last years on the force were spent as an expert ballistic wounds witness for the court. After his retirement, he became a bodyguard for New York’s wealthy.
“When the Great Recession of 2008 hit, all my clients started handing me their jewelry for safekeeping,” he said. “They figured if they trusted me to protect their lives, I could also protect their valuables.”
O’Shea already had an interest in gems and jewelry – he used to sell silver jewelry on the side when he was a detective – and his new work inspired him to study with GIA. He was far into his coursework in 2015 when his wife was diagnosed with cancer, so he put his studies aside to care for her. By the time he could resume it, he had exceeded the allotted completion time and had to start all over again. He finally passed his 20-stone exam after several attempts at GIA in Carlsbad.
“The classes at GIA in Carlsbad were astounding,” O’Shea said. The opportunity to handle gems and study them under the helpful eye of an instructor made it possible for him to turn theory into skill. He also noted that his work as a ballistics detective, which involved viewing bullets in a variety of lighting environments, prepared him well for gem identification.
The gemological adventure resumed. But his first attempts to break into the industry were unsuccessful.
“I was an Irish-looking cop and I’m trying to talk to nice Hasidic men who wouldn’t acknowledge my presence,” he said. “Then I went to the GIA Alumni Association.”
An older gentleman, Rabbi David Altman, was speaking at the meeting. O’Shea had a detective’s hunch that Altman was a Freemason. His intuition was correct and the two became friends. Altman’s family had been in the gem trade for generations and began to introduce O’Shea to his business associates in the Diamond District.
“All of the sudden, I could do business on 47th Street,” O’Shea said.
Good fortune struck again when O’Shea was walking through the Diamond District wearing a ring he made that was stamped with Masonic symbols. A passerby – Jilber Ezgilioglu, also a Mason – immediately, recognized them and the two began chatting. Several conversations later, they became creative partners: O’Shea a gemologist and Ezgilioglu a master craftsman in old-world jewelry manufacturing techniques.

This piece (approx. 35 millimeters by 30 millimeters), created to celebrate the 300th anniversary of the founding of Free Masonry in England, jumpstarted O’Shea’s career as a designer. It is rich in symbolism: the double-headed eagle is an ancient symbol for the nobility of rule, with one head standing for wisdom in temporal affairs and the other for spiritual wisdom. The Latin words engraved on the banner can be translated as “God and my moral rightness.” The sword represents justice; the triangle represents geometry; and the sun represents the light of the Deity. Courtesy of Patrick O’Shea
O’Shea founded Happy Diamond Guy Masonic Rings in 2014 and began to design jewelry earnestly. Then a big break came. The Sovereign Grand Commander of the Northern Jurisdiction of Scottish Rite Masonry asked to O’Shea to make a pendant for his wife to wear to the celebration of the 300th anniversary of the founding of Free Masonry in England. He designed a double-headed eagle with spread wings – a dramatic creation that turned heads.
“People loved the piece and posted pictures of it on social media. All of the sudden, I started getting calls from Masons around the world – Japan, New Zealand, Canada – asking if I could make pieces for them,” O’Shea said.
And so a successful business was born.
O’Shea gets a steady stream of requests from fellow Masons to make custom Masonic rings, and bracelets and earrings for their partners. All O’Shea’s work is custom, but he and Ezgilioglu are considering creating a line of less elaborate, more affordable Masonic jewelry.
As part of their business, O’Shea and Ezgilioglu (and occasionally Altman) visit jewelry stores that are selling colored stones in bulk. Jewelers who specialize in diamonds – even in the Diamond District – often know little about colored gemstones, according to O’Shea. Thanks to his GIA education, which he described as “overwhelmingly informative,” O’Shea is able to sort through the thousands of carats worth of gems placed on a table, separating the beautiful stones they want to buy from the inferior ones and simulants.
O’Shea has earned such a reputation for his expertise that diamond dealers frequently contact him to evaluate a pouch of colored stones they have in their office. Other storeowners have O’Shea visit their shops to evaluate gems they come upon in their travels.
If O’Shea ever needs assistance in an area outside his expertise, he turns to his Rolodex, which is filled with GIA business cards.
“One thing GIA taught me was how to separate a great stone from a good stone, from a poor stone. You can’t just figure this out; you’ll just be guessing. You need an education for this, and GIA is the place to get it,” O’Shea said.

In one of O’Shea’s rings for the Masons, the “G” stands for the Great Architect of the Universe and geometry – the “noblest of sciences” – among other things. The compass, with a 0.10 ct sapphire center, stands for discernment and wise conduct. The ring is 14K yellow gold with two-plus ct diamonds and a 14K white gold compass. Courtesy of Patrick O'Shea
O’Shea remains deeply loyal to his Masonic roots and its philanthropic activities. The Masons in New Jersey, his current state of residence, adopted dyslexia as its cause and provide free schools and a free training program for schoolteachers. O’Shea’s chapter has gone further, raising enough money to donate a building for the children.
And O’Shea’s design business continues to grow. He notes that all his work is built for the ages, made with superior workmanship and materials so the pieces can be passed down from father to son.
“I consider myself extremely lucky. I’m the go-to guy for Masons in Northern New Jersey,” he said. “I’m also making jewelry for the upper echelons of the Masons. It’s a beautiful thing.”
While Dan Brown continues to write best-selling novels riddled spun around symbols, O’Shea is turning the symbols of Masonry into Masonic Jewelry. The gemological adventure continues. @topic:6


Publish Year: 2014 Title: An Unusual Doublet Set in Fine Jewelry Abstract: Figure 1. This green oval resembling an emerald proved to be a doublet with a beryl top and a topaz bottom. Photo by Olivier Segura.

              The Laboratoire Français de Gemmologie (LFG) examined a finely made white gold ring set with a green oval faceted stone that measured approximately 20.2 × 14.7 × 8.6 mm and resembled an emerald (figure 1). The stone showed distinct parallel growth zones, visible to the eye, under the table and the crown. These slightly undulating features (figure 2) were strongly reminiscent of Russian hydrothermal synthetic emerald (see, e.g., K. Schmetzer, “Growth method and growth-related properties of a new type of Russian hydrothermal synthetic emerald,” Spring 1996 G&G, pp. 40–43).

Figure 2. Slightly undulating growth zones under the table and crown were reminiscent of Russian hydrothermal synthetic emerald. Photomicrograph by Alexandre Droux; magnified 80×.
The pavilion showed fingerprint-like inclusions consisting of droplets that were easily visible with the loupe (figure 3). This feature might lead one to believe it was a flux synthetic emerald, inconsistent with the observations on the crown. Magnification reveals, however, that the fingerprint-like inclusions are actually made up of very small cavities, with bubbles that are clearly visible in the larger cavities. Therefore, the pavilion is actually a natural gem.

Figure 3. Fingerprint-like patterns reminiscent of flux synthetics are in fact very small two-phase liquid-gas inclusions. Photomicrograph by Alexandre Droux; magnified 80×.
At the level of the girdle, close examination revealed one area with a separation line, hidden elsewhere because of the closed setting (figure 4). Through the table, small but prominent black spots occurred on a single plane. These were flat bubbles in cement introduced at the separation plane.

Figure 4. These small black spots are flat bubbles in cement along a separation plane. The line of separation was noticeable through the crown in only one area. Photomicrograph by Alexandre Droux; magnified 30×.
Only the crown appeared a weak red under the Chelsea filter. Under short-wave ultraviolet radiation, the upper part was inert while the lower part showed a light blue, milky luminescence. Under long-wave UV, both were inert. Therefore, the green oval was clearly a doublet (R. Webster, Gems: Their Sources, Descriptions and Identification, 4th ed., rev. by B.W. Anderson, Butterworths, London, pp. 457–468). The refractive index was impossible to measure on either the table or the pavilion because the prongs extended into these two areas.

Raman spectroscopy with a 514 nm laser and 4 cm–1 resolution identified the crown as beryl and the pavilion as topaz. Hence the central stone of the ring is a doublet with a hydrothermal synthetic emerald top and a topaz bottom, which is quite unusual.

This case is consistent with an earlier report (J. Hyršl and U. Henn, “Synthetische smaragd-topas-dublette,” Zeitschrift der Deutschen Gemmologischen Gesellschaft, Vol. 60, No. 3–4, pp. 111–112), which noted that the doublets were of Indian origin. The luminescence of the topaz bottom is slightly different in the present doublet, though still within the known variations of topaz luminescence.

Today far fewer doublets are being submitted to gemological laboratories. This specimen’s unusual setting, closed at the girdle and with large prongs preventing access to the table and pavilion for refractometer measurement, suggests an intent to disguise the composite (and partially synthetic) nature of the central gem. Even fine jewelry can be set with gems that are not natural, and gemologists should remain wary of doublets. @topic:3


Publish Year: 2016 Title: Paula Crevoshay’s American Collection, Plus Jewelry with Nontraditional Gemstones Abstract: Figure 1. The “Rainbow Over Montana” bracelet contains 76.83 carats of Montana sapphire (71.42 carats rough and 5.41 carats faceted). The ring from the same collection contains 11.57 carats of rough and 1.12 carats of faceted Montana sapphires. Photo by Robert Weldon/GIA; courtesy of Paula Crevoshay.

Paula Crevoshay’s American Collection, created as a cultural and artistic inheritance for future generations, featured gemstones from the United States. The first pieces we saw were from her “Rainbow Over Montana” collection of rough and faceted Montana sapphires (figure 1). She used the faceted sapphires to show “the story of light” told by the gemstone after the human contribution of cutting, while the crystal slices display the natural hexagonal shape and luster of the flat crystal faces. The blue faceted stones represent the “Big Sky Country” of Montana, and the crystals demonstrate the range of rainbow colors in Montana sapphire.

The next piece was a pin featuring a 31.34 ct bicolor pink and green tourmaline (figure 2) from the Stewart Lithia mine in San Diego County, California. The stone was purchased back from a customer who had bought it from Paula’s late husband, George Edward Crevoshay, who first cut the stone more than 30 years ago. The pink and green tourmaline melee in the piece was also cut by Mr. Crevoshay and came from the Stewart Lithia mine. Besides featuring gemstones from a famous U.S. mine, this piece carries the sentiment of a great love that inspired Paula Crevoshay to move from painting and sculpture into the world of gemstones and creating jewelry.

Figure 2. This 31.34 ct bicolor tourmaline pin, which contains gemstones exclusively from the Stewart Lithia mine in San Diego County, has an emotional connection for the artist. Photo by Robert Weldon/ GIA; courtesy of Paula Crevoshay.
The third piece (figure 3) was a ring that contained one of the most intense red Oregon sunstones the authors had ever seen. The stone features the trademarked “Medicine Wheel” cut by award-winning lapidary Larry Woods. The ring also contains red spinels and diamonds.

Figure 3. While not as large as some of the other colored stones used by Paula Crevoshay,
the intense color and unique cut of the 2.77 ct Oregon sunstone makes this ring one of her
favorite pieces. The center stone’s color is complemented by 3.24 carats of red spinel.
Photo by Robert Weldon/GIA; courtesy of Paula Crevoshay.
While visiting her booth at the AGTA show, the authors also noticed some nontraditional stones ingeniously incorporated into jewelry. The first two pieces we viewed contained center stones of sphalerite (figure 4, left) and sphene (figure 4, center), both in pendants. For Ms. Crevoshay, creating jewelry is all about working with light. How she selects and combines gems depends on properties such as refractive index, bodycolor, luster, and phenomenal optical effects.

Figure 4. These Paula Crevoshay jewels include gems not typically used in jewelry. Left: The 8.25 sphalerite pendant creates an eye-catching fire, complemented by the play-of-color of the opal and the colorful sparkle of the diamond melee. Center: The green color of the 11.78 ct sphene pendant is accentuated by tsavorite melee, with the orange fire opals offering a striking contrast. Right: This dragonfly pin features a 38.24 ct hematite drusy as the insect’s body. The drusy’s iridescence and sparkle creates a shimmering effect that is intensified by the orient of the Tahitian cultured pearl used for the head. Photos by Robert Weldon/GIA; courtesy of Paula Crevoshay.
Both sphalerite and sphene are highly dispersive, and the flashes of rainbow color created by the dispersion excite the eye. For the sphalerite piece, she added Mexican opals showing a rainbow of colors, combining a highly dispersive gem with phenomenal accent stones to create a dance of colors across the pendant. The pendant also contains cognac and colorless diamonds to create even more of a symphony of colors. Ms. Crevoshay chose the sphene for its high dispersion and her attraction to the green bodycolor. As with the sphalerite pendant, she added Mexican opals showing a subtle rainbow of phenomenal colors. With both pieces, she combines gemological knowledge with art to create jewelry that paints with the surrounding light.

Another piece that caught our attention was a dragonfly containing rainbow hematite drusy as the insect’s body (figure 4, right). With the hematite, Ms. Crevoshay was able to highlight the iridescent colors and sparkle of the drusy. She finds that the rainbow colors of the hematite are not as bold as those caused by dispersion from the sphene and sphalerite but still have a seductive effect.

Public awareness of gemstones such as sphene and sphalerite has been growing thanks to high-end designers such as Paula Crevoshay and through mass marketing of commercial jewelry on television. Ms. Crevoshay told us she often piques customers’ interest by informing them about some of these lesser-known gem materials and how light interacts with them. The authors found this to be a fascinating look at how stones that were once a gemological novelty are becoming more widely known. @topic:6


Publish Year: - Title: Jewels of Hollywood: Accessories and Jewelry that Made the Stars Shine Abstract: This diamond and emerald brooch set in platinum, which belonged to Faye Dunaway, contains approximately 15 cts of diamonds and 5 cts of emeralds. Courtesy of the Kazanjian Foundation’s Hollywood Collection. Photo by Orasa Weldon/GIA

Our fascination with celebrities – and their glittering jewels, accoutrements and couture clothing – has fed our imaginations since the early days of motion pictures. They represent who we think we could be in our wildest dreams.
Hollywood – and the jewels stars wear – have gone hand-in-hand for many years to attract the attention and imagination of movie-going audiences. The Golden Age of Hollywood, roughly from the end of silent movies through the 1950s and 60s, was flush with funds and a studio system that produced glittering and glamorous stars and moneymaking films.

Actress Mary Pickford's sterling silver clutch was a gift from her actor/musician husband Charles "Buddy" Rogers. Courtesy of the Kazanjian Foundation’s Hollywood Collection. Photo by Orasa Weldon/GIA
Once a potential leading lady was found, a team set about to transform her into a star, according to “Hollywood Jewels: Movies, Jewelry, Stars,” written by Penny Prodow, Debra Healy and Marion Fasel. This included developing her look, her home and her social life.
“With so much money tied up in a star, decking her out in precious jewelry was considered not an extravagance but part of the investment,” according to the book.
“Jewels of Hollywood,” on loan from the Kazanjian Foundation, showcases some of the pieces associated with Hollywood royalty of decades past. It is a window into the lives and loves of some of the entertainment industry’s most iconic members.

There are several sets of cufflinks on display, including signer/actor Bing Crosby’s, left, and comedian/actor Bob Hope’s. Crosby’s gold cufflinks are lyrically scrolled with his first name. Hope’s 14K yellow gold cufflinks are engraved "TO ROBERT" on one cufflink and "XMAS 1972 BOB HOPE" on the second. Courtesy of the Kazanjian Foundation’s Hollywood Collection. Crosby photo by Orasa Weldon/GIA. Hope photo by Emily Lane/GIA
Arranged by topic, the exhibit cases include jewelry, cufflinks and other accessories, such as watches, compacts, cigarette cases, money clips and mesh handbags. The stars and movie moguls represented include:

Leading Men – Clark Gable, Danny Kaye, Bing Crosby, Bob Hope Dean Martin, Buddy Hackett and Jack Benny.
Leading Ladies – Eva Gabor, Gloria Swanson, Mary Pickford, Shirley Temple, Mary Ann Mobley, Joan Collins, Martha Scott, Faye Dunaway and Madonna.
Behind the Scenes – Billionaire businessman producer Howard Hughes, writer and director Billy Wilder, and producer and co-founder of Twentieth Century Studios (later 20th Century Fox) Darryl F. Zanuck. The case also contains pieces by some of America’s titan families, including the Duponts and J.P. Morgan.

What is striking about many of the pieces in this collection is that they were actually picked out and owned by the stars, not selected by stylists, as is common today, says Terri Ottaway, curator of collections for the GIA Museum in Carlsbad, California.
“Jewelry is one of the most sentimental objects we can buy for ourselves or as gifts for others – and movie stars love sentimental gifts just like the rest of us,” she says. “A lot of these pieces have inscriptions that are really endearing.”

Actor Clark Gable gave this gold compact case, circa 1930s, to his third wife, actress Carole Lombard. Rubies, sapphires, demantoid garnets and diamonds frame the initials "LG" (Lombard and Gable). Courtesy of the Kazanjian Foundation’s Hollywood Collection. Photo by Orasa Weldon/GIA
Carole Lombard, for example, gave a beautiful gold cigarette case to her husband Clark Gable with the engraving: “Darling” with love from “Ma,” dated “Xmas 41,” referencing the pet names “Ma” and “Pa” Lombard and Gable called each other.
Also included in the exhibit are some of the compacts and cases stars used to carry makeup and other items.

Actress Eva Gabor’s gold compact is embellished with synthetic rubies. Courtesy of the Kazanjian Foundation’s Hollywood Collection. Photo by Orasa Weldon/GIA
“When the stars used to travel, there wasn’t a traveling jewelry box type of item to keep their baubles and personal items secure, so it wasn’t uncommon to see a grand dame using an old cigar box, or coffee can, or tobacco tin, or something along those lines to hold her jewels and makeup,” says Doug Hall, an instructor at GIA.
Soon, iconic jewelry houses, such as Van Cleef & Arpels, responded by creating elegant compacts to hold these items, he says. The cases could be personalized and embellished with gemstones and motifs.
The exhibit includes Eva Gabor’s ruby-embellished lipstick case, compact and notebook holder from Van Cleef & Arpels and compacts from Mary Pickford and Gloria Swanson.

Actress Martha Scott wore this star ruby and diamond ring set in platinum at the premiere of her movie “Hi Diddle Diddle” in 1943. Scott also appeared in such blockbusters as “The Ten Commandments” and “Ben Hur” and received an Academy Award nomination for “Our Town.” Courtesy of the Kazanjian Foundation’s Hollywood Collection. Photo by Orasa Weldon/GIA
Fans of The Golden Age of Hollywood will enjoy seeing “Jewels of Hollywood” as they tour GIA, says Ottaway.
“It’s an extra-special treat for older visitors and fans of old movies,” she says. “There is something wonderful about being able to make a personal connection with the iconic stars you remember seeing on the big screen.” @topic:6


Publish Year: - Title: Alum’s Lifelong Quest: Searching for Jewelry Unicorns Abstract: Alan Nacht shows off some of his latest finds. The sapphire ring is 40+ carats and comes from Sri Lanka. Photo courtesy of Under the Crown

Alan Nacht is on a never-ending quest to find the “jewelry unicorn” – a piece of great beauty and value that has somehow gone unnoticed.
This quest motivates Nacht as he starts every workday – and if his enthusiasm ever wanes, all he has to do is remember the jewelry unicorns he’s found in the past.
Take the modern bangle bracelet studded with 10 cushion-shaped sapphires and small round diamonds Nacht saw on a buying trip several years ago. Looking more closely at the piece, he noticed that the cut of the sapphires was far older than the bracelet. So he bought it and later learned that his hunch was right: the sapphires were from the legendary locale of Kashmir.

This Edwardian diamond crown once owned by English royalty is another special find of Nacht’s (top). When not worn as a headdress, the crown comes apart and turns into a pair of bracelets, dress clips and brooches (bottom). Its presentation box is so large it took up almost one shelf of a large safe, Nacht said. Photo courtesy of Under the Crown
Another time, Nacht was having lunch with the owner of a well-known antique jewelry store in London who showed him a French tutti fruitti bracelet glittering with a large Asscher cut diamond set in the clasp and asked, “Alan, do you think that the diamond is pink?”
“Yes, and please give me an invoice,” Nacht said, later finding out that the 1.12 carat diamond was a Fancy Pink.
“Luck and longevity in the business go hand-in-hand to find the elusive jewelry unicorn,” Nacht said. “There are items that have intrinsic value and little material value. Others have material value and little intrinsic value. The unicorn is the piece that wakes up all that you have experienced, talked and learned about and dreamed of seeing. And there it is right in front of you!”

Born in Austria, Bernard Nacht (1884-1969) came to the United States when he was 4 years old. In his late teens, he started working with a cousin who was already in the jewelry business, and by age 22, saved enough money to open his own shop. As the business grew, he moved from a small store on the Bowery to Flushing, Queens and eventually to the diamond district. Photo courtesy of Under the Crown
All quests have their beginnings. This one started in 1906, when Nacht’s grandfather founded Bernard Nacht & Co. in lower Manhattan. The elder Nacht was one of the pioneers in the second-hand diamond and jewelry market in New York City. Nacht’s father eventually took over and taught his son the business from the time he was a young boy, resulting in an informal apprenticeship in the diamond trade.
At the end of his school day and during vacations, Nacht ran errands for the family business. Stops included visits to diamond setters, polishers, manufacturers, lapidaries and diamond cutters. He asked questions and soaked up the answers.

Another one of Nacht’s unicorns: An Edwardian era brooch pendant with a no-heat, reverse intaglio sapphire, 22 old mine cut diamonds in the bezel, and 196 more framing the center stone. Photo courtesy of Under the Crown
After earning a B.S. in finance and insurance from Syracuse University, Nacht started working at the family business, knowing a GIA education figured in his future. Nacht’s father was friendly with Robert Crowningshield, one of the towering figures in GIA’s history, and encouraged his son to take classes at the Institute.
“I knew I needed to learn the educational side of the gem business, and I also knew that the best place to study was at GIA. Courses were offered at night, so I was able to work during the day and learn in the evening,” Nacht said.
Nacht studied Graduate Diamonds and Gem Identification and said that learning how to identify gems is an invaluable skill in his line of work, one he uses daily.
“Gem identification is essential in the estate jewelry world,” Nacht said. “What I learned at GIA, plus my years of experience, makes it possible for me to create a mental checklist when I evaluate a piece.”
GIA gave Nacht more than an education. He formed a lifelong friendship with Doug Parker, one of his now-retired instructors. In fact, Parker and his wife attended Nacht’s wedding and are still friends and business associates.
“I always say, ‘It is not what you know, but who you know.’ Meeting others who share your common passion creates tremendous opportunity,” Nacht said.

A proud father and fourth-generation jeweler, Alan Nacht sits between two of his children, who help him with sales, purchasing and brand development, but who also have specific areas of interest. Ross, left, specializes public relations and marketing and has developed the company’s social media platforms and Bari, right, focuses on fashion and accessorizing and is an expert in antique Tiffany jewelry. Photo courtesy of Under the Crown
Bernard Nacht & Co. is now a fourth-generation business. Nacht, the president and CEO, works alongside two of his adult children Ross and Bari, who help with sales, purchasing, brand and product development, inventory, the web/internet and social media. The company’s primary focus is estate jewelry, but they have extended the brand in several creative ways.
Their newest venture is the Crown Jubilee diamond – a trademarked proprietary cut used to recut old mine and old European Cut diamonds. The cut has no table and a unique facet arrangement. Another offering, Under the Crown Jewelry, is a branded, trademarked collection that features a large range of estate jewelry, reclaimed diamonds and vintage engagement rings.

Nacht with some of his inventory, including a pair of Castellani earrings circa 1870. The earrings are in the fashion of the "Melos" necklace that Castellani and Carlo GiulIiano both replicated from a necklace produced in 330-300 BCE. The original "Melos" necklace is at the British Museum and the one created by Castellani is in a collection at The Cooper Hewitt Museum. The earrings have Amphora pendants hanging from fine handmade chain. Several sections are enameled, but they are very subtle. “I have never seen another pair of these Castellani earrings! So they are very rare,” Nacht said. Photo courtesy of Under the Crown
Bernard Nacht & Co. has also purchased the trademarks of other jewelry houses, such as Castellani Jewellers and Carlo Giuliano, two well-known jewelry houses of the Victorian era. Nacht purchased both companies and trademarked both brands, and they continue to manufacture Etruscan-style jewelry.
Nacht always comes prepared. He carries a loupe in the field and has a refractometer, polariscope, long and short wave blacklight and microscope in his office. He is fascinated with inclusions and uses them to make an educated guess about a gemstone’s geographical origin. In fact, gemstone dealers often ask Nacht to identify their gemstones.
Nacht is steadfast in his goal to nurture his family’s legacy, a business that has been in operation in Manhattan, one of the world’s most competitive gem and jewelry capitals, for 113 years. He attributes the company’s success to staying true to its mission while looking for innovative opportunities that complement it.
And Nacht is still on the quest for jewelry unicorns – hoping to find that unforgettable piece in search of a new home. @topic:6


Publish Year: - Title: A Tropical Paradise of Ocean-Inspired Jewelry and Gemstones Abstract: A 17 mm baroque Tahitian cultured pearl is the focal point of this whimsical octopus brooch set in black-plated 18K gold. The brooch features 374 black, 26 yellow and 169 white diamonds. Courtesy of Ron Greenidge and Emiko Pearls International. Photo by Robert Weldon/GIA

A tropical paradise conjures up images of swaying palm trees, the soothing sound of ocean waves and intoxicating floral fragrances. If this vacation is not on your agenda, you can escape to a warm-water paradise in your mind with these jewels that formed in the sea, are inspired by marine life and evoke the ocean’s essence.
Gems from the Sea
The ocean provides us with a variety of pearls, shells and coral – all top-of-mind when we think of gems from the sea, whether natural or cultured.

Urchin necklace by Evelyn Huang features two Eyris® pearls accented with color sapphires, garnets and amethysts. The Eyris® cultured blister pearl is a product of the Paua abalone shell, which is native to New Zealand. Photo by Orasa Weldon/GIA
The Pantone Color Institute named “Living Coral” its color of the year for 2019, reminding us that coral is a living member of the animal world and contributes to the health of the ocean ecosystem. Coral is a protected species and subject to regulation in the United States, requiring declaration and licensing permits from the U.S. Fish & Wildlife Service. Black coral, found in Hawaii, is the only coral that can be legally harvested in the U.S. All other corals are imported, usually from China. Gem-quality coral is primarily found in the Mediterranean and in the Pacific Ocean off the coasts of Japan and Taiwan.

“Tree Toad,” composed of pink tourmaline on a branch of coral is accented with South Sea cultured pearls and enameling. Designed by Tony Duquette and Hutton Wilkinson, courtesy of a private collector. Photo by Orasa Weldon/GIA
The warm waters of Australia, Indonesia, the Philippines and Myanmar (formerly Burma) are the pearling regions and natural home of Pinctada maxima, a large bivalve mollusk and the source of South Sea cultured pearls. South Sea pearls are known for their thick nacre, satiny luster, large size, and subtle array of colors. The silver-lipped P. maxima produces white to silver pearls and the gold-lipped P. maxima produces mostly yellow to orangy yellow pearls, called “golden” in the trade.

These golden South Sea pearl earrings glow with superb orient and luster. Sapphires, moonstones, and mother of pearl create an eye-catching combination. Designed by Dilly Kirby of Harbor Springs, Michigan. Photo by Orasa Weldon/GIA
French Polynesia is the only area with optimal conditions for the subspecies Pinctada margaritifera cumingii, the black-lipped mollusk used to culture black Tahitian pearls. Historically, black pearls were found in North America in the Sea of Cortez in the Gulf of California in pre-Columbian times. La Paz became the main commercial center for pearls in the 16th century.

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Eyris® cultured blue pearls of the abalone Haliotis iris or Paua shell native to New Zealand, form as a blister – a dome shape inside the abalone shell. It takes up to three years to culture each blister pearl. With an overall success rate of 25 percent, these cultured pearls are truly in a class of their own. With iridescent colors shimmering like the ocean waves, the pearls are sometimes tinged by rare blue colors. Their mesmerizing colors can range from blues and greens, to golds and pink, with some having splashes of red and violet.
Carvings Inspired by Sea Life
The colors, textures and movements of sea life are fascinating to observe, especially when depicted as jewelry or sculptures.

Gerd Dreher’s evocative, softly undulating carved agate emulates coral. Translucent agate gives the fish’s fins a shimmering realism. Courtesy of the William F. Larson family. Photo by Robert Weldon/GIA
The intricate patterns and romance of sea creatures, fauna and flora is masterfully rendered by gemstone carvers Patrick Dreher and his father, the late Gerd Dreher. Their dynasty has passed techniques from father to son for 13 generations over a period of five centuries. The Dreher carvings have an unsurpassed quality of realism, due in part to the advancement of diamond-sintered tools, and in greater part to their devoted observation of their subject’s nature.

This diamond-studded enameled sailfish brooch by Tiffany & Co. recalls the 1930s, an era when sportfishing became a favorite pursuit of the elite in the U.S. Courtesy of Vartanian & Sons. Photo by Robert Weldon/GIA
Warm, tropical waters are known for colorful sea life and enameling is a metal technique that offers a great opportunity to add color to a design. Louis Comfort Tiffany began exploring jewelry making and enameling, a process in which glass is fused to metal, in the early 1900s. The green and blue sailfish brooch by Tiffany & Co. recalls the 1930s when sportfishing was popular among the elite in the U.S.
Gems that Evoke the Sea
There are several gem materials whose colors remind of us the sea, and jewelry designers and gem carvers take advantage of them to create ocean-inspired pieces.

Appearing as though it was an ocean wave frozen in time, this understated 54 ct polished slice of blue papagoite overlaid by layers of quartz evokes an ocean wave. Courtesy of Rare Earth Mining, Bill Heher. Photo by Robert Weldon/GIA
Discovered in 1960 in the hot, arid desert in Ajo, Arizona, papagoite is a rare cyclosilicate mineral. It was named after the Sand Papago people who inhabit the area. This is the only known source in the United States, although worldwide it is also found in South Africa and Namibia. Its bright blue color is its most notable characteristic, and it is used as a gemstone.

This piece of polished labradorite shows great labradorescence and the shifting blue and gray colors mimic the ebb and flow of the ocean. Gift of Carol and Larry Greenfield. Photo by Orasa Weldon/GIA
Labradorite lends itself to interpretation by the jewelry artist. Its shifting blue and gray colors mimic the ebb and flow of the ocean. Because labradorite is a plagioclase feldspar, it can form fine, microscopic, intergrown layers of albite and other plagioclase feldspars. When light hits the layers, the light waves interfere with each other, creating bands of shimmering spectral color, typically blues and greens. This phenomenon is called labradorescence, named after the mineral that displays it.
Boulder opals are mined from large ironstone boulders under the ground. Thin veins of colorful opal forms in cracks and fissures in these boulders. Because these veins of color are so thin, opal cutters need to leave the ironstone on the back of the opal to form a full-sized stone. The thin layer of opal in boulder opals can display any color of the spectrum in a beautiful play-of-color.
A tropical island getaway may only be a daydream, but you can treat yourself with ocean-inspired jewelry whenever you desire. @topic:5


Publish Year: - Title: GIA JCK 2019 Panel: Consumers Care Where Their Jewelry Comes From Abstract: Members of the GIA panel, “Embracing Sustainability Amid New Consumer Expectations” are, from left, Claire Poroddi, Kering; Dr. Saleem Ali, University of Delaware; Lisa Bridge, Ben Bridge Jewelers; Marcus ter Haar, Okavango Diamond Company; Nadja Swarovski, Swarovski; and Susan Jacques, GIA. Photo by Russell Shor/GIA

Today’s consumers want more than the 4Cs and good design from their jewelry. They also demand that its components – gemstones, diamonds and precious metals – are responsibly sourced.
That was the key message from the GIA panel “Embracing Sustainability Amid New Consumer Expectations,” held at the 2019 JCK Las Vegas show.
The panelists, representing different aspects of the industry, agreed that jewelry companies have to assume responsibility for their products all the way through the value chain.
Moderator Susan Jacques, GIA president and CEO, began the discussion with a brief video about the evolution of public perception of the industry. The video showed images of artisanal gem and gold miners coupled with negative headlines, which segued into news about industry efforts to address the issues. She commented that, despite significant efforts, including the Kimberley Process and the establishment of the Responsible Jewellery Council (RJC), this is what consumers have heard for years about the industry.
“There are so many positive stories to be told, with organizations like the Diamond Development Initiative and Responsible Jewelry Council,” she said. “Now the industry must work hard to change these perceptions.”
The five panelists - Dr. Saleem Ali, University of Delaware; Marcus ter Haar, CEO of Okavango Diamond Company, Botswana; Lisa Bridge, CEO of Ben Bridge Jewelers; Nadja Swarovski, member of the Swarovski Executive Board; and Claire Piroddi, sustainability manager for watches and jewelry at French luxury group Kering - detailed the efforts their organizations to do just that.
Ali, a professor of energy and environment, said that jewelry may be a luxury product that not everyone needs, but it does sustain a standard of living for many people who work in the gem and jewelry supply chain.
“These workers can create wealth and economic growth from the elements of the Earth,” he said, adding that conditions must be there to enable them to do so.
Ter Haar cited the benefits diamonds have brought to Botswana.
“It’s the circles of sustainability: people, planet, profit,” he said. “In Botswana, we’ve seen our capital grow from a small town to a progressive, modern city, [with] a great increase in life expectancy, free health care – all from diamonds, which account for 50% of government revenue and 30% of GNP. Every diamond purchased represents food on the table.”
Swarovski told the audience that, today, companies must think of others as well as themselves. Her company focuses on three basic principles: positive production, women’s empowerment and fair partnerships.
“Our company embraces the United Nations’ 17 sustainable development goals,” she told the audience, outlining initiatives the company was making to implement the UN goals in Swarovski’s operations and with sourcing partners worldwide. These include gender equality, clean water and sanitation, clean energy and reduced carbon footprint, responsible sourcing, equitable work standards and responsible consumption.
Piroddi said that Kering, which includes such jewelry and watch brands as Pomellato and Boucheron, has developed a sustainability road map to 2025 built on three pillars:

Care – designed to reduce the company’s environmental footprint and work toward 100% vetted sources in its supply chain
Collaborate - promote gender equality and to be an employer of choice
Create – embrace new technologies and innovation, and encouraging start-ups

She pointed out that “95% of luxury products come from nature, so we must take care of our environment.” She also said that in a company survey done for its fashion brands, “75% of people care where their products come from – they are more informed than ever.”
Lisa Bridge told the audience that “sustainability begins at home” and noted that the company supports community organizations in each town where it has stores.
“We encourage our employees to give back to their communities as well,” she said.
Further afield, Bridge staff personally visit each of its vendors so it can stand by its products “and we can be certain our jewelry is what we say it is.” @topic:12


Publish Year: - Title: A New Life for Revival Jewelry Styles: Archaeological, Renaissance and Egyptian Abstract: Dating from the 1990s, this necklace made by Castellani in 19th century archeological revival style features heart-shaped and palmette pendants with bead spacers on foxtail chain. This close-up photo of the necklace’s elements show its twisted wire details and granulation. Courtesy of Frances Klein Antiques & Estate Jewelry. Photo by Tino Hammid/GIA & Tino Hammid.

Revival jewelry embodies a long-standing tradition of drawing inspiration from the past – either by copying or reinterpreting ancient motifs. It is a way for us to wear jewelry pieces that connect us to the rich history of the beginning of civilization.
Archaeological Revival
Archaeological Revival was spurred by discoveries of buried artifacts – after the eruption of Mt. Vesuvius in 79 CE – uncovered in the cities of Herculaneum in 1738 and Pompeii in 1748. A century later, haphazard excavation techniques had improved somewhat, creating a second wave of interest in revival jewelry prompted by discoveries in Etruscan burial sites.
After opening the Regolini-Galassi tomb in 1836, jewelers Fortunato Pio and Alessandro Castellani were granted access by papal authorities to study the ancient gold jewelry. They were also given access to huge collections of antiquities between 1840 and 1850, making it possible for the Castellani family to study the art of Etruscan granulation, filigree and other gold work. They began to uncover the mystery of how the ancients created their designs by soldering detail to the metal rather than carving, punching, or cutting.

Eugène Fontenay was one of the leading jewelers working in France in the third quarter of the century and his jewelry was considered among the most technically refined of the work produced at this time. This gold Etruscan revival pendant features matte enamel decoration, rose-cut diamonds, granulation, and beading, all associated with the work of Eugène Fontenay (1824–1887) and archaeological revival jewelry. Courtesy of The Metropolitan Museum of Art. Photo by Joseph Coscia.
Michelangelo Caetani, an Italian scholar interested in literature, sculpture and goldsmithing, encouraged them to concentrate on ancient-style jewelry, providing them with models of the finest jewelry examples from antiquity. Through their association, he became a pivotal influencer of their designs. The Castellani firm also incorporated Egyptian scarabs into their designs.
Renaissance Revival
Jewelry took its inspiration from a variety of sources in the 19th century, including from Renaissance pieces that survived and those that were preserved in jewelry design books. A colored gemstone or pearl as the central focal point, surrounded by smaller gems, was a hallmark of the Renaissance Revival style of pendants, brooches and earrings. Various enameling techniques were often used as colorful accents.

The gold Renaissance revival style bar brooch by Tiffany & Co. features three sculpted flower head clusters. The left cluster contains six blue sapphires surrounding an orange garnet. The right cluster contains a center green stone surrounded by six orange garnets. The center element is an old European cut diamond surrounded by small diamonds. Courtesy of Neil Lane, Inc., Beverly Hills. Photo by Tino Hammid/GIA & Tino Hammid.
Renaissance-themed costume balls were popular during the 19th century and great effort was taken to recreate the period costumes and jewelry worn at these lavish events.
Hans Holbein the Younger, a German artist in the Tudor period (1485-1603), was an early influencer of Renaissance Revival jewelry. His paintings portrayed Tudor royalty and the upper class, who set the fashion. Once seen in London, his paintings influenced the fashion of high society dances in the 19th century and thus inspired British Renaissance Revival jewelry.

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Carlo Guiliano was well-known in Western Europe from the 1840s to the 1890s for his interpretive Renaissance Revival style creations. He employed champlevé, basse-taille and en ronde bosse enameling techniques in his designs that featured rubies, emeralds and sapphires to cater to his wealthy patrons. Giuliano and other revivalist jewelers often employed ancient techniques and tools in their work, such as die-stamping, a technique used by Hellenistic goldsmiths.

This Renaissance revival style gold brooch and stickpin features a grotesque mask in the center and is accented with acanthus leaf. Courtesy of Neil Lane, Inc., Beverly Hills. Photo by Tino Hammid/GIA & Tino Hammid.
Renaissance Revival jewelry revisited the grotesque style, which is derived from the Italian grotteschi and refers to the decoration of grottoes found circa 1500 during Roman excavations, particularly of the Golden House of Nero, 65-68 C.E. The word “grotesque” involves mixed animal, human and plant forms in strange configurations one might find less than beautiful.
Although the animal heads and other motifs sometimes held symbolic significance, grotesque, in general, is purely decorative.
The most notable French Renaissance Revival jewelers were Lucien Falize, Alphonse Fouquet and Louis Wièse, and included the larger jewelry houses of Boucheron, Chaumet and Vever.

This 1930s Egyptian Revival scarab brooch features wings fashioned in plique-à-jour enameling set in 14K gold. The scarab beetle is lapis lazuli accented with pearl. Courtesy of Marilyn & Co. Photo by Kevin Schumacher/GIA.
Egyptian Revival
Egyptian Revival jewelry came into its golden age in the late 19th and early 20th centuries. The completion of the Suez Canal in 1869 connected the Mediterranean and Red Seas and propelled opportunities for travel and an interest in Egyptian culture. The opening of the tomb of the Egyptian pharaoh Tutankhamun in 1922 revealed ancient treasures in the southern Mediterranean world and sparked awe among those who saw them. These monumental events were instrumental to the emergence of Egyptian Revival jewelry.
The Egyptians believed plants and animals were sacred and the scarab beetle, lotus flower are recurring motifs in Egyptian design. According to Egyptian culture the scarab beetle was a sign of rebirth; the winged scarab signified coming into being. Cats and other animals were revered as gods. The lotus, symbolic of Upper Egypt, represents an emerging god in some creation myths.

This Egyptian revival style gold brooch is by T.B. Starr, a prominent New York City jeweler in during the late 19th and early 20th centuries. It features a carved amethyst scarab, with green, blue and red enameling, and a falcon with a demantoid garnet as its eye. The piece evokes the exotic treasures unearthed from Egyptian royal tombs, embellished with symbolic motifs such as scarabs, lotus blossoms, sphinxes and ibises that were thought to ensure protection from evil and the promise of eternal life. Courtesy of The Metropolitan Museum of Art.
The palette of colors in Egyptian artifacts and art were also symbolic: red represented the desert; green evoked the fertile lands of the Nile Valley; blue symbolized the sky and water; and yellow signified the Sun. The pharaoh and sphinx motifs are easily recognizable as Egyptian symbols.
It is no wonder that an artistic interest in Archaeological, Renaissance and Egyptian Revival themes remains alive in jewelry today. @topic:6


Publish Year: - Title: Leaf Motifs: Timeless Beauty for All Seasons of Jewelry Abstract: Combine emeralds and gold with the sophisticated design of Cartier and voilà − earrings of timeless beauty. Courtesy of a private collector. Photo by Tino Hammid/Copyright GIA and Tino Hammid

	Infused with inspiration, the commonplace becomes extraordinary. The humble leaf, for example – from the simple shapes of some to the complex web of veins in others – has captivated artists, including jewelry designers, for centuries. The simple leaf has transformed into enduring beauty throughout the periods of jewelry history.

	Leaves hold symbolism in many cultures, but in general, they symbolize fertility and growth. The green leaves of spring and summer depict hope, renewal and revival. Blazing yellow, orange and red leaves of fall represent the change of season. Ultimately, fallen leaves complete the circle of life with the final stages: decline and death.

	In the Chinese tradition, leaves represent all of the beings in the universe; they collectively allude to people because of their vast number.

	In heraldic coat of arms, leaves represent different virtues or qualities. For example, oak leaves represent strength, heroism and victory. Grape leaves represent plenty, freedom and rebirth. Holly or mistletoe represents truth, foresight and defense.

	The olive branch, a symbol of peace and goodwill in Western culture, originated in Ancient Greece, where it was used to form a crown as the prize for the winner at the Olympic games. Laurel leaves were also woven into a wreath to honor heroes, scholars and poets. The symbolic importance of laurel has been passed down to modern times in a number of ways. It is the source of the words baccalaureate, poet laureate and Nobel laureate, derived directly from the practice of bestowing a laurel garland for a notable achievement.

	The creativity in the jewelry seen here shows no indication of the designer or jeweler "resting on their laurels.”

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	Leaves are seen as both accent and focal points in Victorian, Art Nouveau and 20th century jewelry. The Renaissance inspired the early Victorian era with flowers, branches, leaves, grapes and berries dominating the design motifs. The Art Nouveau period saw a resurgence of enameling, a metal technique that lends itself to the free-flowing lines of flowers and leaves.

	The leaf motif flourishes in the 20th century designs of Tiffany & Co., Cartier, Schlumberger and René Boivin − and is sure to remain a favorite on its perennial journey through history. @topic:6


Publish Year: - Title: Cameos: Timeless, Miniature Carvings for Jewelry Lovers Abstract: A group of cameos shows the progression from rough shell to the final carved cameo. Gift of Kessler Mfg & Imports Inc. Photo by Kevin Schumacher/GIA

Alexander the Great commissioned his portrait – in the likeness of a god – to be engraved in stone in the third century BCE, according to jewelry expert Anna M. Miller, author of “Cameos Old and New.” This was the first time a cameo – a three-dimensional figure carved out of stone – was seen in Egypt. It is perhaps the first known selfie!

Cameo portraits of rulers and nobility or scenes of historical events have been highly valued ever since. Prior to Alexander, carvings were cut below the surface – intaglio – and used as seals of identification. The seals usually depicted animals of strength, such as lions or bears, and figures from Greek or Roman mythology.

A courtship cameo shell brooch from the Georgian era shows depth of color and detail in a landscape scene. Courtesy of MMH Collection. Photo by Robert Weldon/GIA
Cameos can be carved in low relief (barely standing out from the background) or in high relief (projecting prominently above the background). Quality factors in evaluating cameos include the type of medium used, as well as the setting, condition, detail of carving, subject matter and signature of the artist.

Shell became a popular medium in French and Italian cameos during the Renaissance. Cassis rufa, known as cornelian, is a common type of shell used for cameos and varies in color from very light to deep brown orange. Cassis madagascariensis, commonly known as emperor helmet shell or sardonyx shell, is a thick, dark brown shell. It is the largest mollusk shell and resembles banded agate when carved.

The discovery of large deposits of carnelian (an inorganic rock that is different from the shell cornelian, which is organic) and agate in the Idar-Oberstein region of Germany in the 16th and 17th century spurred a renewed interest in cameos. Onyx, sardonyx, carnelian, jasper and quartz were widely used materials during this period and are ideal for carving because of their relative hardness and color zoning.

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Cameos were popular in the Victorian era in England and Europe because Queen Victoria was fond of jewelry and favored them. Portraits of royalty and statesmen continued to be popular subjects, along with profiles of women dressed in finery, youthful maidens, religious icons and mythological gods and goddesses. Gem materials such as sapphire, garnet, jade, opal, coral and quartz gained favor for cameo carving in the Victorian era.

Queen Victoria went into mourning after Prince Albert died in 1861, but did not give up her penchant for wearing jewelry. She often chose jewelry made of jet, a fossilized form of coal. Lava cameos also rose in popularity as mourning jewelry during the Victorian era. Enterprising artisans realized that lava from the remains of Pompeii was a suitable material for carving cameos. These were sought after as a souvenir by status-conscious Victorians to show they had taken a European tour. Jet and lava are suitable for high relief carving – a quality factor in evaluating cameos – and are collectible.

The goddess Bacchante is carved in high relief from black lava and shows fine detail of leaves and clusters of grapes in her hair. Cameos dating to BCE 79 were discovered in 1748 in the ruins of ancient Pompeii. Lava cameos were popular in Victorian England as souvenirs of a European tour. Courtesy of MMH Collection. Photo by Robert Weldon/GIA
Cameos continued to be popular after Queen Victoria’s death and artisans expanded their carving materials to include turquoise, ruby, lapis lazuli, aquamarine, peridot and topaz.
In the 19th and 20th centuries, Italian carvers Tommaso Saulini, his son Luigi Saulini, along with Giovanni Noto, were known to sign their work. The British royal family commissioned Tomasso Saulini to carve portraits of Queen Victoria and Prince Albert and his work is housed at the Victoria and Albert Museum in London. The Italian Republic commissioned Noto to create official gifts, including a work for the wedding of Charles and Diana of England. Most works by these masters of cameo carving reside in museums and private collections.

The rich history and lore of cameos make them a fascinating avenue into the world of collecting for history, mythology and jewelry buffs. @topic:6


Publish Year: 2019 Title: Book Review: Figures & Faces: The Art of Jewelry Abstract: By Patrick Mauriès and Évelyne Possémé, 127 pp., hardcover, illus., published by Thames & Hudson Ltd., London. US$24.95.

Patrick Mauriès and Évelyne Possémé have written a trilogy of books dedicated to decorative themes and the art of jewelry. Preceded by Flora and Fauna, Figures & Faces explores the human form as depicted in jewelry. The books exclusively feature items from the collection of the Musée des Arts Décoratifs in Paris.
The book opens with a preface by Olivier Gabet, director of the Musée des Arts Décoratifs, and a forward by Marie Vallanet and Nicolas Bas, the presidents of École des Arts Joailliers and Van Cleef & Arpels, respectively. Each sets up the reader for the beauty in the pages to come. Next come essays titled “Discreet Effigies,” and “The Bejeweled Body.” The first, written by Patrick Mauriès, explores the history of the human form in jewels of adornment. Here, Mauriès traces the evolution of jewelry as a means to depict religious and mythological figures to its use as talismans of great sentimentality and, ultimately, of love. The second esssay, written by Évelyne Possémé, discusses the societal attitudes of the use of the human body in jewelry.
The rest of the book consists of chapters on devotion, love, faces, portraits, fantasy and the Art of the Vanitas. “Mythological Figures” covers just that: this section shows lovely jewelry set with carvings of Medusa, Minerva, Achilles, and other Greco-Roman figures. The popularity of this subject matter has ebbed and flowed throughout history but the authors recall how the popularity of the female form in jewelry peaked during the Art Nouveau period. The photographs throughout this book are very well done and I was amazed, particularly in this chapter, with the minute details these photos could reveal in the carved pieces shown here. For example, even in rings, details such as nostrils, eyelids, and individual wisps of hair are carefully depicted.
The chapter “Figures of Devotion” highlights jewelry in religious motifs from the Byzantine era to present day. Of particular note here is the discussion on reverse painting, which was frequently used to show religious scenes that include full-bodied figures. Reverse painting is a technique involving painting a scene, in reverse, on a transparent material, usually glass or rock crystal quartz. The painting is then flipped over and set into all forms of jewelry so that the image is now sandwiched between the transparent material and a backing material, usually precious metal. The details of these tiny works of art can be staggering and very beautiful.
“Figures of Love” points out that jewelry “often conveys a message of love,” and fittingly, can often show Cupids, putti, clasped hands, and intertwined human forms. An interesting point made in this chapter is the fact that aluminum, when first discovered, was considered a precious metal and was treated appropriately. As a result, there are many pieces of art cast in or created from aluminum. A stunning nineteenth century bracelet of two putti, made of aluminum, gold, rubies, and diamonds is included in this chapter.
Next comes the chapter called, “Historical Faces.” The chapter features an impressive array of pieces showcasing images of various kings, queens, and other notable figures. In “Personal Portraits” we learn that during the eighteenth century it became acceptable to carry images of loved ones. Prior to that time, it was considered “unseemly” to wear items of such sentimentality. The chapter features jewelry set with painted and enamel portraits, as well as cameos. And “Figures of Fantasy” places an emphasis on feminine figures and provocative body parts—lips, hands—again using the style of the Art Nouveau era, executed in all manner of materials or sculpted in precious metal.
The final chapter, “The Art of the Vanitas” features jewelry that depicts skulls. “Vanitas” refers to works of art that contain symbols of death or depict symbolic reminders of the inevitability of death. These memento mori, or reminders that death will come for everyone, can be found in rosaries and all manner of jewelry. Notable in this chapter are an amazing enameled pomander shaped as a skull and an impressive skull-shaped watch case.
As a reader, I found the text engaging and to the point. It was not unduly heavy, making it enjoyable to read. As a jewelry lover myself, I greatly enjoyed the beautifully photographed, and painstakingly crafted pieces found at the Musée des Arts Décoratifs. Having never had the opportunity to visit that particular museum, I now hope for the chance one day.
I have admittedly not read the previous two texts in this set of three. I now plan to backtrack and read Flora and Fauna because of how extraordinary I found Figures & Faces to be. I would gladly recommend this book to anyone interested in the history of jewelry. @topic:6


Publish Year: 2004 Title: The Creation of a Magnificent Suite of Peridot Jewelry: From the Himalayas to Fifth Avenue Abstract: A magnificent suite of peridot: The ultimate value of a gemstone suite lies not only in the cost and quality of the materials themselves, but also in the selection of the rough, the quality of the faceting, and the intricacy of the setting in a well-designed and well-manufactured suite of jewelry. This article chronicles the creation of a fine suite of peridot jewelry from the mine in the Himalayas to the manufacture of the necklace, bracelet, ring, and earrings. Eight kilograms (40,000 carats) of peridot rough from the Sapat Valley region of Pakistan was purchased in early 2004. Following the assessment of the rough, careful preforming and faceting produced a precisely matched suite of Asscher-cut peridots. The suite comprises 54 gems ranging from 3.57 to 18.30 ct, for a total weight of 350.40 ct. Van Cleef & Arpels in Paris designed the jewelry, and the New York atelier of Van Cleef & Arpels manufactured the five pieces. @topic:2


Publish Year: 2016 Title: Exhibition Review: Beyond Bling: Jewelry from the Lois Boardman Collection Abstract: Figure 1. Karl Fritsch, Ring, 2005, Los Angeles County Museum of Art, gift of Lois and Bob Boardman, © Karl Fritsch; photo © Museum Associates/LACMA.

As materials available to jewelry artists become more eclectic, so does their output. Such is the case with the 300-plus exquisite contemporary pieces from around the world (figure 1) donated to the Los Angeles County Museum of Art (LACMA) by Lois Boardman of Pasadena. Beyond Bling: Jewelry from the Lois Boardman Collection, LACMA’s exhibition of this donation, contains more than 50 of the pieces. The nontraditional jewelry, acquired by Boardman over several decades, features materials such as plastic, glass, steel, feathers, and even LEGO blocks alongside more traditional choices such as gold and silver. Pieces she found during her travels are no less arresting than those she commissioned, such as the gold cast of her nose, completed in 1988 (figure 2).

Figure 2. Gerd Rothmann, Die Goldene Nase Nosepiece, 1988, cast from Lois
Boardman's nose. Los Angeles County Museum of Art, gift of Lois and Bob Boardman,
© Gerd Rothmann, photo © Museum Associates/LACMA.
The exhibition space itself is modeled on the Renaissance phenomenon known as the “cabinet of curiosities,” private collections of unusual objects that defied easy classification. The pieces in the otherwise spare room are displayed in the categories available to early scientists: Animal, Vegetable, and Mineral. “Plastic” has been added as a more recent classification. Among the pieces are David Bielander’s blend of leather, silver, and thumbtacks creating the startlingly realistic Koi bracelet (figure 3, left); Miriam Hiller’s powder-coated stainless steel Loperenias brooch, which evokes the open bloom of a flower (figure 3, right); and Bernhard Schobinger’s ring, with a nail as both band and setting and a smoky quartz as its centerpiece. Many of these avant-garde pieces are displayed alongside their natural inspirations, as with David Bielander’s stainless steel teaspoon and gold Dung Beetle brooch, which is shown alongside Egyptian scarabs dating as far back as 1991 BCE. Nikki Marx’s Royal Raiment necklace of peacock feathers and suede (figure 4) is strikingly similar to a feathered Incan tunic from the late 15th to early 16th century.

Figure 3. Left: David Bielander, Koi bracelet, 2013, Los Angeles County Museum of Art, gift of Lois and Bob Boardman, © David Bielander, photo © Museum Associates/LACMA. Right: Mirjam Hiller, Loperenias brooch, 2012, Los Angeles County Museum of Art, gift of Lois and Bob Boardman, © Mirjam Hiller, photo © Museum Associates/LACMA.

Figure 4. Nikki Marx’s Royal Raiment necklace, made from peacock feathers and suede, is set beside a traditional Incan feathered tunic. Photo © Museum Associates/LACMA.
The pieces grouped in the Plastics category may be the most startling of the lot. Plastic’s malleability and versatility are well known, and these jewelers make the most of its properties. Among the plastic creations are a torso-sized “necklace” reminiscent of a superhero costume and a torque necklace by Ann Scott that uses copper and silver. The centerpiece of this section is probably Maharajah’s 6th Necklace, Emiko Oye’s recreation of the treasure made by the House of Boucheron in 1928 for the maharajah of Patiala, India. LEGO pieces are fitted together to stand in for the emeralds and diamonds in the original (figure 5).

Figure 5. Emiko Oye, Maharajah’s 6th Necklace, 2008, Los Angeles County Museum of Art, gift of Lois and Bob Boardman, © Emiko Oye, photo © Museum Associates/LACMA.
As befits such a modern Collection, Beyond Bling is on Snapchat. Here visitors can insert themselves into scenes and virtually “wear” jewelry from the Boardman collection while seeing photos of previous attendees. The multimedia component combines with the show’s modern artistry to make this a truly 21st century jewelry exhibition.

Beyond Bling: Jewelry from the Lois Boardman Collection is on view at the Los Angeles County Museum of Art (LACMA) until February 5, 2017. Admission is $15 for adults, $10 for seniors age 65 and over and students, and free for children age 17 and under. All guests receive free general admission on the second Tuesday of every month. LACMA is open Monday, Tuesday, and Thursday from 11:00 a.m. to 5:00 p.m., Friday from 11:00 a.m. to 8:00 p.m., and Saturday and Sunday from 10:00 a.m. to 7:00 p.m. The museum is closed on Wednesdays. @topic:6