Publish Year: - Title: Bench Tip #8: How to Use the Conduction Soldering Technique Abstract: Conduction soldering technique

The soldering process, used extensively in all aspects of jewelry manufacturing and repair, joins two or more pieces of metal together—and when done properly, will result in a virtually undetectable seam. A better understanding of the soldering process can help you decide how to approach a particular soldering project.

Solder is a metal, usually quite similar to the original (parent) metal of the piece you are working on, that melts at a temperature slightly lower than the original. It is natural to think of the solder as a kind of glue that is heated up to hold two pieces together. But thinking about it this way can lead to problems: If you point the soldering torch directly at the piece of solder to melt it, the solder will overheat, boil, and oxidize. Many times it will stubbornly refuse to melt into the joint, regardless of the amount of heat applied.

For this reason, you can solder precious metal by using a technique called “conduction soldering.” In this process, the parent metal is heated to a point close to its melting temperature. That heat is transferred to the piece of solder, which is drawn into the joint by a process called "capillary action." This makes a strong solder joint by properly bonding the metal.

Follow these important steps to prepare for successful soldering:

Prepare the joint. The two pieces of metal to be joined should fit together well. Soldering works best when the pieces are in full contact with one another. Solder should not be used to fill gaps, because that will lead to weak and detectable joints.

	Do not point the torch directly at the solder. From inside the ring, gently move the flame back and forth below the joint. The heat will be conducted upward, and when the joint area is the proper temperature, the solder will flow.

Use a “firecoat” and flux. Firecoat is a protective coating placed on the surface of the jewelry object to prevent surface oxidation. Soldering without firecoat will often cause discoloration (firescale) that can be very difficult to remove.

Apply the flux directly onto the joint prior to soldering. This chemically cleans the metal surface so the solder can bond with the parent metal.

	Heat from beneath the joint draws solder in to bond with the parent metal (ring shank). The bottom illustration shows the finished ring with no visible solder seam.

After the joint is prepared, heat the object using the conduction soldering technique explained above. Remove the heat as soon as the solder melts—overheating can cause the solder to boil, which will result in a pitted appearance and weak solder joint.

With practice, you can achieve strong and attractive solder joints on your precious metal jewelry. @topic:6


Publish Year: - Title: Bench Tip #2: Make a Plan to Improve Productivity at Your Workbench Abstract: Success as a bench jeweler depends on many factors, but having a plan to continually improve your business is one of the most important ingredients for long-term success.

Try these steps for continual improvement:

1. Start the day with an affirmation: “Today I will make an improvement that will benefit me every day for the rest of my career.”

2. Use a timer, alarm or scheduling software to signal a “continual improvement” break.

3. Each time you get the signal, stop for a moment and jot down observations about things that have hindered productivity.

		Ask yourself: “What irritated me?” “What wasted time?”

		Examples of your answers might be: I couldn’t find my barrette needle file. I had to walk into the other room to ask a question. I had trouble holding on to the item I was working on. My 5.2 mm setting burr is dull.

4. Find the time of the day when you usually feel creative and motivated to evaluate your notes and search for solutions. Try to organize the information into patterns. You may find, for example, that there were several times throughout the day when you couldn’t find a particular tool.

5. Organize your list of “issues” by priority. Which causes the most trouble? Which would yield the most benefit if improved?

6. Pick the highest-priority issue and brainstorm solutions. Ask for suggestions from others. Do some research. Find something you can do TODAY to improve the situation, then take a few minutes to act on your idea. Make tomorrow work better!

If you can embrace the concept of continual improvement, you will see dramatic changes over time. At 250 work days a year, you could potentially come up with 2,500 improvements in the next 10 years! @topic:6


Publish Year: - Title: Books: Treasures from India: Jewels from the Al-Thani Collection Abstract: By Navina Najat Haidar and Courtney Ann Stewart, hardcover, 144 pp., publ. by the Metropolitan Museum of Art, New York, 2014, $40.00.

	India, home to one of the world’s oldest civilizations, is known for its glamorous jewelry and ornamental objects reflecting thousands of years of rich culture. The substantial evidence preserved through sculptures and ancient texts supports the premise that jewelry and objets d’art have long been an integral part of Indian culture. A rare collection of these artifacts was on view at the Metropolitan Museum of Art in New York between November 2014 and January 2015. The exhibition consisted of sixty-three objects dating from the Mughal Period (1526-1858) to present day, some of which were created by luxury brands such as Cartier and JAR. Treasures from India: Jewels from the Al-Thani Collection by Navina Najat Haidar and Courtney Ann Stewart, also the curators of the exhibition, provides insight into this dazzling array of Indian jewelry and its evolution over time.

	The lavishness of Indian jewelry is well known, yet seeing exquisite examples in a single, private collection is a rare occasion. Aspects of India’s jewelry culture reflect a traditional use of precious ornaments as both symbols of social status and as talismans. It would be an understatement to refer to this volume as an “exhibition catalogue.” The authors guide the reader through an intriguing narrative of Indian jewelry, often making connections to major historical events. For example, Anna Tonelli’s watercolor of Tipu Sultan’s throne, completed in 1793 and dismantled after the sultan’s death in 1799, clearly depicts the eight tiger’s head finials around the perimeter of the throne’s base. One of these finials is in the collection. Following the general review of the collection of more than 250 objects and their historical and cultural background, a discussion of the iconic pieces comprising the exhibition is presented in detail with attention given to their origin, style, and functionality.

	The artistry and use of valuable materials, including gold, jade, ruby, emerald and pearl demonstrate the prominence of Mughal civilization in the collection’s older pieces. Some pieces, such as jeweled flasks and large turban ornaments, are of no ordinary size.  They certainly reflect the important status of Mughal rulers. Skillfully carved, embellished and crafted pieces such as daggers, boxes, and body ornaments are presented to the reader with good photography. It is also noteworthy to mention that for almost every piece, the authors include a historical image, such as an old drawing or a painting, to help explain its utility or functionality. One notable piece is the Patiala ruby choker, seen in a 1931 photo of the Maharaja Bhupindra Singh of Patiala with his family members. In the photo, the choker is worn by one of his wives. The choker was one of many pieces that the Maharaja commissioned Cartier to model on older pieces from his treasury.

	As many gemologists may be aware, despite the details given in the history or the style of such collections, the gemstones are generally ignored when it comes to elaborating their identity. Fortunately, it is refreshing to read detailed description of the pieces in terms of style, meaning, and material, especially with specific gem names in this particular book. The later examples in the collection that once belonged to the maharajas reveal the change in taste stemming from a greater Western influence. For example, blue sapphire was never seen in early Mughal jewelry; it was considered a potentially malignant stone due to its association with the malefic planet Saturn. This perception eventually changed, and blue sapphire would achieve popularity among maharajas by the early 20th century, with designers commissioned to create pieces featuring the material for the Indian court. One notable example is a turban ornament or brooch made in 1920, later modified between 1925–1930, for Maharaja Ranjitsinhji Vibhaji. While a 109.5 ct blue sapphire surrounded by diamonds was certainly unusual for an Indian ruler, it makes sense when one understands that the maharaja was a cricket legend who played for the Sussex County Cricket Club. The club’s colors, blue and white, were represented in the ornament.

Treasures from India: Jewels from the Al-Thani Collection is an excellent resource for jewelry historians, gemologists, and lapidarists, all of whom will find plenty of information while enjoying beautiful images of this stunning array of jewelry. @topic:6


Publish Year: - Title: The Great Potential of Diopside in the China Market Abstract: This 5.26 carat chrome diopside, reportedly from Tanzania, was shown to GIA at the 2015 Tucson Show. G&G had previously reported on gem-quality chrome diopside from Merelani, Tanzania. Photo by Robert Weldon, courtesy of Primagem.

                      With the increasing interest in uncommon colored gemstones, more varieties with great potential have made their way into China’s gem market. One of these uncommon varieties is chrome diopside from Russia. Its very saturated, vivid green color makes it a nice, more affordable alternative to emerald. Since its introduction as a beautiful alternative green gemstone, chrome diopside has attracted a lot of attention from Chinese consumers.

Most of the diopside on the market is in readily available commercial sizes, ranging from approximately one half to two carats. However, larger stones can be found, some over five carats. Though Russia is the primary source of gem-quality chrome diopside, deposits also exist in Pakistan, Afghanistan, Italy, Finland, Austria, Tanzania, Madagascar, Myanmar (Burma), and India.

Once mainly described as an emerald alternative, chrome diopside is increasingly being promoted as a gem in its own right. Some domestically and internationally well-known jewelry brands such as Sino Jewel and Enzo have been promoting diopside jewelry since 2013.

Sino Jewel was established in the early 1990s in Shenzhen. It now operates as a group of companies handling jewelry design, manufacturing, wholesaling, and haute couture services. In 2012, Sino Jewel was named by the China General Chamber of Commerce as “China’s No. 1 Colored Stone Jewelry Brand.” In the spring of 2015, Sino Jewel launched a jewelry series called “Crispy Green,” featuring both faceted and cabochon-cut diopside in 18K gold jewelry. The brand also now offers promotional assistance to the trade, providing guidance and display services to retail stores and diopside distributors.

View Gallery

	Diopside Jewelry by Sino Jewel and Enzo
Enzo, a retail jewelry brand under the Hong Kong based Lorenzo Group, is considered by local jewelry professionals to be the leader in colored stone jewelry promotion and trading. Enzo launched a series of 18K gold diopside jewelry at the beginning of 2015, with prices in the $500 to $1500 range. Since the prices of emerald and green tourmaline are comparatively high, diopside jewelry fills in the price gap, making it affordable for the expanding middle class.

	Faceting
Owners of gem-cutting businesses in Shenzhen and Panyu informed the authors that due to diopside’s low hardness (Mohs 5.5) and flat crystal shape, only more experienced gem cutters can handle its processing, and the weight yield is generally low. Diopside is currently one of their main working materials, with faceted stones exported mostly to Hong Kong, Thailand, and the US. They are also witnessing higher domestic demand from well-known jewelry brands. In 2013, when the authors visited the colored stone cutting factory of Hutang Gems & Jewelry Ltd. in Panyu, their main goods were diopside and peridot. The factory also manufactures jewelry mounted with these two stones.

View Gallery

	Processing Diopside in Panyu, China
Hutang was marketing their faceted diopside at the 2015 Tucson show. The company’s owner, Mr. Wu, passionately expressed confidence in the potential of diopside jewelry in China. According to him, increasing quantities of faceted stones have been ordered by domestic jewelry brands in the past two years, but the finished diopside jewelry has not yet appeared on the market. Industry professionals feel that this is because jewelers are stockpiling goods for the right moment to sell, and that time will be soon. Industry media portray diopside as the colored stone rising star in China. Some even bravely predict that this stone has the potential to experience a big price jump, similar to what happened with tourmaline in 2009.

This is one of Hutang’s large faceted stones, displayed at the 2015 Tucson Show. The 12x10 oval weighs 4.86 carats. Photo by Robert Weldon, courtesy of Hutang Gems & Jewelry Ltd

	Sourcing
Gem-quality chrome diopside is mined primarily in eastern Siberia. The so-called Inagli deposit is located in the republic of Sakha. Many Chinese stone cutters, including Mr. Wu, travel to the mines to buy diopside rough. He went to the mine in 2014 and brought pieces of rough from that location to the 2015 Tucson Gem Show. He described the harsh weather and terrain conditions in the mining area that shorten the mining season to only the summer months. This leads to limited supplies and steadily increasing prices.

	The elegant diopside necklace—manufactured by Hutang—is fashioned from gold-plated
	925 silver. The accompanying piece of rough weighs 105.9 grams. It was brought from
	Siberia, Russia, by Mr.Wu, Hutang’s president. Photo by Robert Weldon, courtesy of
	Hutang Gems and Jewelry Ltd.
Mr. Wu expressed his concern with those rising costs. Due to increasing demand from China, rough prices and Russian taxation are rapidly increasing. Chinese buyers have had to pay the tax so their stones could cross the border between the two countries. The delay and the increased cost may be a serious problem that both sides have to face in the near future.

	Summary
As consumers become more aware of chrome diopside, the gem is gradually making its way into the mainstream jewelry market in China. In addition to its attractive color and comparatively affordable price, the stories of exotic sourcing and the gem’s untreated nature are both great diopside selling points. Modern Chinese consumers are more accepting of new stones than ever before. Chrome diopside already has great potential, and it is highly possible that its niche in the rapidly developing Chinese market will grow. @topic:2


Publish Year: - Title: Classic, Funky Cufflinks Reflect 227 Years of Family Tradition Abstract: James Deakin designed these silver Tok Tokki beetle cuff links after a camping trip in Africa. They are called Tok Tokki beetle cuff links because of the noise they make tapping their bodies on the ground.

                      Family history runs deep at Deakin & Francis -- seven generations deep. That’s how long the workshops in Birmingham, England, founded by Charles Washington Shirley Deakin in 1786 have been designing and manufacturing some of the world’s finest cuff links.

Today, Charles’ descendants, James and Henry Deakin, brothers and GIA alumni, own and manage the business.

	Brothers Henry and James Deakin are at the helm of the business created by their ancestor in 1786. Photos by provided by Deakin & Francis
James, director of design and manufacturing, said he feels a sense of responsibility for carrying on the company’s long legacy. His favorite part of being in the family business is “creating products to the very best of our abilities so they will last and be treasured for generations.”

“My father’s parting words before retiring were, ‘Someone out there will always try to make it cheaper than you, but don’t let anyone make it better’,” he said.

Deakin & Francis designs are worn by business people, celebrities and members of royalty worldwide. Styles include gold and silver cuff links that incorporate vitreous enamel and fine gemstones and run the gamut from traditionally shaped (diamond, rectangle and square) to animal-, insect- and sport-themed cuff links, including King Rat, motorcycles and a skull and cross bones topped with a crown.

InStyle magazine featured the company’s “Knockout” cuff links in its December 2012 gift guide and GQ highlighted the bumblebee, pirate and dinosaur cuff links in its January 2013 issue.

“It’s great that our designs are becoming internationally recognized,” James said. “GQ and InStyle magazines are ideal publications for us to be featured in.”

Both brothers attended GIA to enhance their knowledge of design and gemstones: James earned his GIA Graduate Jeweler diploma in 1995 and GIA Graduate Gemologist (GG) diploma in 1996 in Santa Monica; Henry earned his GG and Jewelry Design certificate in Vicenza in 2001. Both worked for Aspreys in New York before returning to the family business.

James said attending GIA was a great way for him to get the bench experience he was seeking.

“All I was interested in at that time was designing and making,” he said. “I use the skills that I learned at GIA every single day. From design to gemology to manufacture, these three courses were tailored exactly to processes I go through every day either in the factory or in meeting with clients.”

Henry, director of sales, said GIA gave him all of the skills and confidence he needed to join the family business.

“I was very young when I started working and my GIA education was a great help in reinforcing confidence in my abilities, not only for myself but also for my customers,” he said. “When I am talking with them I am able to understand their needs and advise them on the best designs, materials and stones to fit their specifications.”

These days the brothers are focused on coming up with new ideas and designs to keep the family business competitive.

“We have found that continually redesigning the collection of products we offer and not worrying about what other companies are doing has kept us ahead,” Henry said.

That includes going with your gut inspiration and being prepared to be wrong -- and being happy to be different, James said.

“Some of my weirdest designs have become our best sellers,” he said. “I originally drew them for myself out of curiosity to see what they would look like. Some of these designs have made their way into the world’s best stores.” @topic:6


Publish Year: - Title: Incredible Insects Abstract: View Gallery

Some have wings. Some have six legs. Some can fly. They’re insects, and they come in a stunning variety. At last count, scientists have identified more than 925,000 species of insect. They elicit a wide range of emotions in people – from repulsion to fascination – and in the hands of imaginative jewelry designers, they become majestic monarchs decorated in diamonds, rubies, pearls, and other spectacular gemstones.

Just as a caterpillar turns into a butterfly, master jewelers take raw elements and transform them into wearable works of art. Put aside whatever preconceptions you may have about insects, and prepare to step into another world – one that you have passed by countless times but may not have ever noticed.

	Bizarre Beetle
This antique (circa 1865) Egyptian scarab pendant watch is crowned with a pharaoh’s head of carved carnelian and a headdress of green and blue enameled gold. Dangling from the head is an enameled scarab with ruby eyes and diamonds set in the wings. The underside of the scarab is also realistically engraved – the finishing touches of an exceptionally complex piece.

	Photo courtesy Mona Nesseth and Michelle Laurenti

	A Pearly Caterpillar
Making a caterpillar out of pearls is a leap of creative genius. The body of this bug brooch is two large freshwater pearls that are naturally fused together (50 x 40 mm, weighing 40.4 grams) and a Keshi pearl; the head is a medium-dark gray Keshi pearl. Nine bezel-set cabochon rubies stud the body of the caterpillar. The leaf on the lower right is another freshwater cultured pearl; the leaf above it has 27 round-cut dark-green sapphires. This caterpillar is so beautiful that it doesn’t need to turn into a butterfly.

	Photo © GIA and Tino Hammid, Gift of Avi Raz, A&Z Pearls, Inc.

	Celeb Spider
Hollywood designer Tony Duquette shows how far the imagination can reinvent a common bug with his “Phoenix Spider.” With her pearled head, hanging sack, undulating golden limbs, and enamel-flecked legs, this combination brooch and pendant is a fanciful creation by the famed set designer. A goddess ready to feast or to give birth to a new brood, although not an insect, she is the queen of her realm.

	Photo courtesy The Anthony & Elizabeth Duquette Foundation for the Living Arts

	A Streamlined Moth
An Art Deco moth? Sounds strange, but that’s what you’re seeing. The layered metal gives the brooch an architectural feel of the era. The angular lines of the wings make it look as if it were in flight. The dazzling opal appears a bit surreal. So much for thinking that moths are the ugly stepsisters of the insect kingdom!

	Photo courtesy Wallace Goldsmithing

	A Praying Mantis, Immortalized in Gold
How many unusual elements are in this Praying Mantis? This objet d’art is a solid silver cast of a real Praying Mantis (a dead one was used to make the mold). This makes it an exact replica of the original. The bottom wings were made using the ancient and difficult Japanese mokume gane technique – “welding thin layers of different metals…without solder and flux.” A wood grain look is the tell-tale sign of mokume gane. The upper wings were the artist’s inspiration. Now the finished piece probably decorates someone’s desk – or is out hunting for metallic prey.

	Gift of Robert F. Officer @topic:6


Publish Year: 2014 Title: Books: Jewels of the Romanovs: Family & Court Abstract: By Stefano Papi, 352 pp., hardcover, illus. publ. by Thames & Hudson, 2013, $75.00.

              Stefano Papi’s Jewels of the Romanovs: Family & Court is a study of the Russian dynasty’s jewels and its gilded world at the turn of the 20th century. In this second edition, published to commemorate the 400th anniversary of the Romanov empire, Papi examines a wide range of items, from the crown jewels to intimate personal gifts made by court jeweler Carl Fabergé. Papi specializes in European jewelry and has worked for both Sotheby’s and Christie’s as a jewelry specialist; his expertise in the field of historical jewelry, plus his gemological background, make for fascinating reading.

For the reader who enjoys the history of Imperial Russia, this book offers a rich treasure trove of archival photos of the Romanovs and members of their court. The photos show not only the formal life of the royals but also intimate everyday scenes, giving a glimpse into the personalities behind the titles. Papi delves into the unique people who populated the royal circles, as well as the artists whose work adorned them. This book gives the reader an intimate look into the lives and personalities of early 20th century Europe. Navigating the family tree of European royal houses is no easy task, but Papi does a fine job of connecting the dots as he introduces the various characters. The history buff will enjoy both the images and the unique, colorful stories the author weaves.

For those interested in gems, this book offers archival and modern photos of some of the most beautiful and impressive jewels ever created. These are supplemented with compelling descriptions and stories of the jewelry’s provenance. The reader is taken on an incredible journey of intrigue and romance that crosses the globe and includes such stones as the 189.62 ct Orlov diamond in the Imperial Scepter, as well as the 400 ct spinel in the Great Imperial Crown. Pieces of jewelry are often accompanied by an archival photo or painting of the owner wearing the piece. Included in this volume is a beautiful color photo of a kokoshnik, or traditional Russian headdress, made with diamonds and large cabochon emeralds by the court jeweler Bolin. A black-and-white photo shows Queen Marie of Serbia wearing it, along with diamond earrings weighing 20 carats each. Over the years, some pieces have been lost or broken up to make other pieces, so these illustrations serve as a historical record.

The book is illustrated with masterpieces by the greatest jewelers of the time: Cartier, Bolin, Boucheron, Chaumet, Lalique, and, of course, the venerable Fabergé. They all catered to the courtiers of St. Petersburg. One of the prominent personalities at court was Maria Pavlovna, the Grand Duchess Vladimir. Married to Grand Duke Vladimir, brother of Alexander III, she was known for her collection of magnificent jewels. There was not one prominent jewelry house in St. Petersburg, Paris, or London that did not know her. She was one of their most important clients, famous for her glorious balls and dinner parties that rivaled even those at the Imperial court.

During the Russian Revolution, Empress Alexandra managed to get her major jewels out of the country. Some smaller treasures, including Fabergé cigarette cases and her husband’s cuff links, were stuffed into pillowcases and smuggled by a friend to the Swedish embassy. They remained stored in the basement of a government building in Stockholm until they were discovered in 2009. Sotheby’s sold off this treasure trove, along with the two pillowcases, in November of that year. One of the book’s more memorable photos shows several of the Fabergé cigarette cases on top of the pillowcases. This adventure is just one of many that enhance the history of the jewels in this book.

Of course, the story of the Romanovs ended tragically. Papi devotes the final two chapters to the last days of the royal family, documented in photos, and the final dispersal of royal treasures by the Bolsheviks. Many pieces made their way into American collections through dealers such as Wartski in London and Armand Hammer in New York. If only these jewels could speak, what stories they might tell! Stefano Papi has created a well-researched, beautifully illustrated book that gives them voice. @topic:6


Publish Year: 2005 Title: Summer 2005 G&G Book Reviews Abstract: “101 Bench Tips for Jewelers”
By Alan Revere, 120 pp., illus., publ. by MJSA/AJM Press, Providence, RI, 2004. US$42.95 ($36.50 for MJSA members)

“Identification of Gemstones”
By Michael O’Donoghue and Louise Joyner, 313 pp., illus., publ. by Butterworth-Heinemann, Oxford, UK, 2003. US$59.95

“Minerals and Their Localities”
By Jan H. Bernard and Jaroslav Hyrsl, edited by Vandall T. King, 807 pp., illus., publ. by Granit, Praha, Czech Republic, 2004. US$145.00

“Masterpieces of the Mineral World: Treasures from The Houston Museum of Natural Science”
By Wendell E. Wilson and Joel A. Bartsch with Mark Mauthner, 264 pp., illus., publ. by The Houston Museum of Natural Science and The Mineralogical Record in association with Harry N. Abrams Inc., New York, 2004. US$75.00

To view the full section, download the PDF above. @topic:6


Publish Year: - Title: The Timeless Allure of Art Deco Abstract: Tutti Frutti (bold color contrasts using carved gemstones) dazzles in this bracelet, brooch, and lapel watch by Mauboussin.  Jewelry courtesy of Kathryn Bonanno.

                      The Roaring Twenties – It’s a time that still fascinates us.

Autos, the radio, the telephone, and the motion picture became cultural fixtures. Skyscrapers sprung up in major cities. Jazz rang from speakeasies in Harlem. Charles Lindbergh made the first non-stop transatlantic flight. F. Scott Fitzgerald, Ernest Hemingway, Coco Chanel, Duke Ellington, Babe Ruth, and Charlie Chaplin commanded the cultural stage, their fame fueled by the rise of the mass media.

The role of women was also changing. Entering the workforce en masse during World War I, women gained the right to vote in 1920. Flappers – women who wore short dresses and short hair – were the new standard bearers of fashion, shocking society with their scandalous behavior. And they wanted a new style, something that was not like the frilly, traditional jewelry of the Edwardian and Art Nouveau eras.

Such was the setting for the arrival of Art Deco – a style that celebrated the machine age. Sleek ocean liners, streamlined trains, and towering skyscrapers were favorite images to express this: they symbolized prosperity, and progress, and the belief that technology was the cure for all ills.

The term “Art Deco” – the period lasted from the 1920s through the 1930s – came from Exposition Internationale des Arts Decoratifs et Industrials Modernes, an exhibition of decorative arts held in Paris in 1925. Jewelry was one of the featured items, and the judges selected geometric, linear pieces that celebrated modern industry.

	This Art Deco poster of a train conveys the power of technology and progress.
To give objects a futuristic look, Art Deco artists used vertical lines and geometric shapes (arcs, circles, triangles, squares, rectangles, etc.) in repetitive patterns. The Chrysler Building in Manhattan is a classic example of Art Deco architecture, and features a number of these design elements.

	The Chrysler Building is an Art Deco masterpiece.
Jewelry designers were very much a part of the Art Deco movement. Departing from the organic curvilinear flourishes that belonged to the earlier movement, Art Nouveau, these designers embraced the vertical line and simple, repetitive geometric patterns. The purpose was to evoke elegance and sophistication.

Art Deco jewelers used platinum and white gold, geometric shapes, and vivid color, contrasts to capture the spirit of the time. Diamond cuts in geometric shapes such as the baguette, triangle, trapeze, and half-moon became popular in Art Deco jewelry.

	Art Deco chandelier earrings made with platinum, emeralds, sapphires, and diamonds.
Advances in stone cutting allowed jewelers to make complex pieces, like this platinum, sapphire, and diamond pendant/brooch shown below.

	Brooch courtesy of Frank Goodman & Son, Los Angeles, CA.
A significant event in the Art Deco movement was discovery of King Tut’s tomb in 1922. Egypt’s art and architecture were exotic – fresh inspiration to artists schooled in old-world masters like Michelangelo and Rembrandt – and Art Deco practitioners readily borrowed motifs from it and other ancient civilizations that were being unearthed.

	Buckle courtesy of Ginger Moro.

		Art Deco artists were simultaneously taking from the past and looking to the future. This was a unique combination, and created a distinctive style that gripped the imagination of the public.

		Robert Ackermann, instructor of Jewelry Manufacturing Arts, GIA, Carlsbad.

The timeless beauty of Art Deco and its promise of a bright future is what captivated the flappers – and it still speaks to us. F. Scott Fitzgerald poetically expressed this sentiment in The Great Gatsby: “Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . So we beat on, boats against the current, borne back ceaselessly into the past.”

Tips for designing and selling Art Deco jewelry

		Art Deco was defined by the vertical line and repetitive geometric shapes. Use them to design Deco-inspired pieces. Let your customers know how these design elements create a sleek and sophisticated look.

		Art Deco jewelry often has dramatic color contrasts. Perhaps this was an expression of optimism towards the future, or a welcome change from the pastels of the Art Nouveau era and the typical absence of colored stones in most Edwardian-Era jewelry. Use of bold, contrasting colored gemstones or enamel in your pieces can evoke the Art Deco style.

		Art Deco artists freely borrowed design elements from ancient cultures. The contrast of the modern and the old made for fascinating works. Customers are likely to find this interesting. You can also incorporate ancient motifs to add pizzazz to your designs. @topic:6


Publish Year: - Title: Books: David Webb – The Quintessential American Jeweler Abstract: By Ruth Peltason, 367 pp., illus., Assouline Publishing, New York, 2013, $85.00.

                      In this large-scale, impressive look at David’s Webb life and work, Ruth Peltason opens a window into the artist’s world.

A native of North Carolina, David Webb apprenticed as a jewelry manufacturer during his teenage years before moving to New York City. There he made his name and fortune creating unforgettable jewelry and objets d’art for the elite from the 1950s through the early ’70s. The women of style and glamour who wore his jewelry included the Duchess of Windsor, Elizabeth Taylor, Barbra Streisand, Jackie Kennedy, and Estée Lauder. Webb’s design style is unmistakable yet varied. His pieces are almost exclusively bold and substantial, with designs that range from geometric to naturalistic forms. Many feature bright, bold color in the form of gemstones and enamel, while many others are monochromatic. All share a fine attention to detail and amazing workmanship, serving to highlight the designer’s creative vision.

As famous as his jewelry became, the designer himself was rarely seen, seldom heard from, and almost never photographed. Webb allowed his jewelry to speak for itself, as his company continues to do almost 40 years after his death. Therefore, I found the writing notable for what is revealed about David Webb himself. As he often purposefully placed himself in the background, one seldom gets to read about his personal life. And with chapters such as “Crazy for Color,” “Elegance Supreme,” “Solid-Gold Fun,” and “Animals as Decoration & Heavenly Delight,” Ms. Peltason manages to capture every mood that Webb’s jewelry might convey. The large, high-definition images prove that no detail is too small to escape the fine attention of Webb’s present-day jewelers, who are all accomplished craftspeople in their own right.

David Webb – The Quintessential American Jeweler is highly recommended for followers of fine jewelry and design history in general. @topic:6


Publish Year: 2013 Title: From a Snowflake to an Iceberg: The McFerrin Collection Abstract: The McFerrin’s have one of the largest private collections of Fabergé objects and the exhibit contains over 350 items from their collection. This book was published on the occasion of the exhibition “Fabergé: A Brilliant Vision,” part of the McFerrin Collection at the Houston Museum of Natural Science.

In addition to descriptions and provenance of the items on display, this work contains essays on: the history of Peter Carl Fabergé and his businesses in St. Petersburg and Moscow, as well as of the Romanov family; the meaning and significance of imperial awards, gifts and objects; and Fabergé’s jewelry, animal and flower carvings, picture frames, fans, parasol and cane handles, eggs, bell pulls, cigarette cases, and more. There is also some information on designer Alma Pihl and his workmasters. Of course, this all accents the book’s wonderful photography.

The McFerrins’ belief in education and sharing their knowledge is mirrored by the book’s contributors, whose essays are each accompanied by a bibliography and provenance.

Reviewed by GIA Library Staff
Carlsbad, California @topic:6


Publish Year: - Title: Books: Jewels by JAR Abstract: Essay by Adrian Sassoon, 144 pp., illus., publ. by the Metropolitan Museum of Art, distributed by Yale University Press, New Haven and London 2013, US$40.00. The JAR butterfly brooch (1994) is from a private collection. Photograph by Katharina Faerber, courtesy of JAR, Paris.

                      Joel Arthur Rosenthal is not a household name. Yet to many in the jewelry industry, the designs he creates for his jewelry house, JAR, are legendary for their innovation and artful use of color. Established in 1978, JAR is synonymous with quality and style. Alongside business partner Pierre Jeannet, Rosenthal has built a firm whose reputation is rooted in beauty, discretion, attention to detail, and deeply personalized service. Jewels by JAR was created to accompany the retrospective of the same name at the Metropolitan Museum of Art in New York City.

The book opens with a dedication by Rosenthal himself, with a foreword by Thomas P. Campbell, director of the Metropolitan. The main text is an engrossing essay by art dealer Adrian Sassoon on Rosenthal’s career. The essay will be particularly interesting to followers of the notoriously publicity-shy Rosenthal.

The remainder of the book consists of page after page of fabulous color images depicting handcrafted JAR creations. While one finds copious amounts of luxurious gems, gold, and platinum in his jewelry, Rosenthal has never limited his creations to so-called precious materials. Materials such as beetle wings, wood, resin, enamel, bronze, and aluminum have been used to complete his artistic vision. The success he has achieved is obvious in each photograph, deepening this reader’s lament that she did not have the opportunity to view the exhibit in person.

Even the pieces’ presentation boxes do not escape the discriminating eye of the designer. The interior of a given box might be custom-lined with suede of a color meant to complement the jewel it will hold. Box lids are often embossed with the owner’s initials, serving as a reminder that each JAR creation is indeed one-of-a-kind.

Truly lovely to look at, with an interesting text, Jewels by JAR is a “must-read,” not only for serious collectors of Rosenthal’s work, but for anyone interested in jewelry and jewelry design. @topic:6


Publish Year: - Title: The Hidden Beauty of Gemstones Abstract: View Gallery

Gemstones are stunning to behold, yet there’s a world of breathtaking beauty invisible to the naked eye.

Using powerful microscopes and cameras, GIA researchers have photographed numerous gemstones at magnification up to 1,000 times larger than seen with the unaided eye (this magnification would be notated as 1000x). GIA researchers like John Koivula, a pioneer in the field, have used photomicrography to document inclusions in gems. These gemological “fingerprints” tell the story of a gemstone and often reveal if a stone is natural, synthetic, or treated.

Photomicrography has another benefit. Since gem minerals have a high degree of transparency, they serve as geological time capsules. By documenting inclusions contained in them with photomicrography, geologists can study the genetic environment in which a mineral grew. Sometimes this reveals the part of the world where a gem originated. Photomicrography serves invaluable scientific purposes. It also makes for absolutely stunning images.

			GIA education uses photomicrographs to illustrate inclusions. These reference photomicrographs help students determine if a stone they are examining is natural, treated, or synthetic.

			Nathan Renfro, lead analytical specialist, Laboratory Identification Services, GIA @topic:8


Publish Year: - Title: Finding Inspiration Seeing Ordinary Things in an Extraordinary Way Abstract: Cuff bracelet image courtesy of Erik Stewart, GIA GG

                      Where do jewelry designers find inspiration?

Some look to influential movements of the past, like the Art Nouveau, Edwardian, and Art Deco eras. Others wander through museums and art galleries and browse through art books, journals, and magazines. And some turn to everyday objects, overlooked items, and curious places.

“Our environment is filled with beautiful things, but because we pass them all the time, we stop noticing them. Inspired jewelry designers are able to translate these overlooked everyday items into symbolic reconfigurations of wearable art,” said Katey Brunini of K. Brunini Jewels.

Here we look at five pieces of jewelry whose inspiration came (or might have come) from looking at ordinary things in extraordinary ways.

Follow the Cobblestone Road

	Bracelet courtesy of Neil Lane, Inc.: Beverly Hills, California.
Look at this circa 1933 Cartier diamond baguette bracelet and the cobblestone road. Now take a trip with us.

We imagine a jeweler in some old European city walking down a similar street to his shop. This day, he suddenly notices the beauty and workmanship of the road right beneath his feet. The tight setting, interlocking stones, and mosaic feel of the cobblestone street inspires him to make this bracelet.

Bridging Styles

Graduate Gemologist Erik Stewart shares the story behind Transit, which received 2nd place in the 2012 Saul Bell Design Awards, Gold/Platinum/Palladium category.

“I was in New York to receive an award, and was doing the touristy thing. I wanted to see the Brooklyn Bridge, while at the same time I had these jewelry concepts rolling around in my head. The Brooklyn Bridge really moved me, and its cables clarified design ideas for an original piece of jewelry.”

Stewart explains what went into making the piece: “It took two months of planning and two weeks of working day and night to create Transit. The stainless steel cables on the bracelet are meant to evoke the Brooklyn Bridge. They also give the piece a tactile feel – you can play the strings like a guitar.”

Antique Twins

Did this 19th-century pin inspire the designer of this antique mirror? Or did the mirror inspire the designer of this pin?

The makers are gone, so we’ll never know the answer, but it’s not far-fetched to think a jewelry designer used a similar mirror every day. The oval shape of the mirror, its gentle curving lines, decorative ferns and leaves, and notched wood around the glass could have been the inspiration for the nearly identical-looking pin.

The soft, feminine lines of this classic pin has made it a staple of jewelry wearers. Countless women own similar pieces, which have been passed down from one generation to the next.

These two antique pieces also show that the influence of everyday objects extended far beyond the little space they occupied.

	Brooch courtesy of Mary Mathews.
Reinventing Canyons

The title of Richard Kimball’s 36,000 Ft. Above Flaming Gorge brooch (below) tells the designer’s inspiration: a 91-mile stretch of water that slices through a canyon running from Wyoming to Utah. Seeing Flaming Gorge from the vantage point of a plane etched a vivid image in the artist’s mind.

“36,000 Ft. Above Flaming Gorge has an organic and natural feel, yet it also has very edgy, futuristic lines. It’s an unusual combination, and it shows that our imagination can reinvent what we see in extraordinary ways,” observed GIA Exhibit Developer McKenzie Santimer, GIA GG, GJ.

Kimball’s piece is part of the GIA collection and is featured In the museum’s current Birthstones exhibit.

	Gift of Richard H. Kimball.
A Blossoming Personality

	Ring courtesy of Nancy’s Collection.
Zoltan David’s AGTA Spectrum Award winning ring, Homage to Nancy, features a large, intense orange spessartine garnet (20.85 ct) – cupped by four platinum ‘petals’ studded with 320 round brilliant cut tsavorite garnets, and edged with 24K gold. The gold was set using Zoltan David’s patented metal ornamentation technique.

“The design for Homage to Nancy was inspired by a client and friend of mine who had a personality that was always blossoming. She was in a constant state of unfolding – always coming into something greater and more glorious – much like a Morning Glory,” said David.

“The orange spessartine garnet also seemed to be an appropriate choice for my friend. Just like her, the gemstone bursts with color and light,” added David.

David’s ring is currently displayed at the GIA Museum in Carlsbad. @topic:6


Publish Year: - Title: Ceramic Ring Donation: A Teaching Tool for Students Abstract: Etienne Perret’s black concave Saturn ring shows how the designer uses ceramic as a cost-effective alternative to metals. The ring will soon be part of the GIA Museum collection. Photo by Ron Saltiel.

	Designer Etienne Perret, GG, known for his colored diamond jewelry, is a pioneer in the use of ceramic as a cost-effective design alternative to platinum, gold and other precious metals. Perret’s innovative work will soon shine at GIA with the addition of a black concave Saturn ring from his Ceramique collection to the GIA museum – and eventually the Institute’s classrooms – this fall.

	The 12mm-wide ring features an 18K yellow gold band that has been welded onto the ceramic and set with 36 heat-treated sapphires in a variety of colors. It is the first ceramic piece to be featured in the museum and the second donation from Perret, who earned his GG in his spare time through correspondence classes in the 1970s and 80s while working as a jewelry store owner and manager.

	A desire to have ceramic jewelry represented at GIA made Perret decide to donate the ring. “I believe strongly in the GIA Museum,” he said. “I’ve gone to Carlsbad and spent time there and in the library. They’re fantastic for the jewelry world and the general public as well, and go far beyond benefiting the students.”

	Perret’s work with ceramic extends the boundaries of what can be done with new materials and technology, according to Mark Maxwell, manager of the jewelry manufacturing arts program.

	“He’s the most prominent name not only in the use of ceramic, but also in the contemporary metals field. This piece in platinum or gold would be double or triple the price,” Maxwell said. “In turning to ceramic, Perret is making fashion more affordable for today’s more cost-conscious times.”

	Perret’s career spans decades and is marked by a number of accolades, including two Diamonds of Distinction awards, but it is his Ceramique collection that has been making waves in the jewelry industry in recent years. He perfected the art of working with the extremely hard gem-like substance using gem cutting tools to create ceramic designs in a variety of colors, although he prefers traditional black.

	Perret uses zirconia ceramic, which is mined in an ecologically friendly manner and originates in the zircon sands of Australia. First developed for aerospace and other high-tech industries, it is used in everything from kitchen knives to dental and joint implants. With a rating of 8.7 on the Mohs scale, zirconia ceramic has a hardness that is nearly equal to that of sapphire, which gives it high durability and protects it from scratches and other damage.

	“For our students, this donation is an incredible gift, and the plan is for the piece – like others before it – to eventually work its way into the classroom,” Maxwell said. “There’s no other educational institution in the world that gives its students the chance to not only see, but to also physically hold, creations such as this.”

	It’s important for students to understand the history and innovations of the past and to also explore the new frontier that designers such as Perret represent, Maxwell added.  “We’re thrilled to have the ring on display and available for our students to study.” @topic:6


Publish Year: 2013 Title: Book Review: From a Snowflake to an Iceberg: The McFerrin Collection Abstract: The 1902 Kelch Rocaille Egg. All 7 Kelch eggs created by Michael Perchin, Faberge's 2nd head workmaster; St. Petersburg. Height: 12 cm, Length: 14 cm. Given by Alexander Kelch to his wife Barbara Kelch-Bazonova. Image courtesy the Houston Museum of Natural Science.

              The McFerrin’s have one of the largest private collections of Fabergé objects and the exhibit contains over 350 items from their collection. This book was published on the occasion of the exhibition “Fabergé: A Brilliant Vision,” part of the McFerrin Collection at the Houston Museum of Natural Science.

In addition to descriptions and provenance of the items on display, this work contains essays on: the history of Peter Carl Fabergé and his businesses in St. Petersburg and Moscow, as well as of the Romanov family; the meaning and significance of imperial awards, gifts and objects; and Fabergé’s jewelry, animal and flower carvings, picture frames, fans, parasol and cane handles, eggs, bell pulls, cigarette cases, and more. There is also some information on designer Alma Pihl and his workmasters. Of course, this all accents the book’s wonderful photography.

The McFerrins’ belief in education and sharing their knowledge is mirrored by the book’s contributors, whose essays are each accompanied by a bibliography and provenance.

Reviewed by GIA Library Staff
Carlsbad, California @topic:6


Publish Year: - Title: Grads Offer Career Advice to Students Abstract: From left, Matthew Coleman, Nicolette Kovacevich, Jeremy Dunn and Sonny Blaze. Photo by Kevin Schumacher/GIA.

		Stay relevant. Network. Make your presence known. Keep learning.

		These are some of the topics four GIA graduates touched on as they talked about how they built successful and fulfilling careers at a recent student presentation. Each shared a little bit of their background, including their experiences before and after attending GIA, and how they use what they learned on the job every day.

Take advantage of GIA resources while you are a student.

		“Get involved with the Student Body Council (SBC),” urged Matthew Coleman, a Graduate Jeweler Gemologist, sales executive and watch advisor at Harry Winston, at South Coast Plaza in Orange County, California.

		Coleman, president of the SBC while he attended GIA in Carlsbad, said the experience gave him not only the opportunity to go on field trips to the Pala Mines and other student activities, but the chance to network with students and staff. Those relationships yielded two very positive outcomes: help opening doors at Harry Winston and the chance to attend a classmate’s wedding in India.

		Sonny Blaze, who has a GG and many design-related diplomas from GIA, has extensive experience in the industry, including high-end retail and grading diamonds for GIA. He is the in-house CAD designer for Eichberg Jewelers in Los Angeles and designs his own line for Sonny Blaze, Inc.  He encouraged students to take advantage of the resources they have while in school.

		“Never stop learning, take advantage of what you have here,” he said, listing the GIA job search engine, staff and classmates. “Always surround yourself with brilliant minds and people who are successful. Learn from them. Let yourself be nourished by the knowledge of people who have been there, people with experience.”

		He also encouraged them to stay on top of new technologies and techniques. “Always keep learning,” he said. “Whatever you decide to be – be a good one and you will succeed.”

Trust yourself and act with confidence.

		Nicolette Kovacevich, GG and manager of the fine jewelry division of Omi Privé in Los Angeles, told students that, from her perspective, the gem and jewelry industry runs on two things: relationships and trust.

		“If you have trust and confidence in your own knowledge, other people you work with or come in contact with will see that and trust you as well. That will only build your relationships more,” she said. “You have to soak up everything you can … and not just while you’re at GIA, but throughout your career.”

		Coleman reiterated her message by sharing his experience jumping from $700 price points to $25,000 price points and higher.

		“When my customers come in the door, it’s not about price, it’s about passion for what I’m doing and confidence in myself to be able to show the value of what I’m selling ‒ and for people to understand it,” he said. “I don’t have to sell Harry Winston jewelry – I have to sell why it costs so much, why the value is there, what our history is and why they should trust me. You need to be able to be confident and to be knowledgeable so the person who is spending the money with you trusts you.”

		Kovacevich also offered advice as a young female in a male-dominated industry.

		“Stand your ground, be firm, don’t take things personally. Have confidence and faith in yourself,” she said. “It will help you move forward and grow as a person, too.”

Learn to court people who can help you.

		“It’s important to not just have the education, but to realize that all of the relationships you have – whether it be at GIA or the people you meet after – is a courtship process that lets people know who you are, what you stand for and what you represent,” said Jeremy Dunn, GG, a designer, gold/platinum smith, hand engraver and the gemstone director for Green Lake Jewelry Works in Seattle, Washington.

		Dunn told students how he was able to get a bench jeweler to take him on as an apprentice by offering to sweep the floor of his shop. From that point forward he did whatever he could to help him and eventually worked side-by-side with him at the bench.

		He said it can be challenging to win over a reluctant teacher.

		“People think you are going to take the lessons they taught you and you’re going to walk,” he said. “You need to show them that you not only care about learning the craft, but potentially care about them or are interested in caring about them. Get to know them, let them know you are interested, ask them questions about themselves.”

		Kovacevich stressed the importance of humility.

		“Don’t be above anything or anyone,” she said. “You have to humble yourself in this industry and make it known you want to learn. Give back and show you have respect for the person teaching you.”

Network. Network. Network.

		“You can’t keep to yourself when you are working, you have to communicate with people,” Coleman stressed. “Practice while you’re here at school. Be open, introduce yourself to everybody. It’s worth getting involved with and meeting these incredible people.”

		Blaze advised students to talk about what they are passionate about when they are trying to network. “I’m not really social, but when I’m nervous, I talk about jewelry, and it always helps,” he said.

		“No matter where you are, you have to continually strive forward and network and meet people in our industry,” Dunn said, who is also the president of GIA's Seattle alumni chapter.

Be the best you.

		All of the grads acknowledged that they didn’t always know what was around the corner for them, but said that if you love what you do and work hard, respect others, focus and be open to meeting new people, you will end up where you need to be.

		 “If you’re worried about what your next step is, just put your head down, get into your work and stay focused until you can be the best you are,” Dunn said. “When the time comes, recognition will happen.” @topic:12


Publish Year: 2024 Title: William Ruser: The Jeweler Who Charmed Hollywood Abstract: Jeweler William Ruser owned a prestigious store on Rodeo Drive in Beverly Hills during Hollywood’s golden age.
A new book by Judy Colbert and Peggy Tsiamis chronicles the life of “Jeweler to the Stars” William Ruser, best known for his whimsical figural jewelry with freshwater pearls. Ruser’s celebrity clientele included Frank Sinatra, Elizabeth Taylor, Joan Crawford, and Ronald Reagan during Hollywood’s golden age. With little published about Ruser, the research and interviews conducted for the book reveal personal and professional details about the jeweler and his business on Rodeo Drive in Beverly Hills. The book (see above) also features more than 100 images. William Ruser: The Jeweler Who Charmed Hollywood is available through the GIA store (https://store.gia.edu/collections/history-lore). @topic:6


Publish Year: 2020 Title: Carvings from Bali Abstract: Figure 1. These miniature opal carvings are favored by designers. They are hand-carved in Bali from different varieties of Australian opal. Photos by Tao Hsu and Jennifer Stone-Sundberg.
Picturesque beaches and lush green jungles are not the only attractions that make Bali the most popular tourist destination in Indonesia. The local carving tradition, derived mostly from woodcarving, adds a layer of artistry and craftsmanship to this tropical paradise. Now many carvers there are also involved in different types of gem materials.
At the GJX show, the author found some authentic and attractive Balinese carvings of Australian opal, mammoth tusk, and bovine bone. Mr. Terry Coldham from Intogems brought opal carvings of pendant sizes, which are highly desired by jewelry designers (figure 1). Mr. Coldham utilizes rough from different Australian mining areas, primarily black and white opal, but some crystal opal as well. The carvings feature natural themes such as plants, flowers, and animals, as well as profiles of faces from different cultures. The carving style includes both relief panel and three-dimensional sculpture. Some pieces show color blocks being skillfully arranged, a technique commonly used by the Chinese in jade carving. The quality of the rough dictates the price, ranging from hundreds to thousands of dollars for each finished piece. According to Mr. Coldham, opal carvings have sold well over the past several years. He enjoys working with the Balinese carvers and added that after a couple of years of collaboration, the products have improved to better fit the international market.

Figure 2. Balinese carved mammoth tusk of a garden goddess. Photo by Tao Hsu.

Figure 3. Bovine bone carvings are usually dyed to show vivid colors. The color is stable over many years. Photo by Tao Hsu.
Another exhibitor that caught the author’s eye is Susan Tereba. Ms. Tereba moved to Bali over 30 years ago and still lives there today. She brought to the show amazing hand-carved mammoth tusk and bovine bone. Ms. Tereba appreciates the remarkable talent of the Balinese carvers, who are fast learners and can easily grasp themes that are not indigenous. These exquisite carvings also show a wide variety of motifs, with animals and goddesses the most popular and some pieces are gem studded (figure 2). The bovine bone carvings are dyed, and according to Ms. Tereba the color is very durable and resistant to wear (figure 3). Jewelry designers and hobbyists are her main clients.
Watch videos of Terry Coldham and Susan Tereba displaying Balinese carvings:

	Terry Coldham displaying Balinese opal carvings

	Balinese carvings by Susan Tereba @topic:6


Publish Year: - Title: Jeweler Creates ‘Medal of Honor’ Pin to Recognize Coronavirus Health Care Fighters Abstract: The Defeating the Coronavirus pin by Franco Valobra and his team at Valobra Master Jewelers. Valobra is making a gift of this pin to front line heath care workers taking care of COVID-19 patients. Photo courtesy of Valobra Master Jewelers

Franco Valobra, like many of us, stayed home during the global coronavirus pandemic. New Orleans, which was hit hard and fast by the virus in the early days of March, ordered businesses to shut down March 15 and Valobra quickly closed his boutique on Royal Street.
“I vowed to keep all of my staff on full payroll and I did the same for our showrooms in Houston and Switzerland,” he said. The Lugano, Switzerland boutique closed first, in early March, because of its proximity to Lombardy, the region hardest hit in Italy. “Fortunately none of my staff and family have been infected by the virus, but I have had lots of friends’ families in Italy who directly experienced the malignity of COVID-19. Thankfully, no one has died.”
Valobra, restless at home in his living room “quarantine office,” watched the images of front line health care workers and first responders fighting to save lives. He also saw people around the world sharing expressions of gratitude for their immense sacrifice and commitment.
“The passionate serenading from balconies, the protracted applauses from windows and the flyovers of the Air Force jets, are, indeed, great pronouncements of universal gratitude and heartfelt appreciation,” he said. “But the musical notes are so regretfully and quickly lost in the air and the rumble of the airplanes turns into fleeing plumes of jet exhaust.”

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Valobra, a GIA graduate, wanted to create a more durable symbol of gratitude for health care workers fighting the coronavirus.
“It took me no more than a few minutes to conceptualize the ‘Defeating the Virus’ pin,” he said. “I had a clear image of the symbol of medicine (the caduceus, a commonly used symbol), stabbing through the coronavirus, but also clearly towering over and overpowering it. The ratios needed to be better than 2:1 — the caduceus being at least twice as big as the virus.”
Once the final drawing was done, Valobra asked his in-house CAD designer to create a rendering and his team of bench jewelers in Houston (which re-opened on May 1) started to manufacture them. The pins are completely hand-made and cast in sterling silver and then are gold-plated. Each features a round garnet, the gemstone that symbolizes health and crisis resolution.

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The team has been able to produce 25 to 35 pins a day and to-date more than 500 have been shipped all over the world: Saudi Arabia, Pakistan, Israel, Canada, Italy, most countries in Europe and virtually every state in the U.S., including Alaska. All of the pins are a gift from Valobra to the recipients.
“Naturally lots of them were sent to Texas, Louisiana and New York,” Valobra said, adding that the first five celebratory pins were shipped to the Coronavirus Task Force at the White House (President Trump, Vice President Pence, Dr. Anthony Fauci, Dr. Deborah Birx and Surgeon General Dr. Jerome Adams).
Valobra originally committed to make and give away 1,000 pins, but has decided to gift as many as he can. He said anyone is welcome to contact wecare@valobrajewelry.com to nominate a worthy recipient (someone who is going above and beyond the call of duty in a hospital, health care center, testing facility, laboratory, etc.).
Valobra has received many notes of thanks from health care workers who have received the Defeating the Coronavirus pin.
“As respiratory therapist, we are usually not mentioned as frontline health providers, but the word “ventilator” is mentioned often. Respiratory therapists specialize in the skills of cardiopulmonary care that determine the appropriate ventilator settings to match the patient’s needs. We stand with the warriors of the frontline and we are an essential component for the patients,” said Rosalind Lyssy, of Houston. “To me, the pin is a symbol of being appreciated and recognized on the front line. Thank you for the honor of letting me wear it.”

Franco Valobra in the Valobra Master Jewelers showroom in Houston, Texas. Photo courtesy of Valobra Master Jewelers
Valobra hopes the “Defeating the Virus” pin will be worn on lapels of medical scrubs and lab coats for years to come.
“To me, it represents the soon-to-materialize defeat of the virus, a symbol of human triumph through science and medicine,” he said. “I wanted to gift these modern-day heroes with my own style of the Medal of Honor.” @topic:6


Publish Year: 2014 Title: Lead-Glass-Filled Burmese Rubies Abstract: Figure 1. The Burmese ruby beads in this multi-strand necklace were filled with lead glass. Photo by C.D. Mengason.

              Rubies filled with a high-lead-content glass as a clarity enhancement were first reported by the Gemmological Association of All Japan (GAAJ) laboratory in 2004. Since then, many of these stones have been examined by gemological laboratories around the world. They are identified by their numerous large, low-relief fractures and their blue or orange flashes easily seen at different angles, as well as their flattened gas bubbles and voids that are obvious under magnification (S.F. McClure et al., “Identification and durability of lead glass–filled rubies," Spring 2006 G&G, pp. 22–34).

Figure 2. These wide fractures, filled with glass of relatively low lead content, showed a slightly lower luster than the host ruby. Photo by Nathan Renfro; field of view 2.96 mm.
The Carlsbad laboratory recently had the opportunity to examine a multi-strand necklace of graduated round ruby beads (figure 1), measuring 2.72 to 6.13 mm in diameter. Standard gemological testing showed properties consistent with natural ruby. Microscopic observations revealed typical inclusions for ruby: rutile silk, banded particulate clouds, twinning planes, red parallel planar zoning, and roiled graining. The appearance and chemical composition of the beads suggested that their geographic origin was Mogok, Myanmar. Their wide, low-relief fractures (figure 2) and cavities were filled with a foreign substance whose luster was slightly lower than that of the rubies. These observations suggested a lead-glass filler, although the lower luster was contrary to previous documentation and the filler did not display any flash effect. In some beads, the filler also showed a crazed appearance (figure 3) not typically observed in other rubies filled with high-lead glass.

Figure 3. In some beads, the filler also showed a crazed appearance not typically observed in other rubies filled with lead glass. Field of view 2.96 mm.
This strange observation prompted us to carry out a chemical analysis of the glass filler. We tested two spots using laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) on a relatively large glass-filled cavity. The results after normalization showed that the filler contained approximately 43 wt.% PbO, which was much lower than the lead content reported by McClure et al. in 2006 (71–76 wt.%). The diminished lead content would lower the refractive index of the glass and explain the lack of flash effect and the lower luster observed in this filler.

These beads were the first examples of this lower-lead-content glass filling in Burmese rubies examined at the Carlsbad laboratory. On a GIA report, most of these beads would be identified as “rubies with significant clarity enhancement with lead glass filler.” Yet some of the beads were so highly fractured and filled that they would be considered “manufactured products consisting of lead glass and ruby” (figure 4).

Figure 4. Some beads were so highly fractured and filled that they would be called “manufactured products consisting of lead glass and ruby.” This material would easily disintegrate if the lead glass were removed. Photo by Nathan Renfro; field of view 2.96 mm. @topic:3


Publish Year: 2019 Title: Hand-Carved Cameos from Italy Abstract: Figure 1. Shells harvested from the Caribbean have a dark brownish background color (left), while shells from Africa—especially Madagascar—show a much lighter background color (right). Photos by Vincenzo Imposimato.
Vincenzo Imposimato (Naples) brought his hand-carved shell cameos and his carving tools to the GJX show to demonstrate the making of these exquisite pieces.
This was Imposimato’s sixth visit to Tucson. As a child, he was fascinated by the shell carvings he watched his grandfather make at home. He has also been passionate about drawing since his early childhood, so a career in cameo carving was a natural choice.
Imposimato mainly uses two types of helmet shell. One has a dark brownish background color and originates from the Caribbean Sea; the other, with lighter orangy or reddish background, is from the coast of Madagascar. Consumers prefer the darker background because it displays the carved image in greater contrast (figure 1). The Caribbean shell also has a more curved shape, allowing greater complexity in its carving, while the African shell tends to be flat. The Caribbean shell is more expensive, so consumers pay more for these finished cameos.

Figure 2. A carver holds the stick attached to the small cameo piece next to a hard surface, which provides support. Photo by Kevin Schumacher.
With a shell in hand, carvers have two possible plans: They can either make a whole-shell cameo or a small piece with different shapes. The general process for both types includes a rough shaping by machine and then detailed carving by hand. For whole-shell cameos, carvers need to hold the shell very gently. Since the shell is empty, carvers must pay extra attention when applying force to avoid damage. As for small cameos, the shell needs to be sliced into small pieces and then shaped by machine. Carvers then attach the small piece to one end of a wood stick with fish glue. Fine hand carving is done by holding the stick next to a hard surface (figure 2).
Detailed carving by hand is done with the bulino, a traditional tool for carving and engraving. There are bulinos of different sizes and shapes for different carving purposes. For shell cameos, carvers remove the top whitish layer to form a carving against the contrasting background color. The character or theme depicted depends on the shell’s natural condition. Factors such as the curvature of the piece, the thickness of the white surface layer, and the color contrast will determine what can be carved. A whole-shell cameo typically takes about two months to finish, while a small piece takes a few days.

	Hand-carved cameos from Italy

Japan was once the biggest market for these handcrafted shell cameos. Imposimato first visited Japan in 1993 to show local consumers how to make cameos. After that, he was invited back more than 20 times. However, the market has slowed down over the past five years, perhaps due to changing styles. Women used to wear woolen coats that were perfectly paired with cameos. Now that they have more fashion options, many choose other accessories. Even at their height of popularity, cameos were typically purchased by women over the age of 30. Imposimato feels that the themes carved onto cameos need to be updated to appeal to young consumers and expand the market share.
Whereas cameos carved by machines tend to be flat, handmade versions tend to keep the natural curvature of the materials used. While manufactured cameos of all different types of materials are readily available these days, handcrafted shell cameos still hold a unique position in the fine jewelry world. @topic:6


Publish Year: - Title: Mughal Jewels Auction: Al-Thani Collection Raises $109 Million Abstract: The Maharaja of Patiala gave Cartier its single largest commission ever in the 1920s, when he asked the firm to reset his crown jewels. One piece from the Maharajah’s commission, the Patiala ruby choker with diamonds and natural pearls, sold for $975,000. Photo courtesy of Christie’s

Collectors from around the world descended on Christie's Maharajas & Mughal Magnificence auction of jewels from the Al-Thani Collection on June 19. By the time the New York sale ended, they had spent nearly $110 million for 353 lots, with 10 items selling from $1.7 million to more than $10 million.
The pieces came from the most renowned and comprehensive collection of Mughal jewels, owned by Sheikh Hamad bin Abdullah al-Thani of Qatar. Al-Thani is using the proceeds from the sale to open a museum in Paris to house the estimated 6,000 remaining pieces of his collection of Indian and Islamic art and jewelry.
India, which was the world’s treasure house of gemstones for millennia, comprised more than 500 semi-autonomous states at the beginning of British rule in 1858, with many of the rulers holding massive collections of gems and jewels. The collections grew in extravagance after the British assumed control because much of the wealth and power of the Mughals shifted to local rulers who no longer competed for military might, but to see who could amass the most jewels.

The Shah Jahan carved emerald of 30.60 cts, mined in Colombia, sold for $555,000. Photo courtesy of Christie’s
Emperor Shah Jahan
Several pieces from the most famous Mughal ruler, Shah Jahan, drew some of the most intense bidding. Jahan ruled from 1628 to 1658, which is considered the peak of the Mughal Empire. His fame lies in ordering the building of India’s most enduring architectural landmarks, including the Taj Mahal, the Agra Fort, the Red Fort and the Wazir Khan Mosque.
The Shah Jahan carved emerald of 30.60 cts, mined in Colombia, sold for $555,000, while his carved spinel and enamel seal ring from 1643 or 1644 brought $795,000. Jahan’s white jadite dagger, the next to last lot in the sale, sold for $3.4 million, a record for a piece owned by the ruler.

The Arcot II, a 17.2 ct pear shaped diamond graded by GIA as D IF, fetched $3.4 million. The diamond was found in Golconda in the 18th century and presented to Britain’s Queen Charlotte, wife of George III, in 1777 by the Nawab of Arcot. Photo courtesy of Christie’s
Diamonds from the Famed Golconda Mines
Several Golconda diamonds (generally Type IIa taken from the ancient mines of India’s Golconda region) also sold at the sale. The Arcot II, a 17.2 ct pear shaped graded by GIA as D IF, fetched $3.4 million. The diamond was found in Golconda in the 18th century and was presented to Britain’s Queen Charlotte, wife of George III, in 1777 by the Nawab of Arcot. It was later returned to private hands and recut to modern specifications in 1959. After al-Thani acquired the diamond, it was again recut in 2011.

The Mirror of Paradise, a 52.58 ct cut corner rectangular shape diamond, GIA-graded D IF, brought $6.5 million. Photo courtesy of Christie’s
The Mirror of Paradise, a 52.58 ct cut corner rectangular shape diamond, GIA-graded D IF, brought $6.5 million. The provenance of the diamond is uncertain, except that it was found in the Golconda region and has been recut to modern proportions. Christie’s sold the diamond in 2013 for nearly $11 million.
Nizams of Hyderabad
The jewels from the estate of the Nizam of Hyderabad were put up for sale in the early 1980s, unlocking one of India’s long held treasure chests.

Shah Jahan’s carved spinel, set in his enamel seal ring from 1643 or 1644, brought $795,000. Photo courtesy of Christie’s
Under Mughal rule in the 17th century, the region around Hyderabad became increasingly independent under the Asaf Jahi Dynasty, whose rulers were known as Nizam. The dynasty continued through the British colonial era until the newly independent central government of India abolished the princely states in 1948.
After independence, the Indian government and the Nizam’s family wrangled over control of their jewel collections, which had become the world’s largest. After years of court battles, the government purchased much of the collection, while the family sold the remainder in a series of auctions. Al-Thani later acquired some of the pieces sold at the June 19 Christie’s auction.

From the original Nizam of Hyderabad collection:  A ceremonial sword whose handle is studded with large traditional Mughal cut diamonds, rubies and emeralds. It sold for $1.9 million. Photo Courtesy of Christie’s
The Nizams took seriously the notion that jewels symbolized royal power. Accordingly, one of the major pieces in the sale was a ceremonial sword whose handle was studded with large traditional Mughal cut diamonds, rubies and emeralds that sold for $1.9 million. A necklace from the Nizam estate, featuring 33 round cut Golconda diamonds, ranging from 9.9 cts to 24.38 cts, also brought $1.9 million.
Cartier Jewelry Pieces
Indian rulers began to compete with their European counterparts for jeweled wealth in the 19th century. So the major European houses, Cartier in particular, began to make regular visits to the continent. Indeed, the Maharaja of Patiala gave Cartier its single largest commission ever in the 1920s, when he asked the firm to reset his crown jewels.

Cartier fashioned the costliest piece from the auction, a Belle Époque-era Diamond Devant-de-Corsage brooch that sold for $10.6 million. Photo courtesy of Christie’s
One piece from the Maharajah’s commission, the Patiala ruby choker with diamonds and natural pearls, sold for $975,000 at this sale. A Cartier-made art deco emerald and diamond brooch sold for $1.5 million, which was the final lot of the sale.
Cartier also fashioned the costliest piece in the auction, a Belle Époque-era Diamond Devant-de-Corsage brooch that sold for $10.6 million. This brooch, which contains several large Golconda diamonds, was made for Solly Joel, one of De Beers’ founders in 1912. The largest diamond in the brooch was a 34.08 ct E VVS1 Type Ia pear shape; followed by a 23.55 ct D VVS2 oval (potentially flawless) Type IIa; a 6.61 ct D VS1 Type IIa marquise cut and a 3.54 ct E VS1 Type I a heart shape diamond. All were graded by GIA.

A Belle Époque Jigha (turban ornament) with baguette and pear-shaped diamonds set in white gold and topped with a white feather plume, sold for $1.8 million. Photo courtesy of Christie’s
Other very significant lots included the catalog cover piece, a Belle Époque Jigha (turban ornament) with baguette and pear shaped diamonds, set in white gold and topped with a white feather plume, which sold for $1.8 million.
The Baroda pearl canopy from 1865-70, with thousands of natural pearls set in geometric patterns on a round cloth, was commissioned by Maharaja Khanderao Gaekwad of Baroda and passed by descent to Maharani Sita Devi of Baroda. The hammer came down at over $2 million; the total came to $2.23 million, with the addition of the auction house premium.

The Baroda pearl canopy, from 1865-70, is made from thousands of natural pearls set in geometric patterns on a round cloth. The canopy was commissioned by Maharaja Khanderao Gaekwad of Baroda. Photo courtesy of Christie’s
See the Al-Thani Collection on Display in 2020
Many of the objects and pieces in the sale were part of an exhibition dedicated to the Al-Thani Collection at New York’s Metropolitan Museum of Art in 2014.
The remaining Al-Thani Collection will find a permanent home at the Hotel de la Marine, in Paris, starting next year. The Hotel de la Marine is the former city palace built by Louis XVI and, after 1789, housed government offices until 2015 when it was closed for renovations. The building, restored to its original 18th century décor, will house a museum of French royal history, as well as the Al-Thani Collection.

Shah Jahan’s white jadite dagger, the next to last lot in the sale, sold for $3.4 million, a record for a piece owned by the ruler. Photo courtesy of Christie’s
The Al-Thani Collection Foundation, which managed the holdings, noted that the sale of a small part of the collection will enable it to offer a full program to the public, including exhibitions, conferences and educational activities. Part of the sale proceeds will support ongoing initiatives of The Al-Thani Collection Foundation, which extend from exhibitions, publications and lectures to sponsorships of projects at museums around the world. @topic:6


Publish Year: - Title: Colorblocking: The Art and Fashion of Multicolor Gemstones Abstract: The complex faceting of this ametrine creates a blended effect of purple and yellow, reminiscent of a Bolivian sunset. Courtesy of Minerales y Metales del Oriente, Bolivia, SA. Photo by Robert Weldon/GIA

Clothes, handbags, shoes and accessories that sport multiple solid colors, usually in bold and bright shades called colorblocking, have reappeared on the fashion scene in a big way the last few years, but the trend is not new. It first appeared in Yves Saint Laurent’s 1965 collection, which was inspired by the artistic styles of modern Dutch artist Piet Mondrian, whose paintings were a collection of geometrical and colorful shapes. This 1960s mod fashion may be passé, but just as trends in fashion often return and thrive again, colorblocking feels new.

In the gem world, this style is found in the artistic combinations of color in multicolor gemstones appreciated for their color zoning or banding. Color banding in gems occurs in shapes or distinct layering. Agate, for instance, often forms in geometric shapes, while tourmaline and fluorite form in bold lines and stripes.

This Padparadscha sapphire shows color zoning of orange to pink to orange again. Courtesy of Mayer & Watt, Maysville. Kentucky. Photo by Robert Weldon/GIA
Agate and quartz crystallize in zones when chemical or physical conditions change during their formation. When iron is present during the formation of quartz, it can produce citrine, amethyst or ametrine. As the name suggests, this gem is a combination created by color blocks of amethyst and citrine. Depending on how the color zones are oriented during cutting, the two blocks of color (yellow and purple) can be emphasized.

Alternately, these colors can be merged through cutting to produce rich, purple hues of amethyst with honey-color citrine. The result is a striking gem that evokes romantic Bolivian sunsets. The Anahí mine in eastern Bolivia is the only commercial source of ametrine, one of the most exotic multicolor gemstones. Bolivia claims it as its national gemstone.

Copper is the trace mineral that produces the turquoise color in this tourmaline, colorblocking the complimentary colors. Courtesy of Mayer and Watt, Maysville, Kentucky. Photo by Robert Weldon/GIA
Tourmaline, more than any other gemstone, is found in every hue and it often has two or more colors visible in a single specimen. The chemical variations during tourmaline’s crystallization determine its color. Multicolor tourmaline can form in zones resembling blocks of color as in bicolor tourmaline – in a great number of color combinations. Black or brown tourmalines get their color from iron. Brown to yellow tourmalines are colored by magnesium. Lithium produces tourmalines that are blue, green, red, yellow or pink.

Tourmaline derives its name from the words “tura mali" loosely translated to "stone of mixed colors" in the Sinhalese language of Sri Lanka. Ancient Egyptian legend tells us that tourmaline passed over a rainbow on its long journey from the center of the earth and took on the spectral colors.

Liddicoatite is a calcium-rich lithium tourmaline named in honor of Richard T. Liddicoat in recognition of his more than 60 years of service to the gem and jewelry industry. Beautiful zones and bands in liddicoatite form in bold colorful patterns due to the changing mix of elements. Colorful slices of liddicoatite are often concentric bands of pink to red, green, blue and light brown.

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Fluorite also occurs in every color of the spectrum and is a favorite multicolor gemstone. It is popular with collectors because of its bold colors. Its cubic crystal growth results in a variety of crystal shapes. The word "fluorescent" is derived from the mineral fluorite since many specimens fluoresce strongly, exhibiting a prismatic color variation when viewed in ultraviolet light. The softness of fluorite (4 on the Mohs hardness scale), suggest it is best be carved into ornamental objects. Rarely faceted, cut fluorite is a collector’s prize, especially when it shows great variety of colors in one gem.

The colorblocking trend in fashion may be a recurrent theme, but the popularity of multicolor gemstones exhibiting a similar effect is enduring. @topic:8


Publish Year: - Title: Witnessing the Creation of Jadeite Masterpieces Abstract: Highly skilled jadeite carvers are extraordinary artists. At Mazu, these artists transform fine-quality jadeite boulders with beautiful color zoning into artistic masterpieces. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.

                      Gemologists seldom get the opportunity to visit a factory staffed by highly skilled jadeite carvers and then get to see the final products in a retail store specializing in high-end jadeite. But this was what the authors experienced during their extensive trip through China and their stop in Sihui Guangdong province. We visited Mazu, a company synonymous with highly skilled jadeite artists and fine-quality jadeite carvings and jewelry.

	Jade Artists

	The Factory
At the carving factory we witnessed the entire production process that turns a rough jadeite boulder into an intricate object of beauty. Jadeite boulders are among the most difficult gemstones to evaluate in the rough state. Often, there is little evidence on the exterior of the quality that lies within. This is a special challenge when planning carvings, where the color zoning becomes an intricate part of the final product. The craftsman has to begin by determining the true nature of the rough jadeite boulder’s interior.

	The first step is for the artist to determine the rough jadeite’s potential and the carving design that will unlock that potential. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
Jadeite’s coloration is commonly mottled. While it’s a challenge for jewelry when a uniformly colored piece is desired, this characteristic is a blessing for artists who are creating intricate carvings. By incorporating the natural color zoning of the material into the design, they achieve a balance between nature and artistry. The key is for the artist to determine the color zoning of the rough jadeite and then select a design that will blend it into the carving’s theme.

	The artist uses a torch to shed some light on the color zoning in this rough piece of jadeite. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
Once the rough jadeite is examined and its internal color zoning is revealed, the artist will sketch a design for the carving. Designs are often based on classic Chinese paintings and themes. In many cases, they will depict scenes from classic Chinese life. The extent of the depiction will depend on the size and shape of the rough jadeite, as well as the nature of the color zoning. Before carving begins, the artist might draw the design on paper while viewing the face of the rough.

	This carver is a true artist. He is sketching the design he will follow when he carves into the jadeite. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
Once the rough has been evaluated and the most appropriate design has been chosen and sketched out on paper, the carver will transfer the design to the jadeite rough. This is a crucial step, as it directly translates the design concept into a working plan for the carving, converting a two-dimensional design into a plan for a three-dimensional carving. The first step in this process is to paint the design onto the piece of jadeite rough.

	The intricate design that the carver will follow is first drawn onto the rough piece of jadeite. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
Carving the jadeite is a time-consuming process. These highly skilled professionals often make use of burrs attached to flex shafts. As we toured the factory, we saw carvings at all stages of production, from the beginning stages where the mystery of the rough jadeite was being unlocked, to completion of the final finishing details and polishing. It was an amazing experience for us to witness the enormous complexity involved in producing a single carving. It was remarkable to witness all the stages involved.

	This carver is just beginning to unlock the magic inside this rough jadeite. Notice how water is incorporated to reduce heat and friction. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
We began by observing a craftsman evaluating a rough piece of jadeite with a torch and then beginning to carve the jadeite with a burr. As we moved through the factory, we observed that the carvings were based mostly on naturalistic and traditional Chinese themes. Some jadeite carvings had amazing zones of green and lavender that were beautifully incorporated into them.

	This carver incorporates the green and lavender color zoning of the jadeite rough into the carving’s floral design. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
Some of the detail incorporated into these carvings was truly amazing, especially considering the rough boulders that were often the artists’ starting material. Like fine sculptors, these artists gradually removed material to create the resulting designs. As more and more of the fine detail appeared, the artist would use smaller and smaller burrs to facilitate the intricate nature of the carving. The carvings’ details included fine floral or structural designs or people’s facial features.

	This carver uses a small burr to carve details into the floral and structural design. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
As we continued our observations of the factory, we were impressed to see a young lady carving a Buddha figure from a piece of jadeite. I felt this symbolized the rich traditions of Chinese culture and honored the jadeite that is embraced by, and so much a part of, this culture. Along with the rest of the nationally famous carvers and the designs they were working on, it illustrated that jadeite was not just a medium for personal adornment or artistic display, but actually part of the Chinese culture.

	Buddha carvings are a popular jadeite theme. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
As we were leaving the factory, we noticed a rough piece of jadeite with beautiful green zoning that was just beginning to be marked up for carving. Beside it was an almost-finished Buddha carving incorporating very light lavender and green colors. It was a striking image that demonstrated the skill and artistic eye required to see what nature offers and what it can become.

	The close proximity of the starting material and the finished piece of art illustrates the talent and skill needed to make the transformation. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.

	The Store
As both authors are very interested in the mine-to-market aspect of the gem business, it was a pleasure to be able to go from Mazu’s carving factory to one of their retail stores. The store and its jadeite inventory and staff were all highly impressive. We were greeted by two young ladies who proved to be very knowledgeable sales staff members. They were very well versed in jadeite carvings and jewelry, and also possessed the skills needed to describe their characteristics and qualities.

	The Mazu staff members were highly knowledgeable about jadeite and eager to share their passion for this stone. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
The store itself was designed to reflect the high-end nature of the jadeite pieces it contains. After witnessing the impressive artists working in the Mazu factory, it was even more stunning to see the store’s amazing jewelry and carvings. Various traditional carving design themes were on display. The carvings also revealed the skill needed to utilize jadeite’s color zoning. We were struck by the high quality of the jadeite that was used as starting material for the carvings.

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	Jade Carvings
Along with the amazing carvings at the Mazu store we were able to see some beautiful jadeite jewelry pieces. One of the sales professionals modeled an incredible necklace with imperial green jadeite cabochons. She also modeled a striking green jadeite bead necklace.

	Few green gems are as captivating as jadeite. Diamond accents were incorporated to
	add richness to this necklace. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
One young lady showed us a beautiful mottled green jadeite bangle bracelet that she was wearing. The different intensities of the green color throughout the piece added character and intrigue. The young jadeite professional explained that the nature of color mottling in a piece is one of the more complex characteristics to consider when valuing a piece of jadeite jewelry. It’s one of many visual factors to consider when judging a color-zoned piece of jadeite.

	Jadeite carvings in jewelry often follow themes similar to those found in art objects, but are not as intricate (left). Color-zoned jadeite jewelry is common, but can be complicated to evaluate (right). Photo by Eric Welch, courtesy Mazu Jade Co. Ltd.
While cabochons and beads are very common for jadeite jewelry, jadeite carvings are also popular. Carvings are not just used for art objects, but also for personal adornment. The store featured jewelry in a variety of jadeite colors.

We spent the better part of a day with our Mazu hosts. It was an incredible experience, with highly talented and passionate people sharing their expert knowledge with us. Everywhere we went, we could see the enthusiasm for their work, from the talented artists in the factory to the expert sales professionals in the store.

	The knowledge, skill, and passion we found at the Mazu factory and store was contagious and left us eager to know more about jadeite. Photo by Eric Welch, courtesy Mazu Jade Co. Ltd. @topic:9