Publish Year: 2024 Title: Intarsia Jewelry Box by Nicolai Medvedev and Susan Helmich Abstract: Left: The front of the “Blue Boy” chest features two wing-like “conk” wood opal slices from Nevada. Right: A 22K gold stingray adorns the top of the chest, guarding the contents within. Photo by Robert Weldon.
Opening day at the AGTA show was truly memorable with the premiere of “Treasure Chest II with Blue Boy” (see above, left), a joint collaboration between intarsia master Nicolai Medvedev and jewelry designer Susan Helmich. The exterior of the chest is adorned with Australian opal, Paraíba tourmaline from Brazil, diamonds, South African sugilite, Burmese maw-sit-sit, turquoise from the Sleeping Beauty mine (Arizona) and Nevada, gold-in-quartz from Australia and California, Utah dinosaur bone, 22K gold, and a matched pair of exquisite opal slices from Virgin Valley, Nevada. This type of Nevada opal is commonly referred to as “conk” wood, in which the cells of the original wood have been opalized. The slices featured on the front of the box came from the Bonhams opal and phenomenal gem auction in 2021.
The stingray “Blue Boy” on top was designed and hand carved by Helmich, created from 22K gold with Paraíba tourmaline and diamonds (see above, right). The interior is lined with burl wood veneer, with jasper inset into the lid, malachite (Bisbee, Arizona), and an 18K gold hinge. The chest, which took two years to complete, is the second in the series from Medvedev and Helmich. Their first chest featured an octopus. @topic:6


Publish Year: 2024 Title: Historical Relics Repurposed into Jewelry Abstract: Figure 1. An 18K yellow gold and blackened sterling silver shagreen wide cuff bracelet, pendant, earrings, and ring set with antique mother-of-pearl gaming counters. Courtesy of Sarosi by Timeless Gems.
One theme that emerged at the AGTA, GJX, and Pueblo shows was the repurposing of historical artifacts to produce new jewelry items. We saw the incorporation of Chinese, Greek, Viking, and medieval European artifacts into various jewelry pieces at all three shows. Many attendees were drawn to the idea of having a connection to the past in a wearable form.
At GJX, Sarosi by Timeless Gems (Los Angeles) exhibited eye-catching carved mother-of-pearl jewelry (figure 1). While the sheer beauty of the pieces initially caught the authors’ attention, the craftsmanship and story behind them enabled this collection to stand out among a sea of designs. At the center of all the pieces in the collection were hand-engraved mother-of-pearl Chinese gaming counters, once used like modern-day gambling chips. The eighteenth-century counters were commissioned by British royalty and nobility during the Qing Dynasty. Most were engraved on one side with family crests or monograms, with the reverse side illustrating some aspect of Chinese life. The counters were surrounded by a combination of 18K yellow gold, polished sterling silver, and blackened sterling silver, handcrafted by jewelers in Los Angeles to evoke traditional Chinese architecture.

Figure 2. Three ancient artifacts repurposed by Zaffiro. Top left: Medieval silver-gilt strap end from the thirteenth to fifteenth century, set in granulated 22K yellow gold with a 0.07 ct red spinel. Center: Gilded bronze medieval mount from the twelfth to fourteenth century, set in 22K granulated and 18K yellow gold with 0.15 carats of tsavorite garnet and an 11.5 × 14.0 mm black Tahitian pearl. Bottom right: Gilded bronze belt mount from the tenth to twelfth century, set in granulated 22K yellow gold with a 0.13 ct blue sapphire. Photo by Robert Weldon; courtesy of Zaffiro.
In the AGTA designer showroom, Zaffiro (Walla Walla, Washington) devoted a section of their case to their artifact collection, comprising sixth- to fifteenth-century Viking, Anglo-Saxon, and European medieval relics that they incorporated into jewelry (figure 2). These one-of-a-kind pendants integrate actual buried treasure purchased from a reputable auction house in the UK. Zaffiro founders Jack and Elizabeth Gualtieri explained that they like to use items from before the advent of the printing press. Many of the antiquities, originally used to decorate items such as belts, clothing, and horse tack, have retained their original gilding. The Gualtieris set the artifacts in 22K gold frames or rivets and decorate with granulation, sometimes accenting the pieces with colored stones. The appeal of these pieces is in the stories that they tell.
Back at the GJX show, Shans Premier (New York City) offered a large selection of antiquities, including coins in addition to colored stones and jewelry. This multi-generational business has been dealing in antiquities for more than 100 years and in the U.S. for about 40 years. This was their thirtieth year in Tucson. They typically sell more gemstones at U.S. shows, but in Tucson they have a strong following for their antiquities.

Figure 3. A silver Greek Athenian owl tetradrachm from the fifth century BCE weighing approximately 17.2 g with an approximate diameter of 24 mm set in an 18K yellow gold pendant, which cleverly allows the rotation of this coin to face upward on both sides even though the two sides are not stamped in the same orientation. The left image shows the coin obverse with a profile of Athena, and the right image shows the coin tail featuring her patron animal, the owl, which was also a symbol of ancient Athens. Photos by Jennifer Stone-Sundberg; courtesy of Shans Premier.
Sason Shan described a particularly intriguing pendant incorporating one of the most circulated coins from the height of classical Greek civilization: the silver Athenian owl tetradrachm (figure 3). This surprisingly heavy coin was used throughout the ancient world around the time of the Peloponnesian War. Greece minted enormous quantities of these coins using silver from Laurion. Worth several days’ wages, they were too valuable for basic transactions (R.A. Augustin, “Ancient coins – The most famous coin of antiquity – The Athenian owl,” Coin Week, 2022, accessed February 10, 2024, https://coinweek.com/ancient-coins-famous-coin-antiquity/).
With sustainability at the forefront of many consumers’ minds, these upcycled designs extend the life of antiquities, allowing them to be displayed for many years to come. @topic:6


Publish Year: 2023 Title: Chicago Responsible Jewelry Conference Abstract: Figure 1. Pauline Mundia, Susan Wheeler, Eric Braunwart, and Ola Erogbogbo-Oyeniyi discuss working with gem traders in source countries. Photo courtesy of RJT.
The seventh annual Chicago Responsible Jewelry Conference (CRJC) was held August 11–13, 2023, in Rosemont, Illinois. Susan Wheeler, Responsible Jewelry Transformative (RJT) founder and Virtu Gem cofounder, opened by highlighting efforts to further the United Nations Sustainable Development Goals (SDGs) and the UN Women’s Generation Equality campaign. The first of the 17 SDGs is to end poverty, which disproportionately affects the roughly 40 million artisanal and small-scale miners worldwide. Wheeler said poverty poses a risk to the jewelry industry because consumers do not want to perpetuate it. Responsible supply chains can help lift miners from poverty, she noted, and the industry can make great strides toward the UN’s goals.
Anna Samsonova (Samsonova Consulting) moderated a panel on opening markets for artisanal gemstone miners in East Africa. Pauline Mundia (Virtu Gem Zambia), Jessica Hudson (Virtu Gem), Sejal Karavadia (Brilliant Earth), and Cristina Villegas (PACT and Moyo Gems) discussed the importance of information exchange with miners and cutters, developing trust with the help of local associations, creating sourcing standards, and training and education. Karavadia said customers are very receptive to a gem’s mine-to-market story. Sixty percent of the miners in Moyo’s supply chain are women, Villegas said, and they have begun incorporating young woman cutters. “For many years, Africa was exporting raw unprocessed materials,” she said. “Now it’s high-end beautiful faceted gemstones, and we should celebrate that.”
Deep-sea biologist Lisa Levin (Scripps Institution of Oceanography, University of California, San Diego) explained how deep-sea mining of minerals, including gold and silver, would disrupt ecosystems. The International Seabed Authority (ISA) has approved 31 mining exploration contracts in international waters as of January 2023 and is developing regulations. Deep-sea ecosystems host abundant life, with interdependent species that depend on specific hydrologic and geochemical properties, she said, and provide many benefits to the broader ocean. The deep sea is also home to bacteria that consume methane, a driver of global warming. Levin said mining could cause extinctions and risks destruction of deep-sea biodiversity. Additionally, scientists believe that post-mining restoration is not possible on the seafloor. Since the definition of serious harm remains unclear and much about these ecosystems is still unknown, she said, there is insufficient knowledge for evidence-based decision making by the ISA.
Holly McHugh (Mejuri, Inc.) moderated a panel on responsible silver sourcing. Panelists noted an increase in high-level guidance for responsible sourcing. Examining this market is complex because more than 70% of silver production is a byproduct of other mining, panelists said, while artisanal and small-scale mining is challenging because silver requires so much mining effort. Torry Hoover said Hoover & Strong’s refined metals are now 100% recycled, and Will Nevins-Alderfer’s W.R. Metalarts uses Fairmined silver for its alloys. Many of the Richline Group’s larger customers now ask about sourcing, said Mark Hanna, and the company has begun tracking silver with blockchain. He emphasized knowing your supplier and customer to ensure ethical products.
Susan Wheeler and Virtu Gem’s Chiko Manda (via video message) discussed Malawi’s gem trade. The country exports hundreds of kilograms of high-quality aquamarine annually but is one of the poorest in the world. Manda said very few gems mined in Malawi are processed there due to lack of expertise and equipment, compounded by smuggling problems, and data indicate that less than 1% of its aquamarine is legally exported. He asked jewelry companies to allocate a small percentage of their budgets to buy cut stones from source countries to motivate cutters to improve their skills. Wheeler added that this would improve traceability. “If you support the gem processing industry in Africa, you empower a lot of people,” Manda said.
In a virtual presentation, Mkhululi Nkosilamandla Ncube (African Minerals Development Center, AMDC) introduced the African Mining Vision (AMV), a project of the UN. The AMV aims to transform the paradox of mineral wealth and dire poverty through equitable mineral exploitation. The AMDC’s methods to implement the AMV include community engagement, training, technology, and financial support. As part of the approach, the Africa Gemstones and Jewellery Exhibition and Conference (AGJEC) series promotes the trade of African gemstones within the continent. The first event was held in Zambia in July; upcoming events will take place in Nigeria and Ghana this fall.
Brecken Branstrator (GemGuide) moderated a panel on working with source country gem traders (figure 1). Eric Braunwart (Columbia Gem House), Ola Erogbogbo-Oyeniyi (Deinte Designs Limited), Pauline Mundia, Stuart Pool (Nineteen48), and Susan Wheeler shared key takeaways, including the importance of understanding the local market and legal system, supply chain analysis, and working with local partners. Erogbogbo-Oyeniyi said that helping a community and weaving that into a gem’s story is a great benefit.
Anna Bario described founding jewelry company Bario Neal with fellow designer Page Neal in 2008 and developing a responsible supply chain. Early on, they connected with Ethical Metalsmiths, the Alliance for Responsible Mining (ARM), and artisanal miners in Tanzania and Peru. They built relationships with ethical suppliers over the next decade and in 2019 hired a consultant to help establish a process based on the UN SDGs and OECD Due Diligence Guidance for Responsible Business Conduct. This includes a code of conduct they share with suppliers, supplier interviews, and an eight-step partner and material evaluation process. In 2020, the company released its first biannual sustainability report, possibly the first by a small independent jeweler. Their next goal is Climate Neutral certification.

Figure 2. Left: Abigail Sibanda describes efforts by the Marange Women’s Alliance to help women and girls in Zimbabwe. Right: Laura Galvis (ARM) speaks about Fairmined-certified projects combining gold mining and agriculture in Colombia. Photos courtesy of RJT.
A panel on sex trafficking in Marange, Zimbabwe, moderated by Brandee Dallow (Grandview Klein Diamond Group), began with a documentary clip of survivors’ stories. The area has been fraught with conflict and violence since the discovery of diamonds there in 2006. The U.S. has banned imports of Marange diamonds due to reports of forced labor. According to Abigail Sibanda (Marange Women’s Alliance, MWA) (figure 2, left), the military, police, mine guards, and informal miners collaborate to smuggle diamonds out and exploit women and girls. Vulnerability to trafficking stems from Zimbabwe’s high poverty, and many victims are lured by the promise of mining work. The community questions where the diamond revenue goes because there is no development, Sibanda said. Susan Wheeler noted that RJT and MWA have facilitated support for survivors through court advocacy, but prosecution is still very limited. MWA helps survivors with peer-to-peer counseling and other support and empowers all women to speak out, holding weekly meetings on WhatsApp. The group has been planning to purchase a chicken coop to develop consistent income and pay for their cellular data, which RJT currently covers. MWA is also creating a billboard campaign for Marange to highlight the issue. “We protect the diamonds. Why don’t we protect the women?” remarked Sibanda, who has relocated outside of Zimbabwe because her activism has put her at risk.
Roy Maconachie (University of Bath, England) described the relationship between mining and agriculture in Sierra Leone based on his research there since 2003, after the civil war. Most mining occurs in the dry season, with income used to farm in the rainy season. Over the last decade, artisanal miners have shifted to gold because most alluvial diamond deposits are mined out. Artisanal gold mining here is dominated by women and provides a reliable income. The interconnected nature of farming and mining can help rebuild agricultural institutions destroyed during the war, he said, but miners still need basic infrastructure, access to markets and credit, and technology.
Laura Galvis (ARM) (figure 2, right) detailed three Fairmined-certified projects—the Íquira cooperative, La Gabriela, and the Chede mine—that support almost 200 workers and show how small-scale gold mining and agriculture coexist in Colombia. The Fairmined label certifies gold, silver, and platinum from small-scale mining organizations using responsible practices, and it comes with the Fairmined Premium, an economic incentive. The Chede mine committee will use this year’s premium to sponsor a coffee brand sourced by miners farming coffee; they have 5,600 Fairmined credits and need 20,000 for this project. Businesses can buy Fairmined credits to support the project of their choice.
Sarah Yood (Jewelers Vigilance Committee) and Andrea Hill (Hill Management Group) discussed U.S. sanctions against Russian diamonds due to the war in Ukraine. Yood explained that because diamonds are considered a product of the country in which they are cut—with 90% cut in India—Russian diamonds can still reach the U.S. She acknowledged India’s difficult position and the issue of protecting jobs there. The EU and the G7 countries are working to stop the flow of Russian diamonds. (At press time, an announcement was expected shortly.) Yood said that starting in 2024, G7 countries will likely require diamonds of one carat or larger to carry proof they were not mined in Russia (the size threshold will be progressively lowered). Hill said that in theory, it will eventually be clear if a diamond originated in Russia or Zimbabwe.
Saleem Ali (University of Delaware and UN International Resource Panel, IPA) presented an IPA report analyzing resource rushes in Africa, which found that mineral resources can lead to migration within Africa and prevent migration to Europe. A key message of the report was that property rights to resources can reduce forced migration. Ali suggested jewelry companies partner with the UN High Commission on Refugees to train refugees in jewelry making.
Natasha and Eric Braunwart (Columbia Gem House), Megan Cochran (Megan Cochran Jewelry Design), and Hannah Smythe (Toast Fine Jewelry) discussed how responsibly sourced designs can engage consumers. The MJSA 2023 Design Challenge, sponsored by Columbia Gem House, asks for designs based on a set of gemstones and a fictional client story. The Jewelry for Wildlife raffle of selected pieces benefits CRRIFS, a wildlife rescue, rehabilitation, and research center in Guaymas, Mexico.
Shannon Kurzyniec and Chelsea Rowe of the Ethical Metalsmiths Student Committee introduced 2023’s So Fresh + So Clean online responsible jewelry exhibition, which asked artists to consider the life cycle of their creations. This year’s awards went to Rashele Alradaideh (Virginia Commonwealth University), Amy Beeler (Bowling Green State University), and Maria Hammond (Manchester Metropolitan University, England), with cash prizes sponsored by Hoover & Strong, Rio Grande, and Earthworks.
The conference also included a collaborative session on advancing the UN SDGs through jewelry supply chains. Sunday offered a Responsible Gem Boutique with eight suppliers, co-located with the InStore Show. After Saturday’s sessions, Anna Samsonova announced that attendee donations had fully funded the Marange Women’s Alliance’s chicken coop project. @topic:12


Publish Year: 2013 Title: Exotic Stingray Skin Jewelry Abstract: Figure 1. This piece of stingray jewelry is placed on a backdrop of stingray skin. Courtesy of the Ferraccia Jewelry Collection. Photo by Eric Welch.

              Leather has long been used in jewelry, combined with precious metals and gemstones to add a special flavor. The variety of textures from different animal skins offers a highly versatile component for designers.

The Ferraccia Jewelry Collection exhibited a huge variety of stingray leather goods at the AGTA show, including bracelets (figure 1), necklaces, earrings, rings, belts, purses, and mobile phone cases. Stingray is not considered an endangered species. They are harvested as a delicacy in Asia and some Eastern European countries. The leather used in this collection comes only from the top of the stingray. This part of the skin, which serves as the animal’s armor and backbone, rarely exceeds 10 inches wide and 17 inches long (figure 2). The polished stingray skin displays a unique texture resembling hundreds of sparkling pearl-like spots under proper lighting. This pattern is tactile as well as visual. Considerable effort went into the tanning and finishing process to obtain the deep color and durability. Thirty custom dyed colors were created, and each skin has its own pattern, adding to the uniqueness and exotic appeal.

	Figure 2. A close-up view of the processed stingray skin shows numerous shiny pearl-like spots. Courtesy of the Ferraccia Jewelry Collection. Photo by Eric Welch.
Stingray leather is also very durable because the tiny grains are all rooted in the underside of the skin. With proper care, it should last more than a lifetime. A damp cloth, air drying, clear leather polish, and mild soap are used to remove any remnants between the individual grains. @topic:5


Publish Year: 2023 Title: Zeki Karaca Jewelry: Luxury Pens Abstract: Figure 1. These handcrafted jewelry pens are created with silver, embellished with 24K gold, and inlaid with diamond, sapphire, and crushed emerald. Left: The peacock design is a miniature painting coated in clear enamel. Right: A pen with fine metal engraving and dimming just below the 24K gold nib. Photo by Robert Weldon; courtesy of Zeki Karaca.
Some of the most original work we saw at the GJX show included bejeweled pens made by Turkish designer Zeki Karaca (figure 1). These intricate pens feature exquisite details and fine craftsmanship in metalworking, enameling, engraving, inlay, and stone setting. In addition to pens, Karaca also creates other desk items such as letter openers and magnifying glasses (figure 2).

Figure 2. Silver magnifying glass with 24K gold embellishments, inlay, carvings, and diamonds. Photo by Robert Weldon; courtesy of Zeki Karaca.
Born in Istanbul, Karaca has 41 years of jewelry-making experience, originally designing jewelry to sell in the Grand Bazaar. To apply his experience and creativity to different designs and styles, he began making luxury pens and products three years ago. He first ventured into these new products by crafting silver gemstone handles for Damascus steel knives. After finding success there, he expanded to meet the demand for luxury pens, letter openers, and magnifying glasses.
Each pen takes about six months to design and craft. All production steps are done by hand, making each item one of a kind. After designing an item, Karaca creates a silver body using fold forming, with the folds created using emery sheets. Engraving is executed by a master engraver using different nibbed steel pens, and dimming is used to emphasize the engraving. Karaka incorporates diamond, sapphire, emerald, and ruby into the designs and uses 24K gold for design highlights. Miniature paintings, such as the peacock on the pen cap in figure 1 (left), are created by hand with a small brush and then coated with a transparent enamel for protection. For micro-mosaics, gemstones such as emerald are crushed and added to the pen body, as seen in both pens in figure 1. The pen parts are welded together with a laser, and then the 24K gold nibs are added.
With high demand for his products from collectors, Karaca continues to explore additional high-end objects as well as custom designs for some clients. @topic:6


Publish Year: 2023 Title: Sean Hill: Exquisite Jewelry Designs Abstract: Figure 1. The “Seven Sisters” ring in 18K gold with 17 bezel-set diamonds (0.55 carats total) and 22 sapphires ranging in size from 2.5 to 4.0 mm in blue, orange, mandarin, pink, and green (3.15 carats total). Photo by Robert Weldon; courtesy of Sean Hill Designs.
At the GJX show, Sean Hill of Tucson presented some striking jewelry designs with masterful control of shape and line. A gold ring set with diamond, blue sapphire, and fancy-color sapphire (figure 1) drew us into his booth. Dr. Hill, a self-taught jeweler, has been active designing and handcrafting jewelry since 1998, after a previous career as a university professor in literature and philosophy. His academic and philosophical nature is immediately evident when discussing design, and his meticulous attention to space and volume becomes more apparent the longer one studies his pieces. The “Seven Sisters” ring in figure 1 raises each stone to a unique height above the flat base, filling the rectangle with an appealing placement of 17 colorless diamonds interspersed among 22 sapphires.

Figure 2. “Rose Cut” 18K white gold and diamond earrings. The faceted diamonds are 1.5–2.0 mm in diameter. Photo by Robert Weldon; courtesy of Sean Hill Designs.
A stunning pair of 18K white gold earrings featuring both diamond slices and faceted diamonds (figure 2) is a case study in filling a plain geometric shape to bring it to life. As Dr. Hill said in describing the piece, “A rectangle is a basic shape, a self-imposed constraint. It is how you choose to fill it that makes it interesting.” Adding to the design quality, the rectangles are not actually flat but gently curved so that the earrings fit seamlessly on the ear.

Figure 3. “Event Horizon” earrings in 18K gold, diamond (0.07 carats total), and orange, mandarin, pink, green, and blue sapphire (5.2 carats total). Photo by Robert Weldon; courtesy of Sean Hill Designs.
A pair of 18K gold earrings with brilliant-cut diamonds and sapphires (figure 3) illustrates a modern and considered take on the classic chandelier earring, with squares and rectangles outlining floating round gems on delicate strings of gold. Dr. Hill explained some of his jewelry philosophy: “You can always take a stone for its beauty, color, and cut, set it into a finding, and it is all about the stone. But how do you make it into art?” @topic:6


Publish Year: 2023 Title: Brenda Smith Jewelry Designs Abstract: Figure 1. A: This Lace Ring is crafted in 18K rose gold with blackened gold lace, featuring a cultured freshwater pearl measuring 16.5 mm in diameter, enclosed by natural-color pink and lavender sapphire round brilliants weighing 2.86 carats total. The shank of the ring is embellished with 0.06 carats of diamonds. B: This Tahitian pearl Lace Ring is created in 18K white gold with sandblasted and blackened gold lace. The cultured Tahitian pearl measures 16.0 mm and is surrounded by round brilliant diamonds, 1.35 carats total. The rubies in the shank weigh a total of 0.08 carats. C: A handmade doily crocheted by Smith’s grandmother. Photos courtesy of Brenda Smith.
Brenda Smith Jewelry has earned four AGTA Spectrum Awards to date for design excellence. At this year’s AGTA designer showroom, Smith presented three masterpieces to the authors: two award-winning rings featuring pearl and blackened gold lace and an opulent pair of earrings featuring millefiori faces.
Smith’s most prized creation is her Lace Ring design. She shared her white Lace Ring featuring a large cultured pearl accented with gold lace, sapphires, and diamonds (figure 1A), followed by a black Tahitian pearl Lace Ring with blackened gold lace, rubies, and diamonds (figure 1B). Inspired by her grandmother’s handmade crocheted doily featuring a pineapple motif (figure 1C), the rings were created as a tribute to her memory. In 2021, the white freshwater pearl ring won Best Use of Pearls in the AGTA Spectrum competition and the Tahitian pearl ring won the InDesign Award in the category of Pearl Jewelry Over $5,000.

Figure 2. These “Gibson Girl” millefiori earrings in 18K white gold contain Paraíba tourmalines (1.11 carats total), pink tourmalines (1.54 carats total), and 0.56 carats of aquamarine. Photo courtesy of Brenda Smith.
Smith’s one-of-a-kind “Gibson Girl” earrings (figure 2) are inspired by the Austrian symbolist painter Gustav Klimt. Klimt’s paintings combined realistic faces with geometric clothing, and Smith mirrored this style to create this high-end piece of jewelry. The technique used to create the girl faces is millefiori, which means “thousand flowers” in Italian and produces slices from canes with concentric and colorful patterns. Millefiori techniques can be used to make jewelry, decorative objects, candy, and art pieces. Creating these objects requires a skilled artisan who possesses a deep understanding of material properties, considerable experience, and patience. American artist Barbara McGuire handcrafted the complex face canes for the earrings by arranging and embellishing polymer clays to create a lifelike image. Though millefiori objects are commonly used in decorative pieces, Smith’s design incorporates a harmonious blend of colored gemstones expertly paired and crafted to create a lively figure with a unique personality and color scheme, making it an extravagant and elegant piece of jewelry. @topic:6


Publish Year: - Title: Tips on Caring for Jewelry Abstract: Careful cleaning and caring for your jewelry means you will enjoy its beauty forever. Courtesy of Omi Privé.

Jewelry is one of our most intimate and cherished accessories. Understanding how to care for and protect your treasured jewelry can make a world of difference in maintaining its beauty and keeping your heirlooms sparkling for generations to come.
Be careful with light and heat
Just as the sun’s harmful rays can damage our skin, light and heat can affect a colored gemstone’s durability and color. Over time, and in excess, they can also fade or damage some gemstones, such as amethyst, kunzite, topaz and shell cameos. Pearls and other delicate materials, such as ivory, will bleach under extreme exposure to light. Other gems, especially amber, can darken over time when exposed to too much light.

Vintage jewelry, such as this French 18K yellow gold and diamond feather brooch, circa 1860, should be handled delicately and can be cleaned with just water and a soft, lint-free cloth. Photo by David Behl, © Janet Mavec & GIA.
Excessive heat and sudden temperature changes may also fracture some gems. Heat can easily remove the natural moisture these gems need to keep their beauty. Pearls, for instance, can dry out, crack and discolor. Opals can turn white or brown, develop tiny cracks, and might lose their play-of-color.
Keep your jewelry away from chemicals
Exposure to chemicals can damage or discolor precious metals – gold, silver and platinum – and may harm some colored gems. Even everyday substances like hairspray, lotion, perfume or other cosmetics can contain chemicals that will permanently damage the surface of your pearls and other delicate or porous gems (like turquoise). Fine jewelry should be removed before diving into a chlorinated swimming pool or before using household cleaners. Many of these cleaners contain ammonia, which can be too harsh for delicate gems or vintage jewelry. Chlorine bleach, another common household solvent, can pit or damage gold alloys.
Give treated gems special care
Many colored gemstones are routinely treated to improve the appearance of color and clarity. These treatments can be negatively affected by heat, solvents, steam and ultrasonic cleaners. Knowing whether your gem has been treated is the first step to knowing how to care for it. This is where a GIA report comes in – it contains important information about your gem and any detectable treatments it may have undergone.
Use Ultrasonic Cleaners With Caution
While you can purchase a professional ultrasonic cleaner for $150 or less, you should be aware that not all gems and jewelry can be safely cleaned in it.

Ultrasonic cleaners should not be used to clean:

Gemstones with surface-reaching breaks that have been filled with a substance such as oil, resin or a glass-like material
Organic gem materials such as pearls, coral, ivory, or amber
Gems that have been coated with a non-permanent substance like plastic or wax
Some heat-treated gemstones
Gems that are susceptible to heat and temperature changes whether they are treated or not. Some of these gems include tanzanite, feldspar (sunstone and moonstone), fluorite, iolite, kunzite, lapis lazuli, malachite, opal, topaz, turquoise, zircon and others

What’s more, the vibration generated by the machine can sometimes shake gems loose or chip gems that are set with their girdles touching.

This type of cleaning is best left to jewelry professionals who know about different gem materials and understand when and how to use the ultrasonic cleaner safely.
The safest cleaning methods are also the easiest
Most colored gems can be cleaned with warm water, mild dish soap (no detergents) and a soft brush. A pulsed-water dental cleaning appliance and a soft, lint-free cloth can also be used. Be sure to rinse your jewelry in a glass of water to remove cleaning solutions since you risk losing loose stones – or even an entire piece of jewelry - if you rinse directly in the sink.

Soft gems, such as pearls, on the other hand, can easily scratch. Use a new, clean makeup brush and warm, soapy water to softly clean them. Lay a strand of pearls on a towel to dry. The wet silk thread can stretch − and attract dirt − so don’t touch your strand until it is completely dry. Pearls worn often should be restrung once a year.

Pearl earrings, such as these American 14K gold, diamond and cultured pearl earrings, should be cleaned using an unused makeup brush and warm, soapy water. Photo by David Behl, © Janet Mavec & GIA.
Safely store your jewelry
Proper jewelry storage is often overlooked. Jewelry should never be tossed into a drawer or on top of a dresser − that’s asking for scratches and damaged gems.

Most jewelry pieces come in a box or pouch from the store, which is a perfect place to keep them. Sterling silver, for example, should be kept in an anti-tarnish bag or cloth. Jewelry boxes that feature individually padded slots for rings and posts for hanging necklaces and bracelets are also ideal.

Each container can hold one type of jewelry − earrings, rings, necklaces, bracelets and watches. Keeping like items together is practical to have every option available when selecting what you want to wear.
Pearls and opals draw moisture from the air, so storing your opal or pearl jewelry in a dry area, such as a safe deposit box, can sometimes do more harm than good.

When traveling, protect your jewelry pieces from scratches or other impact damage by padding it in a separate box or case.

Many jewelry stores offer free check-up or professional cleaning at scheduled intervals: Jewelry should be checked every six months and cleaned frequently. Look for a jeweler with professional training and a good reputation – asking friends or relatives for recommendations is a good place to start. GIA’s Retailer Lookup can help locate a jeweler in your area who has GIA trained associates on staff.

Planning a getaway? Read our Ten Tips for Traveling with Jewelry. @topic:8


Publish Year: 2021 Title: Josh Hyman (Philadelphia Jewelry Appraisers) Abstract: A 19.56 ct boulder opal is surrounded by Montana sapphire and California spessartine garnet in this brooch commissioned by Josh Hyman. Photo by Laurie Seniuk.

Just over a block from Liberty Bell and Independence Hall, between 7th and 8th on Sansom Street, lies Philadelphia’s bustling Jewelers’ Row. While other American jewelry districts like New York’s Diamond District are more well-known, Philadelphia’s Jewelers’ Row carries the distinction of being the nation’s oldest. It is home to many fourth- and fifth-generation jewelry families who took up business in converted row houses built in 1805. Those in need of valuation services can walk into the shop of Philadelphia Jewelry Appraisers and speak to Josh Hyman, the city’s only full-time jewelry appraiser.
The Hyman family’s jewelry tradition in Philadelphia began with his great grandfather Ruben Littman, a curb merchant who went door to door buying precious metals. Mr. Littman got to know the jewelers on Sansom Street, who purchased precious metals from him. Several generations later, Josh Hyman found himself working in his family’s retail shop on Jewelers’ Row. After pursuing his gemological education in Idar-Oberstein and then at GIA in Santa Monica, he worked in retail in Aruba before settling back in Philadelphia. There he found his niche as an appraiser serving the vibrant gem and jewelry industry on Jewelers’ Row. One of the most rewarding aspects of his work as an appraiser is studying the gemstones submitted to him, which pushes him to tirelessly continue his gemological education. In fact, Mr. Hyman has become quite active in the gemological community online by creating the popular “Gemology Worldwide” Facebook page and podcast series. He admits to having a somewhat ulterior motive, as he wanted to create an educational forum to not only inform others but also advance his own gemological knowledge.
At the beginning of the pandemic in March of 2020, Philadelphia Jewelry Appraisers was shut down for three months. Despite the dismal outlook at the onset, as soon as he reopened in June, demand came back at full strength. While reduced foot traffic on Jewelers’ Row may have led to fewer walk-ins, Mr. Hyman had already been driving demand for his services through heavy online advertising, especially Google Reviews. As an appraiser, Mr. Hyman has his finger on the pulse of the trade and offered some insights on the jewelry industry’s response to the pandemic crisis. The few months after reopening were a huge boon for the jewelry industry globally as well as in Philadelphia. He attributes this, in part, to the fact that people largely stopped spending discretionary money on experiences such as travel and eating out. Consumers realized that purchasing and gifting gems and jewelry could also become an experience, so the discretionary spending typically allocated to travel was diverted to jewelry. Throughout the pandemic, Mr. Hyman has seen increasing demand for sapphires over rubies and emeralds. In particular, the demand for pastel and teal sapphires has grown, especially for sapphires from Montana (see above). Although sales slowed into September and through the end of the year, the outlook is positive. However, it remains to be seen how this might change as the world navigates its way to some form of normalcy and people resume traveling again.
According to Mr. Hyman, one of the main factors keeping the gem and jewelry industry strong, despite the cancellation of major gem shows, is the consumer’s increasing confidence in buying online over the last few years. Rough and cut gems and jewelry that would have ordinarily changed hands in Tucson or Hong Kong made their way to the end consumer anyway by being sold online. The next few years will show us how the major gem shows like Tucson will adapt to this drive toward online sales. @topic:6


Publish Year: 2021 Title: Prida Tiasuwan (Pranda Jewelry Group) Abstract: COVID-19 safety measures in place at this Pranda facility include a disinfection tunnel at the entrance. Photo courtesy of Pranda Jewelry Public Company Limited.

Thailand enjoys a strong reputation for jewelry manufacturing, employing a highly skilled workforce in its many factories. Although it was the second nation with confirmed COVID-19 cases, Thailand remained relatively unaffected by the virus. The government quickly imposed strong measures such as remote work, curfews, and closure of places where people gather in great numbers. The action that arguably had the greatest impact was the closure of its international borders. The government tightly controlled travel to the country and enforced a strict 14-day quarantine for everyone who entered. Today, more people are allowed to enter, but the two-week quarantine is still mandatory.
The travel ban had a devastating impact on the region, which relies heavily on tourism and business travel, but it also left its mark on the local jewelry manufacturing scene. We spoke with Prida Tiasuwan, chairman of the Pranda Jewelry Group, about the situation in Thailand. He confirmed that the proactive measures taken by the government affected business in the first months of COVID, but this period did not last very long. By June 2020, business was returning, and a few months later demand was high, most likely because of the upcoming holiday season. This positive outlook continued with the arrival of vaccines in early 2021.
The Pranda facilities operated at reduced capacity during the Thai lockdown, which allowed the company to save costs due to reduced salaries for all staff and selected furloughs in April and May. Mr. Tiasuwan personally headed a task force consisting of department managers to ensure that all 2,200 staff remained safe and production could return to a normal pace as soon as possible.
By temporarily reducing capacity, they were able to improve working conditions for staff, including social distancing measures. Employees quickly adopted these new principles, and many of them were able to work from home. Since August 2020, the facilities have been back at full capacity with all required precautions, including a “Safe and Clean” campaign to remind everyone of the simple steps they can take to prevent the spread of the virus (see above).
Still, Pranda encountered issues with the supply of raw materials such as diamonds and certain colored stones. These are typically sourced or cut in countries such as India and China, where the impact on businesses was more severe during the first months of the pandemic. On the other end of the chain, physical retail was heavily impacted but was compensated by an increase in e-commerce.
The economic impact of the pandemic is also reflected in the demand for jewelry, according to Mr. Tiasuwan. The focus is on simple pieces in smaller sizes, with very few set stones or none at all. Customers have not been looking for fancy, colorful jewels during the pandemic, but Pranda expects this to change once the economic situation stabilizes. @topic:7


Publish Year: 2018 Title: General Gemology and Jewelry Abstract: Gemstones and Sustainable Livelihoods: From Mines to Markets
Saleem H. Ali
Gemstones and Sustainable Development Knowledge Hub, University of Delaware, Newark
Colored gemstone supply chains are highly fragmented. The large variety of gemstones found in the trade, each with different mining and manufacturing issues and production cycles, adds to this complexity. Yet this fragmentation also creates opportunities for diffuse positive impacts in livelihood formation across the supply chain. Gemstones are predominantly mined through artisanal and small-scale mining (ASM) operations, and many of those who mine the stones remain in poverty. Furthermore, the mining is often undertaken without any mechanism for environmental remediation that can sustain livelihoods beyond the mining phase. In a sector that ranges over 50 producing countries, with a multitude of cultures, environments, and minerals, much research remains to be done on how sustainability can be improved and catalyzed between mines and markets. The benefits that could flow from the sale and beneficiation of colored gemstones remain elusive and often accrue in favor of corrupt interests that could also exacerbate security concerns in fragile states. This sector is a neglected area for research and training and has also largely eluded international mechanisms for accountability such as the United Nations–mandated Kimberley Process for diamonds.
The gemstone industry can play a vital role in sustaining livelihoods and national economies following the cessation of mining. Thailand, formerly a gemstone mining nation, has succeeded in transforming its industrial sector to become the major international hub for the processing (treatment, cutting, and polishing) and trading of gemstones within a few decades. Thailand had a long tradition in gemstone manufacturing and has successfully moved up the gemstone supply chain. The country has achieved this transformation by transmitting know-how, fostering innovation in gemstone refinement, and embodying proactive governance structures. Case lessons like these must be understood and adapted to other geographies as far as realistically possible. The beneficiation of gemstones in their country of origin is a great challenge facing countries across the globe, but especially in Africa. Despite the value and the beauty of the stones, those who mine them and those in the first steps of the value chain often live in poverty. There are encouraging developments—for example, Tanzania has successfully created a gemstone cutting and jewelry-making hub, and the Ethiopian opal sector has had some promising developments in cutting and polishing.
Thus, from mines to markets, colored gemstones provide important opportunities for contributing to development and thereby improving the brand and value of the sector for consumers. However, an integrated mechanism for linking business imperatives with social development dimensions of the sector is essential. This presentation will summarize some of the key research lessons gleaned through the Gemstones and Sustainable Development Knowledge Hub established in 2017 and the nascent educational program that is being developed through a network of international university partners on “Minerals, Materials and Society.”
Challenges of a Twenty-First Century Gem Trader
Edward Boehm
RareSource, Chattanooga, Tennessee
The gem trade looks much different than it did at the end of the last century. Previously the focus was on disclosure of synthetics and treatments, but in the last two decades it has evolved to include greater concern for sustainability, environmental conservation, and transparency in ethical sourcing. Country of origin has always played an important role in high-end gems, and this trend continues today, but the added element of traceability is changing the impact and importance of third-party verification. The country-of-origin pedigree associated with fine-quality gems from sources such as Myanmar (figure 1) and Kashmir has historically translated into desirability and higher value. However, today’s concerned consumer views a country mired in sociopolitical conflict, war, genocide, or terrorism as an undesirable source, potentially leading to boycott by not only consumers but also NGOs and large or publicly traded jewelry companies. These challenges, while daunting, should also be viewed as opportunities for the entire gem trade.

Figure 1. A gem miner holds a traditional brass plate of corundum, spinel, and peridot rough and crystals from Mogok, Myanmar. Photo by Edward Boehm.
Reputable gem dealers focus on finding quality gems sourced from reliable producers while competing for the best prices. Ethical sourcing is a main focus for many dealers, but recent sustainability and transparency requirements from larger retail chains are adding layers of responsibility that gem traders and gem trade organizations are working diligently to address. The American Gem Trade Association (AGTA), the International Colored Gemstone Association (ICA), and the World Jewellery Confederation (CIBJO) have been leaders in clear communication and disclosure to the consumer. Despite the demands of additional transparency, they face these challenges as opportunities to differentiate themselves by addressing the issues with positive and active policies. Membership in one of these organizations focused on ethical sourcing provides trade professionals with identifiable goals and guidelines to adhere to.
Modern tools to help gem traders adapt to these principles are becoming more available as demand increases. Professionals no longer have to rely only on their own gemological knowledge and contacts. Laboratory reports and now nanotechnology and blockchain tracking all provide potential third-party options for identifying and tracing the flow of gem material. Gemological laboratory reports and recent technological breakthroughs provide avenues for addressing some of the issues facing the trade, but they are not foolproof panaceas for the issues at hand. It will also take active good faith initiatives that involve the entire supply chain, from miners to retailers. As these technologies evolve and others are discovered, the trade will have even more ways to provide accurate information and confidence to consumers.
San Diego Gemstones and Gem Localities
William Larson
Pala International, Fallbrook, California
For over 125 years, San Diego County has produced famous gemstone treasures. This talk will explore the history and famous localities from the original finds of the nineteenth century, as well as the connection to Chinese Empress Dowager Cixi (1835–1908). Her enthusiasm for San Diego gems led to an estimated 90 tons of tourmaline shipped to China before 1910 and the “type” locality finds of kunzite (figure 1) and morganite.

Figure 1. This 40.34 ct pink-lavender kunzite is from Pala, California. Photo by Mia Dixon/Pala International.
Of special interest, this presentation will detail the revival of San Diego gem mining starting in the 1950s and continuing to this day by looking at the three most important districts: Ramona for spessartine garnet and topaz; Mesa Grande for tourmaline; and Pala for tourmaline, morganite, and kunzite.
The author has been directly involved with 16 gem mining projects in San Diego County since the 1960s and has locally mined 36,000 feet of underground tunnel, resulting in many successful finds. The talk will also delve into current and future challenges for gem mining in San Diego County and elsewhere, including high mining costs—involving governmental, environmental, and safety regulations—and land-use restrictions. Possible bright spots for future gem mining localities include geophysical exploration techniques and underground radar, new mining techniques, and advances in explosives.
GIA’s Field Gemology Program: A Modern Approach to Origin Determination
Wim Vertriest
GIA, Bangkok
Nowadays, origin determination is an undeniable part of gemology. For many high-end colored gemstones, country of origin is considered an important aspect that can significantly influence price. GIA realized early on that delivering trustworthy scientific studies on gemstone origin is a complex affair. It requires advanced technology, well-trained scientists, years of experience, and above all dependable reference samples.
Since the establishment of its field gemology department in 2008, GIA has built and maintained a reliable reference collection. The best way to collect samples is to cut out all intermediaries, thus removing any misinformation, and visit the mining areas in person to collect gemstones at the source, or as close to it as possible. GIA gemologists have observed and documented many of the most important ruby, sapphire, and emerald mining areas over the last decade (figure 1). Over 90 expeditions, over 20,000 reference samples—more than one million carats—have been collected.

Figure 1. Greenland ruby samples in matrix collected for GIA’s field gemology program. Photo by Wim Vertriest.
The samples collected are integrated into GIA’s colored stone reference collection. Each sample is accompanied by information detailing its sourcing, such as collection date, gem species, known treatment, previous owner details, GPS coordinates of mining and/or buying locations, and purchase price. All the data is subsequently available in an internal database that is accessible to GIA gemologists globally. When data (e.g., inclusion photos, trace-element chemistry, and spectra) are collected on the samples, they are added to the database. This becomes an important resource to GIA colored stone gemologists in every location. In a video on scientific research collections, Sir David Attenborough noted:
a research library associated with collections is almost of greater importance than the objects themselves. Unless you know where it came from exactly, and when it came from exactly, you are missing a lot of very, very important information. That information can not only come from the object itself, but from the circumstances, documentation, that should accompany every scientifically collected specimen.
(“Sir David Attenborough on Museum Collections - 360,” American Museum of Natural History, posted August 31, 2017)
While in the field, GIA team members also document the local situation. This covers mining techniques, trading activity, traditional jewelry making, gemstone history, and local gem cutting. Videos, photos, and interviews are then used to create articles and supplement course content for GIA’s educational programs. In this way, the information gathered during field expeditions becomes an invaluable resource to multiple departments within GIA and serves as a historical record of gem mining sites around the globe.
Closing the Knowledge Gap Across the Supply Chain: A Case Study of GIA and Pact’s Field Collaboration in Tanzania
Cristina Villegas
Mines to Markets Program, Pact, Washington, DC
For years, field gemologists and international development experts across disciplines have noted that colored stone supply chains are lopsided in terms of stakeholder knowledge about stone types, quality and grading, handling know-how, and what happens after the stone leaves the mine and its journey begins in the global jewelry supply chain. Those who mine the stones—typically at great personal risk—are usually the most likely to know the least about them. One stone can change a life if it is of especially high quality, while others may be “tourist grade” (local parlance for lower-value stones). Many artisanal and small-scale miners (ASM) simply do not realize the difference.
In 2017, the Gemological Institute of America and Pact, an international nonprofit social development organization with a specialty in developing and delivering ASM economic and social programs, joined forces to test a simple idea: Can a simple guidebook make a difference, and how?
The project, originally conceived by GIA distinguished research fellow Dr. James Shigley, is part of the Institute’s mission-driven effort to share information and skills throughout the gem and jewelry industry supply chain and with the public. An area in Tanzania’s Umba Valley was identified, and the program rolled out in 2017 with the Tanga chapter of the Tanzania Women Miners Association (TAWOMA; figure 1). The results were fascinating and validated the need for the guidebook. Of particular note: For every $1 the project invested in artisanal and small-scale miners, there was a $12 social return on the investment. Both male and female miners commented that they believe these changes they have experienced will last for more than five years.

Figure 1. Miriam S. Mshana, an artisanal sapphire miner, is chairwoman of the Tanga chapter of the Tanzanian Women Miners Association (TAWOMA), a field partner that facilitated access to the remote mining sites. TAWOMA comprises more than 3,000 women working across the mining sector producing gold, colored gemstones, diamonds, and industrial materials. The Tanga chapter alone has 600 members. Photo by Cristina Villegas.
This presentation will focus on how the project was implemented, monitored, and measured, and will engage the audience to help identify answers to these questions:

How can the gemological research sector, and other parts of the jewelry supply chain, help advance local economic and social development agendas in sub-Saharan Africa?
What other knowledge could be imparted in a context of low literacy? Are there other ways that learning programs could be structured to maximize impact in a given province? In other words, how can we improve in the future and also inspire others to act?

In reporting on her June 2018 trip to the region, the author will provide an update on the 2017 project participants. @topic:11


Publish Year: - Title: Jewelry Sales Show Modest Rise; Higher End Soars Abstract: Retail traffic was down across the board ‒ though sales were up ‒ this past holiday season. Photo by Russell Shor/GIA

Jewelry sales during the U.S. holiday season increased slightly from 2018 on average, with higher-end independent jewelers far exceeding that average, according to various surveys. Online buying surged, while foot traffic in retail stores slowed.
A MasterCard survey reported that online jewelry buying increased 9% over 2018, while overall jewelry sales were up less than 2%. The National Retail Association Federation mid-season survey found overall retail sales to be up about 2.1%, half of the higher end of the estimated 3.4% to 4.2% it had predicted.
Preliminary results from Tiffany & Co., which reported sales declines in each of the past three quarters, rebounded to show a 2% to 4% holiday sales increase in North America and 1% to 3% worldwide ‒ with a steep drop occurring in Japan. Signet Group, which includes Kay Jewelers, Zales and Jared, said it expects a 2% to 4% decline in same store sales when it announces its quarterly earnings later this month.
Some retail analysts attributed the sharp decline in foot traffic in 2019 year to an abnormally short shopping period between Thanksgiving and Christmas, saying it shifted a lot of business to the internet.
“Due to a later-than-usual Thanksgiving holiday, we saw retailers offering omnichannel sales earlier in the season, meeting consumers’ demand for the best deals across all channels and devices,” said Steve Sadove, senior adviser for MasterCard, in a press statement.
Independent jewelers in the U.S. turned in one of their best years ever, according to a recent survey in The Centurion newsletter. It found that 81% of jewelers saw increases, with more than half of that group posting hikes of 6% or more. Only 7.1% of those surveyed said they saw real declines in business and the remainder stayed even. A mid-season survey found a much higher percentage running behind last year, but a flurry of final-week business pushed most of them into positive territory.
“Although the season started slow for many upscale jewelers, the end result was well worth it, with more than 80% of respondents to The Centurion's Holiday Sales Success Index reporting sales gains over last year's already-solid season,” says Hedda Schupak, editor of The Centurion newsletter. “But jewelers in the Midwest are not feeling as much love as their peers. With the exception of a few outliers who cited specific reasons for a drop ‒ such as losing either a coveted brand or a key top-performing salesperson ‒ those jewelers reporting steep year-on-year sales declines were mainly located in the Midwest.”
One down spot in the survey: Business from millennial shoppers was down ‒ millennials accounted for 18% of jewelers’ seasonal sales compared to 25% in 2018.
JEWELRY AUCTIONS
The top auction houses Sotheby’s and Christie’s ended 2019 somewhat below the record years of the past decade, totaling an estimated $750 to $800 million for the year, with Christie’s holding the larger share at about $430 million.
Sotheby’s year-closing Dec. 12 New York sale featured a GIA-graded 7.55 ct cushion cut Type IIb, Fancy Deep grayish-blue diamond that sold for $6.6 million, 10% above its low estimate. A 20.16 ct Fancy Deep brownish-pinkish-orange diamond sold for $2.8 million, well above its estimate. The sale totaled $43 million.
At Christie’s New York auction a day later, a brooch featuring an 11.20 ct Burmese ruby surrounded by emeralds and diamonds sold for $9 million, more than double its pre-sale estimate. The brooch belonged to the Du Pont family. The sale also included a GIA-graded 3.07 ct Fancy Vivid blue diamond, Type IIb, that sold for $3.4 million and a Kashmir sapphire and diamond ring with a combined weight of 30.14 cts that brought $3 million. That sale totaled $67.5 million.
JAPANESE RETAIL
Larger jewelers in Japan, the world’s fourth largest jewelry market, are bracing for a sales hit after the government added a 2% increase to the national sales tax that had been delayed two years. In 2012, the government voted to double the consumption tax to 10% in two stages. The first stage in 2014 raised the tax to 8%, which sharply curtailed retail spending and caused the nation’s economy to fall into recession.
The nation’s economic difficulties caused the government to delay the second stage, originally scheduled for the following year, until last October, when it raised the consumption tax from 8% to 10%. The tax has begun to dampen spending on high ticket items. To reduce the economy-dulling effects of the tax, the government is offering 5% consumer rebates on purchases made to smaller retailers, including independent jewelers, by electronic payments. Some economists believe the 5% rebate will mitigate some of the negative effects on the economy.
Japan accounts for 10% of the world’s spending on luxury goods, which is dominated in Japan by international firms and large retail chains that are not eligible for the rebate program. Tiffany & Co. in Japan, for example, has already felt the effects: sales plunged 12% to 14% between Nov. 1 and Dec. 31, 2019. @topic:7


Publish Year: 2015 Title: Gemstones and Jewelry Inspired By Nature Abstract: Figure 1. A carved agate and leaf pendant featuring diamond and tsavorite accents. Photo by Robert Weldon/GIA; courtesy of Jeff Bilgore, LLC.

Jeff Bilgore has 18 AGTA Spectrum Awards to his credit in both the cutting and design categories. His booth in the AGTA GemFair featured two pieces that departed from the norm of colored stones: an exquisitely carved leaf brooch of moss agate, highlighted with diamonds (figure 1), and a platinum pendant panel and chain featuring natural-color fancy diamonds that appeared to float within the frame (figure 2). The cut-corner rectangular panel, reminiscent of a classic Cartier design, featured 11 natural colored diamonds (5.68 carats total, all with GIA reports confirming Fancy, Fancy Vivid, or Fancy Intense hue), paired with a chain featuring 36 additional oval fancy colored diamonds (4.23 carats total).

Figure 2. A platinum pendant featuring 13 natural colored diamonds (6.31 carats total) with an 18K yellow gold and platinum chain featuring 36 oval fancy color diamonds (4.23 carats total). Photo by Robert Weldon/GIA; courtesy of Jeff Bilgore, LLC.
After viewing the selection of carefully curated gemstones, one becomes aware of the entwined themes of art and nature. Bilgore espouses the principle of biophilia, the belief that humans intuitively respond positively to nature. Rather than viewing gemstones as inanimate objects, Bilgore sees them as part of nature, and he displays many of the gemstones and jewelry pieces with a tiny easel featuring an associated image (figure 3). A 5.69 ct Australian crystal opal, exhibiting play-of-color in all hues, was displayed with an image of the aurora borealis. Some of the other images are Bilgore’s own photos, taken in his garden or while hiking. In a further nod to nature, the design of the colored diamond panel pendant was inspired by the Golden Mean and the Fibonacci series, mathematical relationships often found in nature and incorporated into manmade creations as diverse as music and architecture.

A 5.69 ct Australian crystal opal is accompanied by an image of the aurora borealis on a tiny easel. Photo by Towfiq Ahmed; courtesy of Jeff Bilgore, LLC. @topic:6


Publish Year: 2018 Title: Chicago Responsible Jewelry Conference Abstract: Held October 21 and 22 at Cinema Row, the Chicago Responsible Jewelry Conference drew 200 attendees who heard industry experts discuss safe, sustainable, ethical gem production and jewelry design.
Friday’s session opened with a keynote address by Mark Hanna (Richline Group). “Our vision is the creation and maintenance of a responsible, worldwide supply chain that promotes trust in the global fine jewelry industry,” Hanna announced. He discussed the ways blockchain technology is allowing for greater mine-to-market transparency. While there are communication and efficiency issues, as the various blockchains do not yet interact, open-source tracking does seem to be the wave of the future. Following Hanna’s presentation, Rolberto Alvarez  of Colombia’s Mina Gualconda reported on the gold mine’s transformation from a manual operation with mercury extraction (1974–2001) to an environmentally conscious, Fairmined-branded enterprise, supporting 12 families and using zero mercury.
Eric Braunwart (Columbia Gem House) moderated the first of several panels held during the conference. A group of gem cutters, representing four continents, discussed locale-based challenges that included the costs of replacing broken equipment, a lack of cutting knowledge and experience among locals, and recent restrictions on exporting rough from countries such as Tanzania. Panelists observed that clients also want corporate social responsibility (CSR) efforts to extend to cutters and reiterated what has been said at similar gatherings: The art of cutting involves more than just faceting a stone. Often cutters say the stones “speak” to them, telling them where to begin and end. The storytelling that has become part of the jewelry industry’s outreach to customers should include tales of the cut as well.
Day one ended with the work of sustainability consultants The Dragonfly Initiative (TDI), which has developed the Coloured Gemstone Working Group (CGWG) to support the communities impacted by the colored gems sector. TDI’s Sarah Caven posed the question: “Things are not perfect, and we can maybe never get perfection, but what can we do to improve transparency and do a better job in the supply chains?” She explained that the CGWG has created due diligence systems that are adaptable for everything from micro-businesses to large corporations, with commitments from 12 major luxury jewelry brands. With corporate partnerships, TDI has also launched artisanal and small-scale mining projects in Tanzania, Uganda, Kenya, and Brazil. Brian Cook (Nature’s Geometry) spoke of his work as a consultant for TDI, investigating the financial records and environmental reclamation efforts of alluvial mining sites in Brazil. He also provided updates on the rutilated golden quartz community he established in Brazil’s Bahia State.
The first day also featured the premiere of River of Gold, a documentary on illegal gold mining in the Amazon rainforest. The film shows the environmental devastation and human corruption that results from this form of gold exploitation. After the screening, sustainable jewelry consultant Christina Miller moderated a Q&A session with producer Sarah DuPont, joined by Susan Egan Keane (Natural Resources Defense Council) and Nigel Pitman (The Field Museum).
Day two opened with a panel in which jewelry designers described how they began working ethically sourced material. Moderated by jewelry designer and metalsmith Alexandra Hart, panelists told of humble beginnings in the responsible sourcing sphere; Helene Grassin (Paulette à Bicyclette) recalled sharing casting trees with other like-minded Parisian designers in order to afford the cost of ethically mined gold. The designers noted that their clientele know how to find them and were adamant about balancing bad news with transparency: If the customer cannot be told honestly that their materials are ethically sourced, they will often select a different metal or gemstone. They shared a desire to reach out to independent ethical, environmentally responsible gem suppliers so that designers and suppliers could join together to create a remarkable story for clientele. As one panelist stated, “We are the pioneers of creating these relationships.
Joanne Lebert (Impact) used a case study from the Democratic Republic of the Congo to explain how Impact believes ASM activity should operate. Borrowing the Reagan-era dictum “Trust, but verify” allows the gemstone or jewelry piece’s story to be told honestly and ethically. The Clinton campaign mantra “It’s the economy, stupid!” reminds us that producers along the supply chain should be seen as economic actors who have a stake—and a final impact—on the material. Finally, Lebert’s assertion that Obama focused on the good of the community as a whole reminds us that men and women in the mining and cutting sectors benefit differently from CSR efforts, a point examined further by the next speaker. Glenn Lehrer (Colourful Life Foundation) discussed the importance of giving back to communities that produce and work in the gem and jewelry industry. While the foundation is working in gem communities around the world, Lehrer focused on the schools it has opened for low-income children in Jaipur, India. Mothers of the children attending Colourful Life schools were provided with faceting training to prepare them for Jaipur’s workforce. He was surprised to learn that the women rejected at-home training and workshop equipment. Going to school and work was a form of dignity for them, whereas Western workers often prefer the convenience of working remotely.
The last panel of the conference, moderated by Monica Stephenson (Anza Gems and iDazzle) focused on artisanal mining. Panelists recounted their personal experiences, challenges, and triumphs in the mining sector. Among the speakers was Salma Kundi, a tourmaline miner from Tanga, Tanzania, and secretary general of Tanzanian Women’s Mining Association (TAWOMA); her group was involved in the Pact/GIA guidebook project (see below). Where Kundi comes from, a miner pays for a concession and a license and exploits the deposit with assistance. A mining license costs about US$400, a high price for a woman, and that does not cover mining and food expenses. Membership in TAWOMA allows for collective mining, enabling women to pay for licenses. Other challenges include a need to reach buyers beyond their local markets.
Robert Weldon spoke about GIA’s collaboration with Washington, DC–based NGO Pact to create and distribute a rough gem guidebook among Tanzanian miners (Summer 2018 GNI, pp. 245–246). Since early 2017, GIA and Pact have provided training with the Swahili-language guidebook, which is accompanied by a tray for sorting gemstones using reflected and transmitted light. Follow-up surveys revealed a $12 social return on investment for every $1 invested in the program. As of October 2018, the guidebook has reached approximately 1,000 Tanzanian miners. The final speaker of the day, Yianni Melas (The Gem Explorer), recounted his experiences as a human rights advocate for gem and jewelry laborers, including a recent 31-day hunger strike that made international headlines.
Both days also featured a gem boutique, with information on ventures and gemstones available for sale. There were also optional lunch sessions that elaborated on topics that will affect the industry’s future, such as the Jewelry Development Index, the flagship project of the University of Delaware’s “Mines, Minerals and Society” program; the Mercury-Free Mining Challenge; and TrustChain, a collaboration between industry leaders and IBM to create a blockchain solution. As Mark Hanna said in opening the conference, “The challenge of our unknown future is so much more exciting than the stories of our accomplished past.”
The 2019 Chicago Responsible Jewelry Conference is slated for Friday, October 25 and Saturday, October 26. @topic:11


Publish Year: 2019 Title: "The Ethics of Jewelry" at MetFridays Abstract: Left to right: “Ethics of Jewelry” panelists Monique Péan, Karen Smit, and Patricia Syvrud joined moderator Ben Smithee at the New York Metropolitan Museum of Art. Photo by Stephen G. Strickland.

“The Ethics of Jewelry” panel (see above) was held on January 25, in conjunction with the New York Metropolitan Museum of Art’s temporary exhibit, “Jewelry: The Body Transformed,” which ran from November 2018 to February 2019. The exhibit featured an array of headdresses and ear ornaments, brooches and belts, and necklaces and rings, along with sculptures, paintings, prints, and photographs that amplify the many stories of transformation that jewelry tells. The 230 objects were drawn almost exclusively from the Met’s own collection and displayed the museum’s jewelry artifacts from ancient to contemporary times. “The Ethics of Jewelry” panel was part of the museum’s MetFridays evening series of concerts, classes, and presentations open to the public. The purpose was to discuss timely issues facing the world of jewelry today, including urgent questions about mined, lab-produced, and sustainable materials.
Panelists were Monique Péan, a New York–based jewelry designer who prides herself on using sustainable materials in her one-of-a-kind pieces that are sourced globally through fair trade initiatives; Karen Smit, a GIA research scientist who holds a PhD in diamond geology; and Patricia Syvrud, program development manager for the Minerals, Materials and Society program at the University of Delaware, and immediate past executive director of the World Diamond Council. The panel was moderated by Ben Smithee, CEO and founder of The Smithee Group, a digital strategy, content, and advertising firm.
The panel opened with introductions, where each speaker described a bit of his or her background and relevance to the event. Péan shared her travels to the far reaches of the globe, where she gets the inspiration and many unusual materials for her pieces, such as pyritized dinosaur bone, Peruvian opaline, and Scandinavian meteorite. Smit gave a scientific overview of natural versus synthetic diamonds, and Syvrud shared the progress of the Minerals, Materials and Society education and training program and related research projects.
Smithee asked the panelists for clarification of some terms that are frequently used but little understood when speaking of “ethical jewelry,” such as “responsible sourcing,” “sustainability,” and “conflict-free” diamonds and gold. Although the terms “ethical jewelry” and “responsible sourcing” can mean different things to different people, the term “sustainability” has a globally recognized definition that basically means “meeting the needs of today without compromising the needs of future generations.” The current definition of the term “conflict diamonds” is also globally recognized, according to a United Nations resolution, to mean “Diamonds that originate from areas controlled by forces or factions opposed to legitimate and internationally recognized governments…” However, this definition does not address the human rights issues of artisanal and small-scale mining. The conversation then moved to a comparison of responsibly sourced gold vs. gemstones and how technology such as blockchain can be integrated into supply chains to enhance transparency and sustainability in the jewelry sector.
The session concluded with a focus on the artisanal and small-scale mining (ASM) that takes place in the diamond, colored gemstone, and gold mining sectors. Although challenges related to human rights and environmental and social impacts remain, the benefits from ASM to local stakeholders and communities should be more widely shared. @topic:6


Publish Year: 2019 Title: Book Review: Jewels & Jewelry Abstract: By Clare Phillips, softcover, 224 pp., illus., publ. by Thames and Hudson, New York, 2019, $40.00.

Jewels & Jewelry by Clare Phillips is a colorful depiction of the evolution of jewelry and accessories in Western civilization. The book is outlined in three parts and brings the reader on an educational journey using the pieces that are on display at the London’s Victoria and Albert Museum. Phillips’s writing—with accompanying photographs—reinforces that the jewelry industry is ever changing and influenced by popular culture.
Phillips starts out by discussing the common materials that will be found in the pieces, from metals to the gemstones and enamels that decorate them. From there, Phillips goes in chronological order, from the Middle Ages to today, showing how styles have changed. She describes how expeditions and conquerors returned to Europe with new materials and important gemstones from newly discovered sources, how the evolution of machinery allowed for mass production of jewelry pieces, and how the availability of goods was affected during the world wars due to restrictions on materials like platinum and certain gold. The final part discussed the manufacturing and distribution pieces in regards to the use of hallmarks and the design aspects of shops. Phillips mentions the importance of a jewelry’s history, due to the common practice of recycling metals and re-cutting and re-setting stones. Documentation of items (i.e., hallmarks and portraits) help to keep its history.
The high-quality photographs of the jewelry and accessories were carefully chosen to complement the passages. The evolution of gem cutting, from simple facets to round brilliants, is apparent in these pieces. Phillips also used paintings from the seventeenth through nineteenth centuries to show how people wore the jewelry and how styles have changed. For instance, she discusses the design aspect of Queen Victoria’s coronet in 1842 and then how it was restyled in the 1920s to be worn lower on the brow.
The book itself was quite easy to follow along for those with a basic jewelry background. The three sections succeeded in getting their concept across: materials, evolution of style, and distribution. The materials section gave just the right amount of information for the reader to understand what would be brought up later in the style section. Phillips brings in key players of the jewelry world, such as Fabergé and Cartier, but balances them out with lesser-known but equally important artists, such as Arthur and Georgie Gaskin and Alexander Calder. She also depicts the influencers who popularized jewelry styles: Monarchs of the seventeenth and eighteenth century, those involved in the post-war surrealism movements in the twentieth century, to celebrities such as Beyoncé in the twenty-first century.
When going through Jewels & Jewelry, keep in mind that its focus is on pieces from Western civilization pieces (i.e., the UK, Germany, and America). However, this is a great book to use to understand how goods and ideas are transferred from one country to the next. For instance, Phillips points out how the opening of the Japanese ports in the 1850s and the creation of the Indian Museum in 1801 that housed goods collected by the British East India Company introduced new concepts and inspired jewelers and artists alike.
If you are looking for a book that has a vast number of intricate pieces—from brooches to cigarette cases—and the history behind them, Jewels & Jewelry should be a top pick. @topic:6


Publish Year: - Title: Jewelry Detectives: Students Search for Clues to Quality Workmanship, Longevity Abstract: Example of poor workmanship: The top cluster for diamonds in this ring was cast in one piece from a poorly made original model (note the lack of detail of setting components and gaps in the undercarriage). Twelve outer wires were fabricated and soldered to the outside of the ring, joining the top to the fabricated three-wire shank. The stone seats are not properly cut and a number of prongs extend above the table of the diamonds. Many stones are not level set. Utilizing quality assurance benchmarks, the student learns to recognize the poor workmanship in how the diamonds are set. Photos by Emily Lane/GIA

Jewelry appraiser Teri Brossmer, GIA GG, more than likely saved a recently engaged couple some long-term headaches – and potential heartache – after she examined their engagement ring.
“A newly engaged woman brought in her diamond ring for appraisal and during my inspection I discovered rampant porosity throughout the metal,” she said. “I knew that porosity was not a good thing.”
That’s because Brossmer, who has been a practicing gemologist and jewelry appraiser for 35 years, had recently taken GIA’s Jewelry Forensics seminar, which teaches students to become jewelry detectives as they assess jewelry design and engineering to identify manufacturing methods, workmanship, value and the likelihood of loss or failure.
Brossmer kept those lessons in mind as she looked at the couple’s ring.
“During the class I learned that the porosity we can see on the surface is likely a window into the condition of the entire piece,” she said. “I was able to explain what porosity was and answer my client’s questions. Based on the sheer quantity observed, I suggested she have the ring remade.”
Brossmer’s client returned a few weeks later with a “new ring.”
“Sadly, I had to explain to her that the ring was not new – it had simply been repaired. I was able to show her the areas where the existing porosity had been filled in with solder,” Brossmer said. “The third time was the charm, however, and the next time I saw the ring it passed all of the quality assessment benchmarks I learned from GIA.”
Brossmer said her ability to identify the problems with this ring, and then explain them to her clients, is a direct result of what she learned in the Jewelry Forensics seminar.
That is the goal, said Elizabeth Brehmer, a technical advisor to GIA’s Jewelry Manufacturing Arts program and one of the developers of the seminar.
“Students use the scientific method to correctly identify, analyze and assess the quality and nature of jewelry,” she said. “The forensics skills are used to assess the trace clues that are left over from different forms of manufacturing. These clues help students figure out how the piece was made, its workmanship quality and how it will hold up long-term.”
When they are done, students are able to impartially present what they identify to clients or others.
“It enables you to have a meaningful discussion with a supplier, customer or jeweler about the workmanship and potential risk of loss of a piece of jewelry,” Brehmer said.

Example of poor design engineering and workmanship: The stone seats of this ring are not properly cut, the prongs are short, and many prongs do not make full contact with center stone, which adds up to a high risk of stone loss. The melee diamonds set at the side of the prongs are at high risk of becoming loose when the center stone prongs are adjusted or bumped when worn. Photo courtesy Heritage Auctions
The 12 Qualifying Questions and GIA’s Quality Assurance Benchmarks
Once students have collected all of the clues about manufacturing, they learn the 12 Qualifying Questions, which also employ GIA’s Quality Assurance Benchmarks (QABs), to assess the potential risk and loss associated with the piece.
“The QABs are a set of criteria to help determine quality of workmanship and craftsmanship for jewelry,” Brehmer said. “It reviews all of the skills that are employed in making something of quality, including proper dimensions and metrics, such as asking: is this prong the right height and thickness to hold this stone? Is the metal alloy chosen strong enough to be used in a ring?”
The QABs were developed by GIA’s Jewelry Manufacturing Arts instructional and research and development teams as a way to review the daily work and bench tests of Graduate Jeweler (GJ) and Jewelry Design & Technology (JDT) students. They developed the QAB evaluation process and instituted it in 2013 for GJ students and in 2014 for JDT students.
“It has been game-changing. The methodology has made it possible for us to provide consistent, objective feedback to our students in an organized and structured manner,” Brehmer said. “That’s why it made perfect sense to include the 12-step process in the Jewelry Forensics seminar. There isn’t anything else like it out there.”
Brehmer said that applying the QAB criteria for jewelry forensics is one of the many ways that GIA can pass on knowledge learned from one program to another.
“It is a reflection of the synergy that often takes place in the GIA classroom – what we learn in one setting can be leveraged for a whole new and practical aspect of another setting,” she said.
Brossmer said that using GIA’s 12-step process to determine method of manufacture and assess the quality of workmanship was definitely one of the most practical things she learned in the seminar.
“In fact, I carry the Jewelry Forensics handout in my onsite inspection bag,” she said.

Example of mixed items that did not start out together: This antique bracelet has been assembled as a marriage of different parts and the unrelated parts that are joined using lead solder at some locations. Students learn how to recognize the signs of unrelated parts and how to identify the various manufacturing methods that were used. Photos by Emily Lane/GIA
Working Through the Jewelry Identification Process
Al Gilbertson, a GIA research associate and one of the seminar developers, likened the Jewelry Forensics seminar to GIA’s graduate gemology program, which teaches students how to identify gemstones.
“It teaches them a methodology that assesses the condition and quality.,” he said. “They are identifying how the piece was made and then evaluating it to see how well it will stand up against risk.”
Brossmer said she took the course because she wanted a better understanding of jewelry manufacturing.
“I wanted to gain more confidence in assessment of the quality and condition of the complete piece of jewelry, ultimately resulting in more credible opinions of value,” she said.
Gina D’Onofrio, director of Fine Jewelry for Heritage Auctions in Beverly Hills, said the seminar “fills a void in jewelry industry education” and “having case studies of pieces utilizing newer techniques, such as castings from CNC milled wax, were valuable to me.”
Both Brossmer and D’Onofrio agreed that what they learned in the seminar will help them when they are evaluating antique and estate jewelry.
“I am more cognizant of how refined newer manufacturing techniques have become and how they can be utilized to make more convincing reproductions of antique and period jewelry,” D’Onofrio said.
Brossmer said she has a better handle on recognizing how a piece was manufactured, which is “invaluable when dating antique and period pieces. The hands-on examples of cast-in-place bead setting versus hand-set gems was also very helpful,” she said.
She has also a clearer understanding of the properties of the precious metals commonly used in jewelry manufacturing and the steps in each of the manufacturing processes.
“It provided an excellent foundation and made the hands-on experience much more meaningful,” she said. I loved the little trick about using a strong magnet to check for cobalt in 950 platinum pieces."
Want to Become a Jewelry Detective?
D’Onofrio offered specific examples of how the Jewelry Forensics seminar will help other jewelry professionals:

If you take in over-the-counter repairs, you can detect and assess potential problems before they occur.
If you appraise/buy/sell period jewelry, you can recognize inconsistencies in construction methods for circa dating, and for reproductions.
If you are a jewelry designer without bench skills, this course will help you design and engineer pieces knowing what construction geometry will prevent potential jewelry failures in the future.
If you are a buyer for a jewelry store or an avid collector, you can make more informed decisions on the metal type performance, quality and workmanship of the product you are purchasing.

“The usefulness of the Jewelry Forensics class extends beyond the jewelry industry to insurance professionals by assisting them in identifying potential risks,” Brossmer said. “The curriculum provides such a treasure trove of information; I plan to take it again so I can focus on things I’m sure I missed.”
The two-and a half-day Jewelry Forensics seminar offers lecture with process videos, hands-on exercises along with detailed education materials with illustrations and image examples.. Seminar participants will receive a Jewelry Forensics guidebook including the GIA 12-step process of evaluation, glossary of jewelry terms and a thumb drive with supplemental reference and jewelry case study information.
GIA offers the Jewelry Forensics seminar at several times during the year. View all upcoming dates. @topic:6


Publish Year: 2019 Title: Reinvesting in Cartagena: Jewelry School of the Caribbean Abstract: Alfredo Diaz (Caribe Jewelry, Cartagena, Colombia) spoke to the authors about the Jewelry School of the Caribbean (FEJOCAR), a nonprofit organization that teaches at-risk youth the art of jewelry making.
Working as a tour guide in his native Colombia, Diaz was frequently asked by tourists where to buy jewelry. He and his brothers opened a small jewelry repair workshop in 1983, catering to both tourists and locals. They expanded into selling their own small jewelry pieces, often featuring Colombian emerald. They sold through other businesses at first but eventually began selling pieces directly to the public. As they made more money, the brothers realized it was important to generate more employment in Cartagena. In 2009 they formed FEJOCAR and began outreach to poverty-stricken areas of the city, focusing on young people from neighborhoods with heavy gang and criminal activity.
The school accepts 75 students per year. Once enrolled, the students may choose between the jewelry design, manufacturing, gemstone polishing, and goldsmithing tracks. Caribe hires the most promising students for their own business. The education at FEJOCAR involves knowledge of jewelry techniques and training in software so that the students can use CAD/CAM and create prototypes. The gem polishing and jewelry design programs take four to six months to complete, while the jewelry manufacturing and goldsmithing tracks take one year.
The Diaz brothers faced challenges at the outset of the program. Some found it hard to believe that the brothers would trust their new employees, some of whom had criminal backgrounds. In fact, Diaz said, trust is essential to their working relationships. Employees appreciate this trust and respond in kind. While investigating student absences, they found out that many did not have the money for transportation or meals, so they started providing transportation fees and breakfast and lunch on-site. Today, FEJOCAR provides 30 full scholarships to help students in need enroll and complete their programs. Of the 120 employees at Caribe Jewelry’s stores, about 40 were recipients of scholarships.
About 60% of their students are women, a dramatic shift from when the program began; at the start, all of the goldsmithing students were men. Diaz also intends to set up home workshops for employees who are mothers, to reduce their need for childcare while maintaining production. They have plans for one employee to polish emeralds at home; the other will have a goldsmithing station.
Emeralds are very important to Colombia and to Caribe Jewelry; to that end, the Diazes have set up the Emerald Museum at their store on Bocagrande Calle in Cartagena. The highlight of the museum is “Petra,” the largest emerald in matrix ever to emerge from Colombia. They also have space dedicated to other varieties of beryl, including heliodor, aquamarine, red beryl, and goshenite.
The success of the school led the Diazes to move to a larger building to accommodate their students; they have also been able to increase their in-house production. Diaz said their long-term goal is to produce 90% of their own jewelry and buy 10% of their goods from wholesalers; at this point they produce 60% of their own pieces (up from last year’s 30%). One of the benefits of local craftsmanship is the ability to maintain a distinctive look that incorporates pre-Columbian indigenous imagery, separating it from Chinese or European designs. Another is the interaction between employees and tourists. The school offers a class for tourists wherein each visitor is paired with a FEJOCAR student. Visitors tour the museum before sitting down to make a piece of jewelry and getting to know a Cartagena local, a wonderful experience for both tourist and student. The Diaz brothers look forward to expanding their business, the school, and their students’ horizons in the years to come. @topic:12


Publish Year: 2019 Title: Moonstone Jewelry Abstract: Figure 1. Paula Crevoshay’s “Moon Dance” bracelet contains 121 moonstones totaling 133.19 carats and 495 sapphires totaling 38.61 carats, set in 18K gold. Photo by Kevin Schumacher.
Blue moonstone, an orthoclase species of the feldspar group, is composed of two feldspar minerals, albite and orthoclase, that stack in alternating layers. Adularescence, the optical phenomenon resulting from the scattering of light as it interacts with these two different feldspar layers, occurs below the stone’s surface. When the stone is moved, the glow produced by the scattered light appears to float like the moon in the sky. Rainbow moonstone, which shows flashes of multiple colors including blue, is also part of the feldspar group but falls under the labradorite species.

Figure 2. Erica Courtney’s moonstone pendant and earrings. The mandala flower cross pendant features 20 carats of moonstones with Paraíba-type tourmaline accents. The chain contains 3.02 carats of diamonds. The double-drop moonstone earrings also have Paraíba-type tourmaline accents. Photo by Robert Weldon/GIA.
Exceptional blue and rainbow moonstone were both prevalent at this year’s Tucson shows, and top designers had fashioned beautiful pieces with them. Paula Crevoshay created a bracelet with 121 moonstones flanked by 495 tiny blue sapphires (figure 1) that was as flexible and soft as a piece of fabric, allowing it to artfully showcase the movement of the adularescent glow. Erica Courtney, winner of three 2019 AGTA Spectrum Awards, exhibited a stunning moonstone necklace and pair of earrings, both featuring African Paraíba-type tourmalines (figure 2). The intense adularescence of the moonstones in these jewelry pieces is truly captivating. @topic:8


Publish Year: 2019 Title: Book Review: Narrative Jewelry: Tales from the Toolbox Abstract: By Mark Fenn, hardcover, 304 pp., illus., pub. by Schiffer, Atglen, Pennsylvania, 2017, US$60.00.

The best jewelers know that every jewel has a story to tell. When Mark Fenn explored jewelry with a message for his dissertation at the University for the Creative Arts in England, things blossomed. The dissertation resulted in the curation of a collection of narrative jewelry for an online exhibition. His call to artists drew 350 jewelry artists from around the world who submitted 1,500 images. He narrowed these to 450 images from 241 artists. The results fill this beautiful and thought-provoking coffee-table book like a smorgasbord.
The stories contain themes as old as time, thoughts on contemporary society, and everything in between. Topics include mementos mori (symbols or reminders of death), historical reflections, feminist issues, global warming, and AIDS. Artists are arranged alphabetically with biographies, and each piece of jewelry is accompanied by the artist’s statement of meaning. It’s art as jewelry and jewelry as art, as well as jewelry as small sculpture.
The cover image, a brooch by Dauvit Alexander of Birmingham, England, is a gothic take on the kilt brooch known as a penannular. Titled “Blood Will Have Blood: A Macbeth Brooch,” its inspiration is from Act 3, Scene 4: “It will have blood, they say; blood will have blood.” Alexander, a self-taught jeweler who originally trained as a gardener, focuses on men’s jewelry. He used as a base a found, corroded iron oil tank cap and set into it polycarbonate reflector materials, faceted garnets, and strawberry quartz, with a surround of projecting black spinel points—all around the centerpiece, a carved black obsidian skull.
Melinda Risk has taken a high jewelry approach to the story of the Osmia avosetta bee, a species discovered in 1997. This bee lives a solitary life and nests in flower petals. Risk, who has a degree in jewelry from Kent State University, has created the bee’s story in a beautiful ring, the “Osmia Avosetta Bee Ring.” The bee image is back-carved into a Rose de France amethyst bezel set in 22K gold. Surrounding the center are small round diamonds set flush into the oxidized sterling shank. Down one side of the shank is a field of flowers with round pink sapphires in each one, while on the other side of the shank is a raised drawing of a bee. As a crowning touch, crushed dried flower petals are set beneath the center stone.
The jewelry design of Helen Noakes of Salisbury, England, is represented by two pieces: a bangle bracelet and a pendant, both executed in resin and silver. “Quantum Leap,” a whimsical pendant, depicts three tigers jumping through a “hoop” of clear resin bounded by silver, the first and last tigers half in and half out of the hoop. “Solo Voyager” features a tiny plastic scale-model polar bear trapped in an icy-looking resin bangle. She means it as a commentary on the disappearing habitat of the bear. She calls herself something of a choreographer, placing figures in the scenarios she creates.
Fenn has included his own work in this collection, a trio of sterling brooches done in a variety of processes. They are memento mori pieces, and here they deal with his sense of grief over losses. Fenn bases these brooches on the Bible’s apocalyptic Book of Revelation (6:8: “…behold a pale horse…”). While a heavenly sense of a floating city pervades all three, they each tell a particular story, two with horses and one with a robed ghostly figure.
Rudee Tancharoen of Thailand takes a conceptual approach to her silver jewelry. “Armonia” is a pair of mismatched silver earrings. One is a vertical black cylinder on a silver hook, while the other features three wire circles on a darker hook, loosely attached in a triangular configuration with jump rings. These spare earrings have their genesis in Tancharoen’s thoughts about politics in these times. “A pair doesn’t need to be identical.…simply being together peacefully with or without harmony is the key.”
This is a sturdy, easy-to-navigate book. Fenn has done a wonderful job of including many different approaches, materials, and themes from artists from all over the world. Traditionally, many artists refrain from telling you exactly what their art is about, preferring to let the viewer have his or her own experience. But in this book most artists give the viewer a leg up on understanding work that might be inaccessible for some. For those who love sculpture, it is a way into the very small sculptures that are the jewels in this book. For lovers of fine traditional jewelry, this is an entrée to another way to think about jeweled adornment. This one will stay on its owners’ coffee tables. @topic:6