Title: Fall 2019 G&G: Gem Art of the Taj Mahal, Fancy White and Black Diamonds, and Unique Inclusions in Thai Corundum Abstract: The Fall 2019 edition of Gems & Gemology opens with a look at the rich gem history of the Mughal dynasty and the intricate gem inlay work of the Taj Mahal. The issue also features an investigation into the cause of color in Fancy white and Fancy black diamonds, mineral inclusions in corundum from the Bo Welu deposit in Thailand, characteristics of hydrothermally treated amber, and more.
Gemstones in the Era of the Taj Mahal and the Mughals
The lead article, by Dona Mary Dirlam and co-authors, looks back to the seventeenth century and the Mughal dynasty that ruled much of India. The Mughals collected extraordinary jewelry and gems and transported these riches across intricate trade routes. Emperor Shah Jahan commissioned the building of the iconic Taj Mahal, which features elaborate decorative parchin kari inlay of ornamental and fine gems.
Natural-Color Fancy White and Fancy Black Diamonds: Where Color and Clarity Converge
Sally Eaton-Magaña and Christopher M. Breeding continue their series of colored diamond characterization studies with a look at Fancy white and Fancy black diamonds. These two colors are distinctive for their cause of color: nanometer- to micrometer-sized inclusions that reduce the diamond’s transparency, rather than atomic-scale defects typical of other fancy-color diamonds.
Unique Vanadium-Rich Emerald from Malipo, China
Yang Hu and Ren Lu provide an overview of the history, resource potential, and geology for emeralds from Malipo County in southwestern China. Malipo emerald has unique multiphase inclusions and a distinct chemical composition that helps separate it from other deposits.
Mineral Inclusions in Ruby and Sapphire from the Bo Welu Gem Deposit in Chanthaburi, Thailand
Supparat Promwongnan and Chakkaphan Sutthirat discuss the various mineral inclusions observed in Bo Welu ruby and sapphire. Some newly reported mineral inclusions in Thai corundum—sillimanite, nepheline, quartz, alkali feldspar, spinel, and anhydrite for ruby and purple sapphire, and sulfide for blue sapphire—can be used to support origin determination.
Characteristics of Hydrothermally Treated Beeswax Amber
Hydrothermal treatment optimizes the appearance of semi-translucent to opaque “beeswax” amber and expands the availability of amber products. Yamei Wang and co-authors explore the characteristics of hydrothermally treated beeswax amber to assist with identification challenges.
Effects of Mollusk Size on Growth and Color of Cultured Half-Pearls from Phuket, Thailand
In order to find ways to increase the overall production and value of cultured half-pearls, Kannika Kanjanachatree and a team of researchers studied 400 Pteria penguin mollusks over a period of 10 months. They set out to determine the optimum mollusk size, compare rejection and mortality rates, and chart the color and quality of cultured half-pearl samples from month to month. Their findings have important consequences for color-matching of half-pearls.
Hydrogen-Rich Green Diamond Color-Treated by Multi-Step Processing
Identifying the color origin of green diamonds is sometimes difficult for gemological laboratories. In this article, Wenqing Huang and co-authors propose two alternative multi-step treatment procedures that would explain the combination of spectroscopic features observed in a 0.25 ct color-treated yellowish green diamond.
Pressed Gibbsite and Calcite as a Rhodochrosite Imitation
Hanyue Xu and Xiaoyan Yu investigate the differences between rhodochrosite and a new rhodochrosite imitation that has recently appeared in the market. Standard gemological testing can identify the imitations, which are composed of pressed gibbsite and calcite powder with a granular structure.
Lab Notes
GIA laboratory staff members present their latest findings in the Lab Notes section, including a star-shaped cloud inclusion in a faceted diamond, new resin imitations of ivory, and a cobalt-coated sapphire.
Micro-World
The Micro-World section, dedicated to the inner world of gemstones, features a rain cloud in alexandrite, an intergrowth of iolite and sunstone, and an abundance of pyrite inclusions in dravite from Mozambique.
Gem News International
Finally, GNI correspondents from around the world report on a new source of Nigerian aquamarine, black non-nacreous pearl imitations made of beads cut from shell, and the new mineral johnkoivulaite, named after renowned gemologist and photomicrographer John Koivula. Source: GIA @topic:1


Title: Gem Art of the Taj Mahal, Fancy White and Black Diamonds, and Unique Inclusions in Thai Corundum Abstract: Welcome to the Fall 2019 issue of G&G! Inside you’ll find eight articles on a variety of gemological topics, plus dozens of brief reports and discoveries from contributors around the world.
Our lead article delves into the gem art of the iconic Taj Mahal. Dona Dirlam and co-authors examine the intricate gem inlay that graces this architectural treasure, as well as the gem connoisseurship of the Mughal dynasty and how it influenced global gem commerce in the seventeenth century.
In the second article, Sally Eaton-Magaña and Christopher M. Breeding continue their series of colored diamond characterization studies with an in-depth look at Fancy white and Fancy black diamonds. Their systematic study, based on GIA’s data for approximately 500 Fancy white and 1,200 Fancy black diamonds, is the first of its kind for these uncommon diamonds.

“A systematic study, based on GIA’s data for approximately 500 Fancy white and 1,200 Fancy black diamonds, is the first of its kind for these uncommon diamonds.”

Next, Yang Hu and Ren Lu offer a gemological, spectroscopic, and chemical analysis of emeralds from Malipo County in Yunnan Province of southwestern China. Among notable deposits worldwide, Malipo emerald has a unique chemical composition: a combination of high vanadium, low chromium, and moderate iron, as well as high lithium and cesium concentrations.
Supparat Promwongnan and Chakkaphan Sutthirat use Raman spectroscopy and electron probe micro-analysis to identify mineral inclusions in alluvial corundum from the Bo Welu gem deposit in Thailand’s Chanthaburi Province. Several of the inclusions they identify are reported for the first time in Thai corundum.
Next are a pair of studies on organic gem materials. Yamei Wang and co-authors explore hydrothermally treated “beeswax” amber, offering a series of comprehensive tests to identify this product and separate it from untreated material. Kannika Kanjanachatree and co-authors follow the operations at a pearl farm in Phuket, Thailand, to determine the effects of mollusk size on growth and color of half-cultured pearls from Pteria penguin.
The issue rounds out with two brief but informative studies. Wenqing Huang and co-authors investigate a hydrogen-rich faceted green diamond color-treated by a complex multi-step process that has not previously been reported in the gemological literature. Last, Hanyue Xu and Xiaoyan Yu analyze a new rhodochrosite imitation composed of pressed gibbsite and calcite powder with a granular structure.
Highlights from the Lab Notes section include a faceted diamond with a star-shaped cloud inclusion, new resin imitations of ivory, and cobalt-coated sapphire. Micro-World once again offers up a variety of beautiful and unusual scenes from the inner world of gemstones. Among the many Gem News International reports are a new source of Nigerian aquamarine, black non-nacreous pearl imitations made of beads cut from shell, and the new mineral johnkoivulaite. This member of the beryl family is named in recognition of distinguished researcher and longtime G&G contributor John Koivula. Congratulations to John for this exceptional honor—well deserved! Source: GIA @topic:1


Title: Book Review: Women Jewellery Designers Abstract: By Juliet Weir-de La Rochefoucauld, hardcover, 360 pp., illus., publ. by ACC Art Books Ltd., Woodbridge, Suffolk, UK, 2017, US$95.00.

This is a beautiful book—from the protective slipcover to the lush photography, it is a high-quality production.

The subject matter is most interesting as well. This massive volume is devoted exclusively to women designers who have made names for themselves through their vision, creativity, and pioneering of techniques and designs. The number of artists whose work is covered in the book is quite impressive—it’s a virtual “who’s who” of most of the important women in the world of jewelry design from the early 20th century through today. The book includes well-known artists along with designers that may not be familiar to everyone. Certainly a number of them were new to me.

The book begins with a very brief discussion of women jewelers of the Arts & Crafts movement. This was a period in time (at the turn of the 20th century) when women were “allowed” to make jewelry under their own names. As the curator of an exhibition on this very subject (Maker and Muse: Women and Twentieth Century Art Jewelry) I have mixed feelings about seeing such a brief section on these pioneering jewelers. I understand that the author did not want to leave them out of the book altogether because the women she does write about at length stood on the shoulders of the Arts & Crafts jewelers. But by writing such a brief section on them (only four pages of a 358-page book) versus the lengthy descriptions of later women, it seems that somehow the contribution of Arts & Crafts artisans to jewelry history is diminished. It seemed as if this early chapter was an afterthought, not a beginning.

However, this is a minor complaint. The book covers the work of an amazing number of mostly “high” jewelry designers ranging from Coco Chanel, Suzanne Belperron, and Jeanne Toussaint—who designed for Cartier in the early to mid-period of the 20th century—to contemporary jewelers including Paula Crevoshay, Anna Hu, and Elsa Peretti. Most of the artists whose work is featured in Women Jewellery Designers have (or are) creating luxury jewels. Their pieces can take your breath away with their beauty. But they also possess the opulence of jewelry laden with precious stones and precious materials that few of us will ever be able to afford. It’s a somewhat curious but interesting mix of artists whose work is discussed in the various sections of the book: “Between the Wars: The Awakening;” “Post-War to 1980s: Full Steam Ahead—The Search for the Perfect Design;” “What Is Happening Now in the Field of Jewelry Design;” and three appendices in the back, “The Designers” (additional information), “Toussaint,” and “L’Affaire Chanel.”

Several others that are included were modernist artists like Vivianna Torun Bulow-Hube and Nanna Ditzel, who designed pared-down, minimally ornamented pieces for the firm of Georg Jensen in the 1950s and 1960s. Their work was more commercially available at affordable prices. The work of Tiffany & Co., with designers like Angela Cummings, Elsa Peretti, and Paloma Picasso, were designed for the upscale mass market. To me, these women are in a totally different arena than the work of Cindy Chao, Alexandra Mor, Marilyn Cooperman, and Victoire de Castellane, to name a few covered in this book. Artists like Margaret De Patta, Margaret Craver, Wendy Ramshaw, and Gerda Flöckinger are what I would designate “studio jewelers”—artists who created one-of-a-kind handmade pieces without help from model makers, gemstone cutters, and other assistants. Craver was also well-known as an educator and for training World War II veterans in metalsmithing techniques. Line Vautrin, who made jewelry highly prized by collectors today, is perhaps best known for the bronze objects she created, especially her coveted mirrors.

All of the women included in this book produced groundbreaking work in their time or are currently making spectacular jewelry. However, if this was a book about male and female jewelers, it is unlikely the mix of artists with very different oeuvres would be included in the same book. Despite the disparate categories in which they worked the jewelers here are united by virtue of their gender and talent rather than the genres in which we normally think of their work. What does bring these artists into the same circle of importance is the quality and originality of their output. The photography—of multiple pieces by each artist—well illustrates each artist’s capabilities and dazzles the eye.

I found of particular interest the stories of the women who designed for the big houses such as Jeanne Toussaint for Cartier and Renee Puissant at Van Cleef & Arpels, who are somewhat unsung heroes of jewelry. Apparently the author was also fascinated by these women, providing additional information about Cartier’s Jeanne Toussaint in an appendix. She reproduces a recently found letter proving Toussaint become involved with Cartier at a much earlier date than previously thought. I’m sure the discovery of this letter was one of those wonderful moments that writer/researchers live for uncovering.

If you are interested in the incredible body of work by important women jewelers, whether they worked on their own or designed for important firms, this is the book for you. Even if you just love beautiful jewelry, you won’t be disappointed in this absorbing and impressive book. Source: GIA @topic:6


Title: Jewelry Industry Summit Abstract: The second Jewelry Industry Summit was held in Tucson, Arizona, January 29–30. The meeting was a continuation of the first summit, held in New York in March 2016, though new initiatives emerged from the Tucson gathering.

	Opening remarks by Doug Hucker and Jeff Bilgore (AGTA) were followed by three speakers from outside the gem and jewelry industry. Lisa Manley (Sustainability Strategy and Cone Communications, Boston) discussed exploring a company’s strengths, opportunities, and aspirations, calling sustainability “a team sport.” Thea Polancic (Conscious Capitalism, Chicago) spoke on imagining the industry’s future, citing specific companies that have used their leverage in their industries to make a difference in the world. Bob Mitchell (Electronic Industry Citizenship Coalition, Washington DC) presented on pinpointing possibilities for successful and sustainable business practices.

	The majority of the summit was focused on committee updates from the first meeting and creating new initiatives to be worked on. Carried over from 2016:

		Brian Cook (Nature’s Geometry, Tucson) is developing a model community for golden rutile miners in Bahia State, Brazil. A construction site has been chosen, and negotiations with the municipal government for lapidary equipment have begun. See this entry for more information.

		The education committee, headed by Christina Miller (College Corner, Ohio) is creating a glossary that can help members of the industry and consumers understand the language of sustainability, ethical sourcing, and responsible practices.

		The chain of custody and due diligence committee drafted guidelines for suppliers seeking responsible sources.

		The harmonization team is charged with establishing best practices among the existing standards across industries. Under the lead of Mark Hanna (Richline, Providence, Rhode Island) and Richard Nehls (LA Rocks, Los Angeles), the team has collaborated with other organizations to learn from their challenges and successes.

		#ResponsibleJewelryStories, the marketing arm of the summit, is led by Cleo Zancope Gnatek (Jane Taylor Jewelry, New York), Dana Bronfman (Dana Bronfman Fine Jewelry, New York), and Cecilia Gardner (New York). This team has created a website to share stories of responsible sourcing, ethical practices, and sustainability. Industry members interested in sharing their stories on this topic should contact responsiblejewelrystories@gmail.com.

		Members of the sales associate and consumer education team, led by Kevin Reilly (Platinum Guild International, New York), have developed an outline for training purposes and a proposal for content providers and potential sponsors.

		The sustainability in jewelry committee, headed by Mike Pace (New York), has distributed a survey about perceptions of sustainability to 800 fine jewelry buyers who identify as “millennials.”

		The team working to fight silicosis and industrial diseases among gemstone cutters, led by Eric Braunwart (Columbia Gem House, Portland, Oregon), is creating pilot programs with three NGOs as well as the AGTA.

	Among the new initiatives proposed at the summit were an effort to find a safe, affordable alternative for mercury in gold mining; a development index to measure the positive and negative effects of the gem and jewelry industry on a nation’s economy; and a plan to build an agro-geo-ecotourism movement in Thailand. The location and dates of the next Jewelry Industry Summit will be announced later in 2017. Source: GIA @topic:9


Title: Jewelry Development Impact Index Abstract: Jewelry Development Impact Index

The Jewelry Development Impact Index (JDI), one of the initiatives that grew out of the second Jewelry Industry Summit in January 2017, has become a flagship project of the Minerals, Materials and Society (MMS) program at the University of Delaware. Patricia Syvrud, development manager of MMS, discussed the program, which she calls a “road map to responsibility.”
The index is a work in progress; it has been part of the MMS program since the Spring 2018 semester. Rather than comparing products from various areas, the index analyzes the impact of sourcing and production on a given country. American University (AU) graduate students in the International Peace and Conflict Resolution program have been asked to conduct country/product specific case study comparisons using the seven UN Indicators of Human Security as a framework. From there, they have devised a methodology for measuring risk assessment. As an example, in fall 2018, AU graduate students looking at sapphire mining in Madagascar and platinum mining in South Africa drafted a binary quantitative approach that created scores and rankings based on answers to closed-ended questions. Such questions included “Is this country a signatory to the Extractive Industries Transparency Initiative?” (Zero points are assessed for a yes, one point for a no.) After the total risk had been calculated on a scale from 0 to 10 for each category, recommendations for risk reduction were proposed. The fall 2018 assessment is being used and enhanced by the spring 2019 students. At the same time, a graduate student in the University of Delaware’s Energy and Environmental Policy program studied developing a methodology to compile existing indices in order to help the AU students leverage this published knowledge.
Syvrud, who has worked in many areas of the gem and jewelry industry, became involved with the JDI on a volunteer basis. She worked with the U.S. Department of State on prioritizing case studies and developing a methodology on measuring the supply chain’s impact on the welfare of a country, particularly since many gemstones come from fragile and vulnerable economies and may be used to fund illegal activities. It was decided that the best way to collect and compile this information was through academic research and case studies. During this time Syvrud met Dr. Saleem Ali, who had received a grant to create the Gemstones and Sustainable Development Knowledge Hub (GemHub; see Summer 2018 GNI, pp. 243–245). Shortly thereafter, Ali was awarded a grant from the Unidel Foundation to create an interdisciplinary program at the University of Delaware to study all extractable mineral resources and the science, politics, and socioeconomics surrounding them. He and Syvrud identified the JDI as the project that would anchor the MMS program and the MMS graduate certificate offered by UD.
Response to the JDI has been positive. The Organisation for Economic Co-operation and Development (OECD), among others, has taken notice, and invited the MMS program to participate in their Responsible Minerals Forum during a “side session” in April 2019. Syvrud is hopeful that the JDI can help members of the industry understand and answer questions about supply chains; it will also help companies understand supply chain issues and adhere to the numerous supply chain certifications and standards to become more transparent themselves. Source: GIA @topic:9


Title: Jewelry Glossary Project Survey Abstract: Four members of the Glossary Initiative present at the 2019 Jewelry Industry Summit. From left: Jay Moncada and Jared Holstein of Perpetuum Jewels; Erin Daily of Brooklyn Metalworks; and Emily Phillippy of Emily Chelsea Jewelry. Not pictured are Olivia Suffern of Olivia Marie Handcrafted Adornment and Christina T. Miller of Christina T. Miller Consulting and co-founder of Ethical Metalsmiths. Photo by Mike Pace, courtesy of the Jewelry Industry Summit.

The 2019 Jewelry Industry Summit saw the announcement of the first 10 words of a glossary intended to define terminology relevant to the jewelry industry. These definitions were the result of almost three years of brainstorming and research. The first terms to be defined are: ethical, recycled, pre-consumer recycled, post-consumer recycled, sustainability, conflict-free diamond, Fairmined, Fairtrade/FAIRTRADE, Fair Trade Certified, and fair trade. The Glossary Initiative is now seeking input from gem and jewelry professionals on these definitions.
Emily Phillippy (Emily Chelsea Jewelry, Philadelphia), a member of the Glossary Initiative since its inception, explained that the committee’s work developed naturally out of the Education Initiative of the first summit. Phillippy noted that “we all saw such a serious need for shared understanding. Responsibly sourced jewelry is in such high demand, but there are so many different responses to what that actually means.” She, along with the other three initial members, recognized that it was not possible to educate people without clear-cut definitions of widely used (and frequently misused) terms. This evolved into creating a glossary for the industry.
The six-member committee’s positioning in distinct sectors of the industry brought into focus how frequently words were and sometime misused. For instance, the group found that “fair trade” and “Fairtrade” (the latter of which is trademarked) were often used interchangeably, with incorrect capitalization and spacing. A look at the word “recycled” led to the understanding that the group needed to define “pre-consumer recycled” and “post-consumer recycled1.”
The glossary is intended to be a living document, with the capacity to reevaluate terms over time as practices, technology, and situations change. Summit attendees were invited to suggest words to be defined in future rounds; proposed terms included “transparency,” “traceability,” and “values.” Future efforts will include a website to host the glossary to make it accessible to the entire industry.
Members of the gem and jewelry industry are invited to give feedback on each definition via this survey, which will close at the end of June.
FOOTNOTES
↩ Back to article
1As currently defined, pre-consumer recycled materials are byproducts of, or reclaimed from, uncirculated consumer goods to make new products, while post-consumer recycled materials have been recovered from used consumer products for reuse in new products. Source: GIA @topic:9


Title: Jewelry Television in Tucson Abstract: Figure 1. Broadcasting from the gem shows helps Jewelry Television educate viewers about colored gemstones. Photo courtesy of Jewelry Television.

Jay Boyle, senior gemstone buyer at Jewelry Television (Knoxville, Tennessee), spoke with us about the importance of the Tucson shows to JTV as well as the impact of television on the trade at large. We saw him conduct live broadcasts from the gem fair and interview dealers at their booths (figure 1). Mr. Boyle said the key to buying for television is finding beautiful gems at low market prices and being able to tell the story and romance the stone while educating the customer.

He pointed out that finding beautiful stones is easy, but it is considerably more difficult to obtain them at a great value price point that is right for the television network’s customers; in fact, there is an art to the process. Major dealers from all over the world come to Tucson and sell all varieties of gemstones, making it advantageous for JTV to attend. These dealers frequently sell stones among themselves at true wholesale prices, so Mr. Boyle has the opportunity to find attractive stones at the right price and value for television (figure 2). In Tucson, buyers can survey everything coming from the sources, including new production, and discover the true market prices, all within one week. He added, “If you have a reputation as a serious, knowledgeable buyer that buys in quantity and has cash to buy, you can find the real market price.”

Figure 2. During times when prices are firm, buying decisions and quality control are even more crucial. Jay Boyle and Natalie Tjaden of Jewelry Television keep this in mind as they examine gemstones in a dealer’s booth. Photo courtesy of Jewelry Television.
According to Mr. Boyle, the best time to purchase is when the material first hits the market. Another good time to buy is when there is a sudden increase in production. In 2001, JTV bought a large tsavorite lot containing more than 2,200 carats of material ranging from 2 to 10 ct per stone. The color and clarity were fine, and the price was a good value at $350 per carat. They took a small margin and sold the production quickly; 5 to 7 ct gem-quality tsavorites went for $500 per carat. Today, the wholesale prices for the material are many times that price, and longtime customers see the value of purchasing at the right time. Another successful venture began in 2006, when Mr. Boyle started buying “best of show” material of all gem species, at the best price possible. These stones were sold during special broadcasts called “The Vault” (figure 3). The highest price recorded on the show was a $400,000 sapphire. Regular viewers know that at times JTV has sold remaining inventory below cost, and some actually make a business out of reselling this merchandise.

Figure 3. The pendant worn by host Dawn Tesh (left) contains a 102 ct aquamarine that was sold during a 2009 broadcast of “The Vault” on Jewelry Television. Photo courtesy of Jewelry Television.
Founded in 1993, Jewelry Television broadcasts 24 hours a day, reaching 84 million homes. Ninety-five percent of the gemstones sell for $10 to $5,000 apiece. Viewers are introduced to gemstones they had never encountered, such as padparadscha sapphire, Paraíba tourmaline, and color-change garnet, while learning about the gem business and how to recognize bargains. Some steady customers tune in for 10 hours a day. When Jewelry Television first started offering loose colored stones, they were thrilled to sell $15,000 in an eight-hour period. Now they sell up to $400,000 of loose colored stones in an hour, and it is common to ship between 18,000 and 25,000 packages in one day. Mr. Boyle feels that JTV is driving business throughout the retail industry by promoting colored stones, as some viewers will learn about a given gemstone and then visit a local jeweler to make a purchase.

Between 30% and 35% of the company’s $400–$500 million in annual sales are online at jtv.com, which complements rather than replaces television sales. The website is also used to clear inventory from television at liquidation prices. Due to the extremely high cost of airtime in the U.S., JTV must not only sell the entire inventory, but also sell it in a short time. That means the Internet can be used to move leftover inventory while fresh, faster-moving products are sold on television. The network plans to eventually host web-only streaming video broadcasts.

Interestingly, one of the most successful periods for Jewelry Television was during the global economic crisis. While many industry players had stopped buying by January 2009, Mr. Boyle had learned over the years that dealers sell below cost during a recession. At the 2009 Tucson show, he bought $7 million in gemstones, including $3 million in tanzanite from one dealer alone. Since Mr. Boyle had well-established buying relationships with dealers, they were willing to accept his plan to promote a buying opportunity for TV customers. The promotion of below-market prices created a frenzy of activity for Jewelry Television. While these bargains were more plentiful in 2009, Mr. Boyle said there are still great opportunities below market value every year in Tucson. Although he was buying less than usual this year, JTV still actively sought material throughout the show. Among the stones we saw Mr. Boyle buying were rhodochrosite and Ethiopian opal. Source: GIA @topic:9


Title: Jewelry Shanghai 2014 Abstract: Figure 1. Top-quality stones, including purple and green jade, were offered at Jewelry Shanghai 2014. Photo by Jennifer Stone-Sundberg.

Organized by the Gems & Jewelry Association of China, Jewelry Shanghai 2014 took place May 8–12 at the Shanghai World Expo Exhibition & Convention Center. The two exposition halls held over 1,000 vendors representing more than 22 countries in 4,200 square meters of exhibitor space. A wide variety was offered, including exceptional examples of tourmaline, jade (figure 1), and ruby, as well as phenomenal stones such as cat’s-eye chrysoberyl and star sapphire. Additionally, superb craftsmanship was on display in the form of fine jade and quartz carvings (figure 2), gold work, and cloisonné enameling. This year saw the addition of top-level fossil, mineral, and gem collector specimens. Other popular items for sale were amber, turquoise, and moonstone.

Figure 2. This clear quartz carving seen at the Shanghai show demonstrates the exceptional craftsmanship sought by Chinese collectors. Photo by Jennifer Stone-Sundberg.
The show featured lectures on topics such as Chinese jade carving, diamond, and Burmese rubies. As Shanghai is China’s diamond import center, the Shanghai Diamond Exchange (which handles every diamond imported into the country) and the Hoge Raad voor Diamant (HRD) were present. Several other gem- and jewelry-related agencies, including the Shanghai Gold Exchange and the International Gemological Institute (IGI), also attended. Mainland China posted jewelry retail sales of 295.9 billion yuan (approximately US$47 billion) in 2013 (http://www.stats.gov.cn/tjsj/zxfb/201401/t20140120_502082.html), and this show certainly indicated the quality and diversity of items the Chinese gem and jewelry market demands today. Source: GIA @topic:8


Title: Book Review: Making Steampunk Jewellery Abstract: By Nikki Druce, softcover, 128 pp., illus., publ. by The Crowood Press, Marlborough, Wiltshire, UK, 2016, US$29.95.

Steampunk is a genre of literature that has become a subcultural movement and has made its way into movies, comic books, music, art, and fashion. Its roots partially derive from the books of H.G. Wells and Jules Verne as a Victorian take on futurism, a world where steam-powered inventions are at the cutting edge of technology. The term “steampunk” was said to have been coined by author K. W. Jeter in the mid-1980s, and the movement gained prominence in the early 1990s. There are subgenres to steampunk, including clockpunk, boilerpunk, and decopunk. Each subgenre draws inspiration from different eras and social classes and, in turn, influences related literature and fashion. While some genres are darker and gothic in tone (dieselpunk), and others are more ethereal and inspired by fairy tales (dreampunk), the predominant steampunk fashion style is based on clothing from the Victorian era with retro-futuristic embellishments and accessories. Certain style elements are common to many of the subgenres: gears, cogs, goggles, watch parts, and ray guns, but there are no hard and fast rules for how one should dress as a steampunk. It is a fantasy world, after all.

Nikki Druce, a London-based designer and self-described “maker” of steampunk-inspired jewelry and owner of an online shop called “Devine Delinquents,” wrote Making Steampunk Jewellery for jewelry-making novices and for newer aficionados of steampunk. Druce is a self-taught jewelry maker who started making pieces for her own adornment; what started out as a hobby turned into a full-fledged business. The resulting jewelry and accessories were well-received and with this book, she shares her experience and skills to instruct readers on how to create their own pieces.

The book is organized into nine chapters, beginning with basic information about steampunk, the equipment and materials needed to create jewelry, and design inspirations. It then breaks out into sections with categories of more than 25 projects: necklaces, brooches/pins and rings, headgear, and other accessories. One fun and easy project is the ray gun necklace, which requires a small squirt gun, some acrylic paint, jewelry findings, and gears or watch parts.  Each project (or tutorial, as Druce calls them) is pretty straightforward, with step-by-step instructions for creating fairly simple pieces. She encourages readers to use the tutorials as starting points to build on their own creativity. At the beginning of each project, she has a photo of the finished piece; she also lists the materials and tools needed with accompanying photos. Each step also has its own accompanying photo. Although most of the projects are accessories worn by women, Druce does include a chapter on men’s steampunk projects, titled “The Captain of the Airship.” A wardrobe staple of the well-dressed steampunk gent is a top hat. One of the projects in this section is a top hat band that can add versatility to the hat. With elastic headbands, ribbon, felt, feathers, and a few decorative items like watch parts or gears, you can easily create several different hatbands to change the look. Another project for men is the jabot, a detachable decorative item of clothing that attaches to the front of a shirt. It has layers of fabric in waves and is usually decorated with a cameo, beads, or lace. This project requires a little more effort, but adds a touch of elegance to an outfit.

In the final chapter, the author provides advice on how to put together a complete outfit without spending a lot of money. Upcycling, taking old clothing and repurposing it to make something better than the original, is one way to save money. Druce also writes about commonly used fabrics, hair styling tips, and adding corsets, harnesses and bustles to create a costume with a look of authenticity.

In the back of the book, Druce provides further information on resources that may be of interest to further your knowledge of steampunk and a list of suppliers for steampunk items and clothing. Most of the suppliers listed seem to be based in the United Kingdom.

This book is well-organized, easy to follow, and nicely illustrated throughout, with photos of models in steampunk attire wearing the finished accessories. The projects require just a few basic tools, inexpensive supplies, and minimal crafting skills. It is a good book to aid someone through an initial foray into the world of steampunk. Source: GIA @topic:6


Title: Jewelry that Speaks the Language of Flowers Abstract: A flower is one of nature’s most delicate and beautiful creations. It’s fitting that jewelry designers have been spellbound by its charm. Orchid: Courtesy of Paula Crevoshay; Lily: Photo by David Behl. © Janet Mavec and GIA; Violet: Courtesy of Cartier. © GIA & Tino Hammid

	A flower is one of nature’s most delicate delights, so it’s natural that jewelry designers have long found inspiration in them, seeking to capture their fleeting beauty in jewelry.

	Flowers are also rich in symbolism. Shakespeare, Jane Austen, and Charlotte Brönte used floral symbolism in their works. Madame Charlotte de la Tour formalized their meanings in her 1852 book, The Language of Flowers.

	Jewelry and floriography often cross paths. We share with you some breathtaking examples.

Wisteria

Courtesy of Ineke Peskin. © GIA & Tino Hammid

	A fragrant flower that comes in blue, lavender, purple, pink, and white, wisteria symbolizes in Shin Buddhism modesty and contemplation. Because it is a twinning vine, it represented devotion and attachment in Victorian England.

	An antique brooch (circa 1850) is an artful arrangement: it is made of a golden sprig of wisteria and enameled leaves and petals of turquoise. The cluster of flowers and the center stem are set with old mine cut diamonds and a pearl pendant.

Violet

Courtesy of Cartier. © GIA & Tino Hammid

	Named for its rich, vibrant purple hue, violets mean modesty; white violets mean innocence. In The Language of Flowers: A History, Beverly Seaton writes that violets symbolized the Virgin Mary. Curiously, Napoleon used it as his emblem and Narcissus (who fell in love with his own reflection) turned into one.

	This bouquet of violets has amethyst flowers with diamond stamens set in platinum, so both meanings of the flower are expressed. The brooch features gold leaves set with demantoid garnets and channel-set baguette diamond stems.

Bouquet

Courtesy of Neil Lane, Inc., Beverly Hills, California. © GIA & Tino Hammid

	During the Victorian Era (1837-1901), British and Americans gave friends “talking bouquets” or tussie mussies (nosegays and small bouquets of herbs and flowers). Various arrangements had different meanings.

	Carved rubies, sapphires and emerald “flowers” and diamond leaves make for a colorful bouquet. The piece evokes flower baskets given during the holidays.

Orchid

Courtesy of Paula Crevoshay

	Cypripedioideae, or lady slipper orchids represent “capricious behavior.” Cattleya orchids symbolize “mature charms.” Cymbidium orchids represent virtue and integrity. Dendrobium orchids speak of refinement and beauty. Victorians thought the orchid to be an exotic beauty, and wore ones in their hair and placed them in vases.

	Paula Crevoshay’s “Midnight Seduction” lady slipper orchid brooch is vibrant with 195 purple sapphires, 148 blue zircons, blue sapphires, black diamonds, coral, and an abalone pearl.

Lily

Photo by David Behl. © Janet Mavec and GIA

	White lilies represent chastity and virtue, and have been associated with the Virgin Mary. They are also said to symbolize perfection, majesty, and the ideal woman. “Black” lilies (they’re really dark blue and maroon) are given to one’s first love. Yellow lilies represent gaiety. The color red in red lilies denotes desire or passion. King Charles IX of France gave lilies to women of the court on May Day – a tradition that still continues.

	This red lily brooch is exotic and elegant.

Pansy

Courtesy of Lydia Courteille

	Say “think of me” with a blossoming garland of pansies. The name pansy comes from the French penser, meaning to “to think.” Give pansies as a gesture of friendship and platonic love.

	These purple, pink, and white earrings feature a petal design inspired by pansies. Their open blooms herald nature’s reawakening in the spring. Source: GIA @topic:6


Title: The Jewelry of Downton Abbey Abstract: Downton Abbey is one of the most popular shows on television, and its authentic costumes and jewelry are part of its charm.

When Caroline McCall, costume designer for the show, wanted jewelry for seasons three and four, she turned to Andrew Prince, a designer with an encyclopedic knowledge of jewelry history and impeccable credentials. Prince created tiaras and jewelry for the 2005 British comedy, Mrs. Henderson Presents (starring Dame Judi Dench); jewelry for the 2009 film, The Young Victoria (starring Emily Blunt and Miranda Richardson); and is a successful designer of his own collection of period pieces.

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Working for a show like Downton Abbey is a considerable achievement, and Prince shared his thoughts with GIA about the experience: “It was an absolute thrill to work with Caroline McCall and to be associated with such a hugely successful series. It’s wonderful to see my jewelry being worn by this amazing cast, and adding a little more sparkle to the sumptuous costumes and surroundings of Downton Abbey.”

Prince brought an art historian’s eye to his jewelry. Even the stones were fashioned to mirror the cutting styles of the Edwardian and Art Deco eras. Unlike most costume jewelry used on movie and television sets, Prince’s was made of bronze, brass, sterling silver, palladium, Swarovski crystals, cubic zirconia, and synthetic gemstones.

	Two Russian tiaras inspired Prince when he created this piece.

McCall selected items from Prince's collection, and asked him to create appropriate pieces of jewelry for Lady Violet Crawley (played by Dame Maggie Smith), Lady Cora Crawley (Elizabeth McGovern), Lady Mary Crawley (Michelle Dockery), and several of the other actresses. The jewelry Lady Violet Crawley wears in the photo on the left says much about her personality.

Prince shared his thoughts on the cast photo. He explained that Lady Violet wore the most splendid, formal gems with an air of complete nonchalance, while the beautiful younger ladies had fun with more modern styles. By season four, Lady Edith Crawley (Laura Carmichael) has become much more fashion conscious and daring, while her wild young cousin, Lady Rose MacClare, (Lily James) has embraced all the latest styles of the Jazz Age.

Another character whose jewelry is telling is Lady Cora, who married into British aristocracy. Prince noted that, as an American heiress, Lady Cora would have had the money and access to the greatest designers of the age. These individuals could be very demanding, insisting on the latest designs and the highest quality. He added that there was no British reserve to hold them back.

	Lady Cora Crawley (Elizabeth McGovern) wears a tiara created by Prince.
	Courtesy of Carnival Films and MASTERPIECE on PBS.

The show has since moved through time, from the Belle Époque period (1871 – 1914) to the Art Deco era (1920s – 1930s). Lady Rose is a spirited and rebellious young woman who epitomizes the fashionable flapper of the 1920s. Her personality is revealed by a glittering bandeau. Prince shared some final thoughts on the artistic periods that are so much a part of Downton Abbey: “I particularly love the Belle Époque – such refinement and delicacy. Design mattered more than the monetary value of the stones and precious metals used. The beauty of jewelry from that age lay in its construction. It was all so different and opulent.”

	These Earrings made by Prince for Lady Rose

Now that you know something about the creation and selection of jewelry for the characters of Downton Abbey, you might enjoy another aspect of the show. And you may find that you have a deeper understanding and appreciation of period jewelry – knowledge that’s essential for industry professionals. Source: GIA @topic:6


Title: Books: Jewellery in Israel: Multicultural Diversity 1948 to the Present Abstract: By Iris Fishof, 224 pp., hardcover, illus., publ. by Arnoldsche Art Publishers, 2013, $70.00.

                      In Jewellery in Israel, art historian Iris Fishof writes, “Jewellery can reflect the history of the society of which it is a part.” She uses this idea as a lens to examine the influence of immigration on Israel’s jewelry design heritage.

Fishof sets the stage in the first chapter, which traces Israeli jewelry to the earliest “souvenirs” made by Muslim artists in the region, primarily for Christian pilgrims to Jerusalem. Zionism, the movement to establish a Jewish state in Palestine, helped bring about the Bezalel School of Arts and Crafts in Jerusalem. Through many name and leadership changes, this school was to have a lasting influence on the jewelry of Israel.

Bezalel initially focused on developing a “Hebrew” style, with design motifs such as the Hebrew alphabet, Jewish symbols, biblical scenes, and the sites of the Holy Land. But with the rise of the Nazis during the 1930s and the first wave of European immigrants, including German metalsmiths steeped in the Bauhaus philosophy of unadorned simplicity, modernism began to take hold. It would shape the Israeli style for more than 30 years.

After the establishment of Israel in 1948, Jewish immigrants came from all over the world, doubling the region’s population. A chapter titled “The Melting Pot: 1950s to 1970s” describes how Jewish immigrants, urged to give up their cultural identity in favor of an Israeli one, struggled to make a living from the harsh land. Immigrants from Yemen, with centuries of Islamic jewelry design tradition behind them, had a strong and lasting impact. Because the ethnicity of Yemeni jewelry was not marketable to Israeli women of the time, Fishof describes how it was “adjusted to the demands and tastes of modern women by other craftsmen.” Essentially, the pieces were taken apart and reassembled into something more contemporary. One of the first contemporary designers to echo traditional styles using nontraditional components was Finy Leitersdorf. The desert-worn glass fragments in her designs presaged the use of non-precious metals in later designer jewelry.

In the 1960s, immigrants and Israeli designers who had studied abroad brought with them new influences. Israeli designers began experimenting with different styles and materials such as Perspex (Lucite) and found objects, integrating them into a native design aesthetic that had been developing in isolation for two decades.

At this point, jewelry artists began to have a substantial impact and the Bauhaus influence began to fade. And here the emphasis in Fishof’s book moves away from the effect of multicultural diversity and immigration on Israeli jewelry. Chapter 4, “International Recognition,” focuses on four Israeli artist jewelers whose work achieved international recognition—Bianca Eshel Gershuni, Vered Kaminski, Esther Knobel, and Deganit Stern Schocken. All were either born in Israel or immigrated with their parents at a very young age. These women became instructors at Bezalel, where their work continues to guide emerging Israeli artists.

In the final chapter, “The Contemporary Scene,” Fishof brings us to the present, and demonstrates how far Israeli jewelry has come from the early “Hebrew style.” Yet many of these influences are still there, particularly the use of botanical and religious images, although these are often more abstract now. There are pieces based on motifs from both rural and urban areas of Israel. The work is often narrative, meant to tell or comment on personal or family stories, such as a necklace by Knobel that is “shaped like the actual pine needle necklaces habitually made by children in Israel.” As Israel is a country that has spent the last 70-plus years forging an identity in a climate of conflict, many pieces incorporate the topic of war.

Like many other artist jewelers from around the world, Israeli contemporary jewelry artists often use non-precious materials. In Israeli jewelry, these may include broken tiles, stones, protective steel mesh, or crushed beverage cans.

In her final chapter, Fishof asks, “Is there a concept such as Israeli jewelry?” She concludes that there is. On my first reading, I disagreed: Many art jewelry designers today use less-expensive or even throwaway materials, incorporate elements from their surroundings, and tell personal or even painful narratives. But on a second reading, I changed my mind. What better source for a national design concept than images, colors, and materials taken from the artist’s surroundings and drawn from their cultural or artistic heritage?

Any book that documents the jewelry history of a people must be well illustrated in order to demonstrate the points the author is making. A difficult task, yet Jewellery in Israel is richly illustrated with black-and-white as well as color images—many of them full-page.

The history is a bit choppy at times. Yemeni silversmiths are mentioned in the first chapter, leading the reader to believe they were part of the pre-state jewelry manufacturing in Israel. Only in the second chapter do we learn that most of them immigrated in the 1940s, after Israel became a state. Some of the difficulties with the narrative flow, however, may be due to the book’s migration through translation.

I would have been interested to learn of any Palestinian influence on Israeli jewelry design. Fishof mentions the conflict’s effect on the narrative in the jewelry but doesn’t say whether there is design influence as well. Fishof also acknowledges the recent influx of African immigrants, though it may be too early to know what influence they will have on Israeli jewelry.

All in all, this a recommended read for anyone interested in ethnic or contemporary art jewelry from Israel, a country whose impact on jewelry design is greater than its geographic size or age might suggest. Source: GIA @topic:6


Title: Jewelry of the 1990s Abstract: This article provides an overview of the many changes that took place in how jewelry was designed, manufactured, and marketed during the last decade. Driven by a highly competitive market that favored the unique, designers created innovative cuts for diamonds and colored stones. The use of gem materials in the ‘90s was marked by a greater demand for fancy-color diamonds, colored stones in dramatic combinations, and large and multicolored cultured pearls. In precious metals, the emphasis shifted toward platinum and other white metals. Designer jewelry took on a variety of distinctive setting styles, textures, and motifs. As designers sought to distinguish themselves through name recognition, the branding of diamonds and finished jewelry became a major force. Jewelry worn by entertainers and promoted in the mass media touched off instant trends, which the new marketplace of television shopping networks and the Internet was able to accommodate directly. Source: GIA @topic:6


Title: 21st-Century Jewellery Designers Abstract: By Juliet Weir-de La Rochefoucauld, 359 pp., illus., Antique Collectors Club, Woodbridge, UK, 2013. US$95.00

              In this volume, Juliet Weir-de La Rochefoucauld presents highlights from a selection of international contemporary jewelry designers. This hefty opus represents a sort of sequel to the publisher’s Celebrating Jewellery (Bennett and Mascetti, 2012), this time with an eye toward the future of jewelry.

This remarkably illustrated coffee table book prominently displays more than 540 jewelry pieces from 25 of today’s important designers. After a short chapter featuring some of the finest works of the French artist JAR, the author takes the reader on an inspired journey. Twenty sections display the iconic pieces of Kaoru Kay Akihara, Walid Akkad, Lorenz Baumer, Bhagat, Sevan Bicakci, Luz Camino, Wallace Chan, Edmond Chin, Lydia Courteille, Michele Della Valle, Patrice Fabre, James de Givenchy, Vicente Gracia, Hemmerle, Anna Hu, Michelle Ong, Susanne Syz, Nicholas Varney, Stephen Webster, Dickson Yewn, as well as the work of “newcomers” Rami Abboud, Tomasz Donocik, LaMouche, and 10 Royale. The cultural diversity of this ensemble is truly remarkable.

Each section contains a brief background for each designer, along with their diverse creative sources of inspiration, including a list of their favorite themes and motifs. Numerous detailed photos illustrate beautifully how these themes translate into jewelry. Pieces of exceptional craftsmanship are displayed using front-and-back photos. Weir-de La Rochefoucauld gives significant insights into their creative processes and details technical aspects of their jewelry making. Some of the most valuable comments pertain to the innovative materials and techniques used by the designers, including titanium, ceramic, cement, laser welding, and CAD/CAM. The artists also discuss their favorite gemstones and cuts. The book sheds a stimulating light on the use of alternative materials such as wood, leather, ivory mammoth, animal teeth, or old cameos; the choice of bold color and material contrasts to create striking pieces.

In spite of their different sources, the photo renderings are consistent throughout the book. Some of the photos are so sharp that the reader gains a sense of the heft and smoothness of the piece. Gemstone inclusions, special carvings, and jewelry techniques such as micro mosaic, enameling, and special settings, are artfully depicted.

One of this book’s strongest assets is to place the designers and their creations in their artistic and cultural context. Two sections, those on Sevan Bicakci and Wallace Chan, are particularly captivating from both a technical and aesthetic standpoint. The former highlights a rare level of craftsmanship in enameling and stone cutting and the creation of unique rings that celebrate the rich cultural heritage of Bicakci’s native Istanbul. In the latter section, Chan, nicknamed the “Zen Philosopher,” has mastered the use of titanium; he has also invented a way to carve jadeite into a four-prong setting in order to set a precious stone into this matrix. Many of his jewelry pieces refer to some aspects and practices of Buddhism, creating an effect reminiscent of classic Chinese art.

From an aesthetic standpoint, Lydia Courteille and Nicholas Varney stand out for their use of gemstone materials to create unique combinations. Courteille has embraced classic cameos and figurative gem carvings in creating whimsical multicolor cocktail rings, while Varney has mastered the art of incorporating irregular pearls of all shapes into asymmetrical oversized pieces.

One might regret that the selection criteria of these designers are never explained. Were they chosen by generation, prominence, awards won, technical innovation, or auction appeal? One could also fault the unimaginative alphabetical order of presenting them. A thematic arrangement could have provided some interesting comparisons and meaningful conclusions. The alphabetical arrangement also gives way to the repetition of clichés, such as the search for perfection, the need for control over jewelry making, and how each artist is unmistakably guided by their love of the material.

Also, gemologists will note the mention of the species versubianite, presumably a typo for vesuvianite. New Yorkers will quickly catch that LaGuardia Airport is, according to this book, located in New Jersey.

A more basic criticism is that almost no reference is made to actual jewelry size. Since the jewelry designers themselves provided the documentation for this book, these details were probably available. Similarly, no mention is made of photo magnifications, which differ from one page to the next.

With that noted, this luxurious book provides a great source of inspiration for all jewelry scholars, collectors, and professionals at large for envisioning the future trends of the industry. The quality of the photos is an exceptional asset to that end. Source: GIA @topic:6


Title: LA Museum Hosts Rare Fancy Colored Diamond Exhibit Abstract: The oval cut 30.03 ct Juliet Pink diamond set in a necklace of 98.70 carats of colorless diamonds on display at Los Angeles Museum of Natural History. Photo courtesy of L.J. West.

	The rarest fancy colored diamonds make world headlines selling for tens of millions of dollars at auction. Like celebrities, they are well known in photographs − but rarely seen in person.

	Until March 19, 2017, visitors to the Los Angeles Natural History Museum have the opportunity to view three exceptionally rare fancy colored diamonds: a 30.03 carat (ct) Fancy Intense Pink, a 2.83 ct Fancy Deep Grayish Bluish Violet and a 1.64 ct Fancy Vivid purple diamond, all loaned by L.J. West, the New York fancy colored diamond house, for an exhibit called “Diamonds: Rare Brilliance.”

	The large pink, named the Juliet Diamond, was cut from a 90 ct rough found in South Africa and set in a necklace with 98.70 carats of round brilliant, pear and marquise cut colorless diamonds of E and F color, VVS clarity.

	The violet diamond is the largest diamond of that color ever found in Australia’s Argyle Mine − 9.17 ct in rough. Named The Argyle Violet, it was the cornerstone item in the mine’s 2016 diamond tender.

	The Victorian Orchid Vivid Purple diamond is one of the very few diamonds of that color ever found.

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	In addition to the three rare individual diamonds, L.J. West created the Rainbow Necklace from 88 fancy radiant cut colored diamonds of multiple hues. The total diamond weight is 35.93 ct.

	At the opening reception, Dr. James Shigley, distinguished research fellow at GIA, where the diamonds were graded, explained the forces of nature that create fancy colored diamonds and their rarity compared to colorless or fancy yellow diamonds.

	The exhibit is on display in the museum’s gem and mineral hall. Source: GIA @topic:7


Title: GIA Researchers Reveal the Secrets to Diamond-in-a-Diamond Mystery Abstract: This 0.62 carat green “matryoshka” diamond from Siberia has an internal cavity, connected by two small channels to the outside. A small diamond crystal moves freely inside. Courtesy of Alrosa. Photo by Jianxin (Jae) Liao/GIA

A diamond is a rare and beautiful gift from the earth. But a diamond within a diamond? That is an extra special gift.
Researchers in the GIA laboratory in New York recently had the opportunity to examine one of the most interesting and unique diamond crystals ever found. The crystal, dubbed “matryoshka” after the iconic Russian nesting dolls, was discovered by the Russian mining company Alrosa in Siberia in 2019. While it has several unusual characteristics, including its color, etching and internal cavity, it is the crystal that is trapped, but moves freely, inside the larger diamond that attracted a lot of interest.
“We have never seen anything like this,” said Tom Moses, GIA executive vice president and chief laboratory and research officer. “This is a truly unusual diamond, not only for the fact that there is a small diamond crystal inside and entirely detached from the host crystal, but also for the mystery of how this diamond-in-a-diamond formed.”

This video shows how the internal diamond crystal moves freely in the host diamond. Video by Towfiq Ahmed/GIA
The GIA research team – Dr. Wuyi Wang, GIA vice president of research and development; Staff Gemologist Emiko Yazawa, Senior Analytics Technicians Stephanie Persaud and Elina Myagkaya, Senior Research Scientist Dr. Ulrika D’Haenens-Johansson and Moses – examined the 0.62 carat rough crystal using advanced instrumentation.
Based on their observations and expertise in diamond formation, they determined that over time – millions or billions of years – about 0.11 carats of diamond material dissolved away through two small etched channels that extended from the surface of the diamond to the internal cavity. The diamond material that remained formed into a small diamond crystal of 0.03 carats that is entirely detached from the host crystal.
Detailed analysis confirmed that the small internal diamond has nearly the identical trace element chemistry as its host and that when the host formed in the earth’s mantle, it was a solid diamond without the cavity.

This animation shows the host crystal, internal cavity and the internal crystal. Produced by Emiko Yazawa/GIA
The team was also intrigued by the natural clear green body color of the internal crystal and the “Christmas-tree” like etchings that decorated its surface. They determined that these were small, dark green radiation stains that were present in shallow fractures along its edges, which revealed that this diamond was naturally irradiated. Fluid with radioactive elements is responsible for the green body color and formation of radiation stains, and would have been the last step in decorating this crystal.
“Examining this nesting-doll diamond was a remarkable opportunity,” Moses said. “We know that most diamonds form in a melt/fluid environment, and that they often are partially resorbed and reformed from interactions with multiple types of melt/fluid materials. The opportunity to examine this special diamond-within-a-diamond added to our understanding of how diamonds form.”
A more detailed article is planned for the Lab Notes section of the Spring 2020 edition of Gems & Gemology. Source: GIA @topic:4


Title: Separation of Black Diamond from NPD Synthetic Diamond Abstract: Figure 1. The 0.70 ct Fancy black pear-shaped diamond in the left photo closely resembled two NPD synthetic diamonds submitted earlier (the 1.51 ct round and 0.9 ct marquise, right). Photos by Jian Xin (Jae) Liao.
In two recent Lab Notes, we reported on a new type of synthetic diamond: nano-polycrystalline synthetic diamond, known as NPD (Spring 2014, pp. 69–71; Winter 2014, pp. 300–301). Submitted for identification in April 2016 was a 0.70 ct pear-shaped Fancy black diamond (figure 1). The diamond’s infrared absorption spectrum was strikingly similar to that of the two NPD identified specimens mentioned above. It displayed very similar absorption peaks in the one-phonon region (figure 2), which can probably be attributed to nitrogen.

Figure 2. IR spectra of the three black samples (offset for clarity) show unusual broad
peaks in the 760–1500 cm–1 region (highlighted in gray): 0.70 ct natural black diamond
(A), 1.51 ct NPD (B), and 0.90 ct NPD (C).
Microscopic examination revealed an abundance of dark graphitized crystal and fracture inclusions, features often associated with black gem-quality diamonds but not unlike those observed in the NPD samples (figure 3). The challenge for gem laboratories, then, is how to separate black NPD synthetic diamonds from their natural black diamond counterparts.

Figure 3. Natural inclusions in black diamond (left) are compared with various inclusions previously observed in NPD synthetic diamond (center and right). Photos by Paul Johnson; field of view 6.24 mm (left) and 1.76 mm (center and right).
DiamondView imaging offers a quick and definitive solution to this problem. NPD synthetic diamond has a distinct fluorescence pattern and structure that are obvious in the DiamondView images (figure 4). This technique can provide an instant positive identification for NPD synthetic diamond, which can be supported with further testing.

Figure 4. These DiamondView images show the fluorescence pattern and color for natural diamond (left and center) and NPD synthetic diamond (right). Photos by Paul Johnson.
The 0.70 ct pear-shaped diamond was issued a report with a Fancy black color grade and a natural origin of color. Source: GIA @topic:4


Title: Recycled Diamonds: ‘Mining’ the World’s Largest Diamond Resource Abstract: At a recent auction of recycled polished diamonds in Hong Kong, White Pine offered more than 200 lots of mainly smaller diamonds, ranging from 20 carats total weight to nearly 1,200 carats. This lot contains 1,160.68 carats of approximately 0.01 ct. stones of mixed qualities. Photo by Russell Shor/GIA

                      Diamond mining companies continue to explore promising sources in Africa and Canada, but perhaps the world’s largest diamond resource is well above ground in the U.S.: Jewelry owners.

During the second half of the last century, according to De Beers’ market surveys, American jewelry buyers accounted for between two-third and three-quarters of all diamond jewelry sold at retail. And in the past five years they have been sending several million carats – numbers approaching a large diamond mine – back into the market each year.

One of the largest buyers of pre-owned diamonds is White Pine Trading of New York, which handled more than 500,000 carats of stones in 2015. This will make it, by its own account, the world’s largest buyer of pre-owned diamonds.

The company was created in 2010 as the world economy struggled to right itself from the financial crisis that began at the end of 2008. At the time, gold was climbing strongly in price toward $1,900 per ounce, and a flood of sellers were eager to convert their jewelry pieces – many of which often contained small diamonds − to cash.

A 2010 GIA survey of the U.S. “secondary market” by this author estimated that 1.4 to 1.8 million diamonds larger than 0.30 carats (cts.) – or a total of 500,000 to 700,000 carats − were channeled from consumers back to retail jewelers, pawnbrokers and gold buying firms. The number of smaller diamonds totaled an estimated 3 million carats.

There are immense numbers of diamonds in consumers’ hands. De Beers’ annual surveys conducted between 1976 and 1999 found that U.S. consumers bought a total of nearly 400 million pieces of diamond jewelry, representing 1.3 billion diamonds. Within that total there were more than 37 million engagement rings averaging about one-third of a carat. De Beers stopped publicizing its surveys after 2000, but later surveys from other sources indicate that acquisition rates have continued.

Last year, industry analyst Chaim Even-Zohar estimated the “recycled diamond market” at $450 million, which represents a significant decline from the peak of 2010-12 when economic necessity, combined with extremely high gold prices and rising diamond prices, probably resulted in more than $1 billion worth of diamonds returning to the market.

	The majority of buyers at White Pine’s Hong Kong auctions were the jewelers who line
	Nathan Road, one of the main shopping streets in the city. Photo by Russell Shor/GIA
White Pine said its 2015 sales will total $100 million. “We believe that’s it’s extraordinary to carve such a huge niche in a market that is basically contracting,” said Myles Schakler, vice president of Diamond Melee Sales and Auctions.

The company grew by networking, he said. First, it recruited agents to buy melee from gold dealers, retailers and pawnshops around the U.S. These small diamonds were mostly by-products of their gold buying activities and the company offered them a ready outlet for tiny stones for which they had no viable use. White Pine parlayed this business into buying larger diamonds – quarters-, thirds- and even some one-caraters.

White Pine has expanded its buying activities to Japan and several European nations and has about 20 buying agents. It has expanded acquisition beyond pawnshops and gold buying operations to cover store closeouts, bank and estate liquidations. This expansion was necessary, Schakler said, because consumers are selling back much less gold jewelry than they did when the price of the metal hovered at $1,900 an ounce.

The company sells melee goods back into the trade through regularly scheduled auctions in various venues around the world. Schakler notes that the melee is sold in mixed quality lots, from .01 ct. to 0.1 ct., because it is not economical to sort them further. The lots range from a total of 20 carats to 1,100 carats.

He acknowledges there will be a certain number of rejection goods in the parcels. “The experienced buyers know how to factor them into their offers,” he said.

Buyers leave sealed bids, and lots that don’t sell are opened to new offers after the sale. “We usually have a good idea of what the parcels will bring,” Schakler said. “But if we do not have offers that meet the reserve, we generally will sell within reason.”

The company sends diamonds larger than 0.20 cts. to GIA for grading, then lists them on trading sites like RapNet. Some of these goods, particularly older stones, have to be recut before they are sold. “In fact, it is surprising how poorly cut some goods are,” Schakler said.

The exception, Schakler said, is very low quality diamonds, which go into the melee auctions.

The 2010 GIA survey found that the majority of melee and diamonds under 0.30 cts. were purchased at steep discounts from the prevailing wholesale price and were then brokered back into the trade. Retailers who purchased larger goods from consumers or estates often paid well below wholesale, had them recut if needed, and added them to their own inventories. Source: GIA @topic:8


Title: Revolution in Diamond Cutting: Laser Sawing of Diamond Crystals Abstract: Laser sawing of diamonds is beginning to revolutionize the diamond-cutting industry. Not only does the laser saw offer savings in time and money, but it also enables the cutting of material virtually unworkable by conventional methods and makes available an almost limitless assortment of fancy shapes. This article describes the components and operation of the laser saw, as well as the situations in which it has proved most useful. Source: GIA @topic:4


Title: GIA's Gübelin Gem Project: Various Gems, Danburite – Humite Abstract: Danburite
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 35375

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

34391

			15.81 ct Danburite
			Madagascar

34390

			30.37 ct Danburite
			Madagascar

34451

			6.78 ct Danburite
			Mexico

34557

			25.30 ct Danburite
			Myanmar

35375

			6.51 ct Danburite
			Russia

34810

			6.37 ct Danburite
			Sri Lanka

34808

			11.12 ct Danburite
			Sri Lanka

35177

			5.66 ct Danburite
			The United States

35178

			12.12 ct Datolite
			The United States

33818

			0.47 ct Diamond
			Locality not stated

35378

			13.18 ct Diaspore
			Turkey

34699

			4.30 ct Dioptase
			Namibia

35391

			7.88 ct Dolomite
			Locality not stated

35183

			14.36 ct Dolomite
			The United States

34362

			2.85 ct Epidote
			Kenya

34704

			4.21 ct Epidote
			Namibia

34004

			9.72 ct Epidote
			Locality not stated

34830

			9.02 ct Epidote
			Sri Lanka

35187

			2.97 ct Epidote
			The United States

34010

			7.17 ct Euclase
			Brazil

34279

			7.79 ct Euclase
			Brazil

34834

			8.06 ct Euclase
			Sri Lanka

35398

			1.81 ct Euclase
			Zimbabwe

35285

			2.87 ct Euclase
			Zimbabwe

35575

			1.52 ct Eudialyte
			Canada

33116

			6.30 ct Feldspar (Albite)
			Kenya

34347

			10.48 ct Feldspar (Albite)
			Kenya

35625

			6.00 ct Feldspar (Andesine)
			China

34469

			7.81 ct Feldspar (Bytownite)
			Mexico

33096

			30.82 ct Feldspar (Labradorite)
			Finland

33138

			2.60 ct Feldspar (Labradorite)
			The United States

35197

			7.71 ct Feldspar (Labradorite)
			The United States

33097

			22.01 ct Feldspar (Labradorite)
			The United States

33121

			7.81 ct Feldspar (Oligoclase)
			Canada

33124

			11.35 ct Feldspar (Oligoclase)
			India

33122

			12.72 ct Feldspar(Oligoclase) - Sunstone
			Tanzania

33098

			25.33 ct Feldspar (Orthoclase)
			Madagascar

34392

			58.57 ct Feldspar (Orthoclase)
			Madagascar

34569

			15.21 ct Feldspar (Orthoclase)
			Myanmar

35482

			14.79 ct Feldspar (Orthoclase)
			Locality not stated

34839

			4.37 ct Feldspar (Orthoclase)
			Sri Lanka

34837

			14.64 ct Feldspar (Orthoclase)
			Sri Lanka

35200

			27.58 ct Feldspar (Orthoclase)
			Tthe United States

34314

			8.57 ct Feldspar (Orthoclase) - Moonstone
			India

34856

			21.22 ct Feldspar (Orthoclase) - Moonstone
			Sri Lanka

33094

			28.96 ct Feldspar (Sanidine)
			Germany

33150

			42.95 ct Fluorite
			Afghanistan

34410

			12.84 ct Fluorite
			Madagascar

34388

			51.10 ct Fluorite
			Madagascar

34020

			2.87 ct Fluorite
			Namibia

33143

			48.80 ct Fluorite
			Namibia

34871

			29.94 ct Fluorite
			Sri Lanka

34971

			6.43 ct Fluorite
			Switzerland

34989

			57.77 ct Fluorite
			Switzerland

35153

			23.74 ct Fluorite
			The United States

33149

			47.62 ct Fluorite
			The United States

34280

			17.54 ct Gahnite
			Brazil

34029

			3.27 ct Hambergite
			Madagascar

35629

			0.29 ct Grandidierite
			Sri Lanka

34028

			3.43 ct Hambergite
			Madagascar

34032

			3.58 ct Hambergite
			Madagascar

34412

			5.36 ct Hambergite
			Madagascar

34736

			5.17 ct Hambergite
			Nepal

35406

			1.00 ct Haüyne
			Germany

35421

			2.40 ct Herderite
			Brazil

34283

			4.93 ct Herderite
			Brazil

34282

			6.13 ct Herderite
			 Brazil

35408

			7.12 ct Herderite
			Brazil

35365

			17.16 ct Herderite
			Brazil

35435

			2.14 ct Humite (Clinohumite)
			Tajikistan Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Barite - Cuprite Abstract: Brazilianite
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 33942

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

35345

			7.25 ct Barite
			France (PDF)

34335

			13.59 ct Barite
			Kenya (PDF)

34691

			11.91 ct Barite
			Namibia (PDF)

35344

			6.99 ct Barite
			The United Kingdom (PDF)

35167

			7.55 ct Barite
			The United States (PDF)

35337

			2.60 ct Bastnäsite
			Pakistan (PDF)

33928

			3.36 ct Benitoite
			The United States (PDF)

35170

			3.48 ct Benitoite
			The United States (PDF)

33927

			3.77 ct Benitoite
			The United States (PDF)

33936

			5.68 ct Beryllonite
			The United States (PDF)

35350

			7.82 ct Beryllonite
			The United States (PDF)

33939

			8.12 ct Beryllonite
			The United States (PDF)

35173

			13.80 ct Beryllonite
			The United States (PDF)

33942

			11.91 ct Brazilianite
			Brazil (PDF)

33948

			14.39 ct Brazilianite
			Brazil (PDF)

34271

			17.33 ct Brazilianite
			Brazil (PDF)

35311

			20.18 ct Brucite
			The United States (PDF)

35353

			1.32 ct Burbankite
			Canada (PDF)

35308

			33.52 ct Calcite
			The Czech Republic (PDF)

35416

			18.59 ct Calcite
			Mexico (PDF)

35415

			23.58 ct Calcite
			Mexico (PDF)

34439

			27.90 ct Calcite
			Mexico (PDF)

35429

			6.21 ct Calcite
			Spain (PDF)

35570

			9.01 ct Cassiterite
			China (PDF)

34788

			4.07 ct Cassiterite
			Sri Lanka (PDF)

35366

			1.97 ct Catapleiite
			Canada (PDF)

35361

			16.34 ct Celestite
			Madagascar (PDF)

35176

			11.52 ct Celestite
			The United States (PDF)

35313

			42.13 ct Cerussite
			Morocco (PDF)

35368

			1.34 ct Childrenite
			Brazil (PDF)

33792

			17.64 ct Chrysoberyl
			Brazil (PDF)

33799

			6.28 ct Chrysoberyl
			Myanmar (PDF)

33800

			5.13 ct Chrysoberyl
			Locality not stated (PDF)

34797

			5.25 ct Chrysoberyl
			Sri Lanka (PDF)

34792

			10.15 ct Chrysoberyl
			Sri Lanka (PDF)

34800

			16.02 ct Chrysoberyl
			Sri Lanka (PDF)

34313

			2.68 ct Chrysoberyl - Alexandrite
			Brazil (PDF)

33805

			3.43 ct Chrysoberyl - Alexandrite
			Locality not stated (PDF)

33809

			2.85 ct Chrysoberyl - Alexandrite
			Russia (PDF)

35557

			7.97 ct Cinnabar
			China (PDF)

35514

			19.87 ct Cinnabar
			China (PDF)

35521

			20.52 ct Cinnabar
			China (PDF)

35433

			1.52 ct Clinohumite
			Tajikistan (PDF)

35516

			5.42 ct Cobaltian Calcite
			The Democratic Republic
			of Congo (PDF)

35428

			7.93 ct Cobaltocalcite
			Spain (PDF)

34351

			7.78 ct Colemanite
			Kenya (PDF)

34405

			2.69 ct Cordierite - Iolite
			Madagascar (PDF)

34555

			10.14 ct Cordierite - Iolite
			Myanmar (PDF)

34802

			8.77 ct Cordierite - Iolite
			Sri Lanka (PDF)

35440

			4.73 ct Crocoite
			Australia (PDF)

35441

			5.40 ct Crocoite
			Australia (PDF)

34705

			16.64 ct Cuprite
			Namibia (PDF) Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Amblygonite - Axinite Abstract: Apatite
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 33765

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

34543

			5.92 ct Amblygonite
			Myanmar (PDF)

33908

			4.85 ct Amblygonite
			Locality not stated (PDF)

33905

			12.18 ct Amblygonite
			Locality not stated (PDF)

34539

			17.86 ct Amphibole (Actinolite)
			Myanmar (PDF)

34990

			5.44 ct Amphibole (Actinolite)
			Tanzania (PDF)

34974

			13.66 ct Amphibole (Actinolite) -
			Nephrite
			Switzerland (PDF)

35409

			2.60 ct Amphibole (Hornblende)
			Canada (PDF)

35316

			1.97 ct Anatase
			Brazil (PDF)

33918

			10.62 ct Andalusite
			Brazil (PDF)

33922

			13.22 ct Andalusite
			Brazil (PDF)

33924

			14.41 ct Andalusite
			Brazil (PDF)

33917

			16.13 ct Andalusite
			Brazil (PDF)

34263

			16.71 ct Andalusite
			Brazil (PDF)

34773

			2.25 ct Andalusite
			Sri Lanka (PDF)

33919

			9.04 ct Andalusite
			Sri Lanka (PDF)

35307

40.83 ct Anglesite
			Morocco (PDF)

34682

			13.47 ct Anglesite
			Locality not stated (PDF)

34684

			16.10 ct Anglesite
			Locality not stated (PDF)

35306

			17.54 ct Anglesite
			Locality not stated (PDF)

34967

			9.55 ct Anhydrite
			Locality not stated (PDF)

35327

			2.35 ct Apatite
			Brazil (PDF)

34265

			4.94 ct Apatite
			Brazil (PDF)

34266

			7.10 ct Apatite
			Brazil (PDF)

35323

			2.23 ct Apatite
			Madagascar (PDF)

33785

			3.60 ct Apatite
			Madagascar (PDF)

35325

			5.12 ct Apatite
			Madagascar (PDF)

34401

			9.10 ct Apatite
			Madagascar (PDF)

33765

			16.69 ct Apatite
			Mexico (PDF)

34447

			22.42 ct Apatite
			Mexico (PDF)

33783

			3.03 ct Apatite
			Myanmar (PDF)

34648

			4.80 ct Apatite
			Myanmar (PDF)

34546

			6.50 ct Apatite
			Myanmar (PDF)

34548

			11.29 ct Apatite
			Myanmar (PDF)

34760

			17.09 ct Apatite
			Sri Lanka (PDF)

34999

			3.10 ct Apatite
			Tanzania (PDF)

33779

			1.60 ct Apatite
			The United States (PDF)

35160

			2.64 ct Apatite
			The United States (PDF)

35161

			6.33 ct Apatite
			The United States (PDF)

35267

			15.54 ct Apatite
			Zimbabwe (PDF)

35251

			25.27 ct Apatite
			Zimbabwe (PDF)

35331

			7.48 ct Apophyllite
			India (PDF)

35333

			8.07 ct Aragonite
			Czech Republic (PDF)

35334

			2.83 ct Augelite
			The United States (PDF)

33911

			4.29 ct Axinite
			Mexico (PDF)

33910

			8.71 ct Axinite
			Mexico (PDF)

34448

			9.10 ct Axinite
			Mexico (PDF)

34780

			8.30 ct Axinite
			Sri Lanka (PDF) Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Taaffeite - Zoisite Abstract: Taaffeite
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 34186

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

34665

6.23 ct Taaffeite
			Myanmar (PDF)

34186

1.23 ct Taaffeite
			Sri Lanka (PDF)

34188

			2.26 ct Taaffeite
			Sri Lanka (PDF)

34196

			3.23 ct Taaffeite
			Sri Lanka (PDF)

34933

			5.32 ct Taaffeite
			Sri Lanka (PDF)

34183

			11.23 ct Taaffeite
			Sri Lanka (PDF)

34931

			11.23 ct Taaffeite
			Sri Lanka (PDF)

34298

			4.18 ct Titanite
			Brazil (PDF)

34021

			2.86 ct Titanite
			India (PDF)

34219

			3.26 ct Titanite
			India (PDF)

34332

			20.86 ct Titanite
			India (PDF)

34376

			5.83 ct Titanite
			Kenya (PDF)

34430

			7.87 ct Titanite
			Madagascar (PDF)

34431

			13.00 ct Titanite
			Madagascar (PDF)

35538

			0.84 ct Titanite
			Mexico (PDF)

35535

			1.26 ct Titanite
			Mexico (PDF)

34208

			4.13 ct Titanite
			Mexico (PDF)

34228

			6.96 ct Titanite
			Mexico (PDF)

34216

			7.85 ct Titanite
			Mexico (PDF)

34206

			8.18 ct Titanite
			Mexico (PDF)

34221

			10.00 ct Titanite
			Mexico (PDF)

34226

			3.11 ct Titanite
			Pakistan (PDF)

34980

			2.61 ct Titanite
			Switzerland (PDF)

33580

			5.11 ct Topaz
			Brazil (PDF)

33566

			7.50 ct Topaz
			Brazil (PDF)

33563

			9.36 ct Topaz
			Brazil (PDF)

33568

			13.00 ct Topaz
			Brazil (PDF)

33572

			14.33 ct Topaz
			Brazil (PDF)

34304

			14.48 ct Topaz
			Brazil (PDF)

34303

			17.07 ct Topaz
			Brazil (PDF)

33551

			19.84 ct Topaz
			Brazil (PDF)

33584

			18.41 ct Topaz
			Pakistan (PDF)

33552

			14.32 ct Topaz
			Russia (PDF)

34944

			21.02 ct Topaz
			Sri Lanka (PDF)

33547

			21.84 ct Topaz
			Sri Lanka (PDF)

35244

			8.71 ct Willemite
			The United States (PDF)

33556

			20.66 ct Topaz
			The United States (PDF)

35250

			25.04 ct Topaz
			Zimbabwe (PDF)

35258

			25.67 ct Topaz
			Zimbabwe (PDF)

35465

			22.14 ct Ulexite
			The United States (PDF)

35543

			3.17 ct Vesuvianite
			Kenya (PDF)

34383

			3.61 ct Vesuvianite
			Tanzania (PDF)

34385

			4.38 ct Vesuvianite
			Tanzania (PDF)

34384

			4.92 ct Vesuvianite
			Tanzania (PDF)

34386

			8.23 ct Vesuvianite
			Tanzania (PDF)

35242

			0.82 ct Vivianite
			The United States (PDF)

34732

			4.41 ct Willemite
			Namibia (PDF)

35547

			2.42 ct Willemite
			The United States (PDF)

35546

			9.54 ct Willemite
			The United States (PDF)

34123

			10.15 ct Willemite
			The United States (PDF)

35548

			18.35 ct Witherite
			The United Kingdom (PDF)

35518

			4.67 ct Wollastonite
			Canada (PDF)

34733

			6.40 ct Wulfenite
			Namibia (PDF)

35554

			2.03 ct Wulfenite
			The United States (PDF)

35247

			5.41 ct Wulfenite
			The United States (PDF)

35520

			16.05 ct Zincite
			Poland (PDF)

35204

			7.36 ct Zincite
			The United States (PDF)

34127

			12.20 ct Zoisite
			Locality not stated (PDF)

35075

			2.96 ct Zoisite
			Tanzania (PDF)

35072

			3.20 ct Zoisite
			Tanzania (PDF)

35620

			5.00 ct Zoisite
			Tanzania (PDF)

35522

			6.11 ct Zoisite
			Tanzania (PDF)

34134

			7.10 ct Zoisite
			Tanzania (PDF)

34129

			8.85 ct Zoisite - Tanzanite
			Tanzania (PDF)

35038

			11.18 ct Zoisite - Tanzanite
			Tanzania (PDF)

34128

			11.98 ct Zoisite - Tanzanite
			Tanzania (PDF) Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Sapphirine - Stibiotantalite Abstract: Sapphirine
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 33479

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

33479

			1.72 ct Sapphirine
			Sri Lanka (PDF)

34297

			24.03 ct Scapolite
			Brazil (PDF)

34659

			6.22 ct Scapolite
			Myanmar (PDF)

34144

			7.41 ct Scapolite
			Myanmar (PDF)

34597

			8.09 ct Scapolite
			Myanmar (PDF)

34603

			11.78 ct Scapolite
			Myanmar (PDF)

34136

			12.43 ct Scapolite
			Myanmar (PDF)

34712

			13.59 ct Scapolite
			Namibia (PDF)

34680

			40.80 ct Scapolite
			Namibia (PDF)

34146

			3.14 ct Scapolite
			Pakistan (PDF)

34897

			5.02 ct Scapolite
			Sri Lanka (PDF)

34894

			7.76 ct Scapolite
			Sri Lanka (PDF)

34149

			6.42 ct Scapolite
			Tanzania (PDF)

35049

			14.85 ct Scapolite
			Tanzania (PDF)

35035

			21.97 ct Scapolite
			Tanzania (PDF)

34150

			32.05 ct Scapolite
			Tanzania (PDF)

34102

			9.36 ct Scheelite
			Australia (PDF)

34099

			11.82 ct Scheelite
			China (PDF)

34472

			15.25 ct Scheelite
			Mexico (PDF)

34473

			17.05 ct Scheelite
			Mexico (PDF)

34884

			22.43 ct Scheelite
			Sri Lanka (PDF)

35510

			1.58 ct Scorodite
			Namibia (PDF)

34714

			2.12 ct Scorodite
			Namibia (PDF)

35502

			5.02 ct Sellaite
			Brazil (PDF)

35500

			5.11 ct Sellaite
			Brazil (PDF)

35506

			2.00 ct Siderite
			Portugal (PDF)

35505

			2.65 ct Siderite
			Portugal (PDF)

34014

			3.47 ct Sillimanite
			Myanmar (PDF)

34552

			11.16 ct Sillimanite
			Myanmar (PDF)

34535

			11.79 ct Sillimanite
			Myanmar (PDF)

34018

			2.62 ct Sillimanite
			Sri Lanka (PDF)

34887

			12.03 ct Sillimanite
			Sri Lanka (PDF)

34916

			18.86 ct Sillimanite
			Sri Lanka (PDF)

35589

			10.88 ct Sinhalite
			Sri Lanka (PDF)

34111

			11.24 ct Sinhalite
			Sri Lanka (PDF)

34892

			14.36 ct Sinhalite
			Sri Lanka (PDF)

34891

			18.50 ct Sinhalite
			Sri Lanka (PDF)

34104

			40.69 ct Sinhalite
			Sri Lanka (PDF)

34917

			45.68 ct Sinhalite
			Sri Lanka (PDF)

34716

			6.53 ct Smithsonite
			Namibia (PDF)

35512

			8.09 ct Smithsonite
			The United States (PDF)

35223

			9.11 ct Smithsonite
			The United States (PDF)

35511

			14.34 ct Smithsonite
			The United States (PDF)

35515

			5.74 ct Sodalite
			Namibia (PDF)

35405

			2.94 ct Sodalite - Hackmanite
			Canada (PDF)

34477

			5.82 ct Sphalerite
			Mexico (PDF)

34443

			26.21 ct Sphalerite
			Mexico (PDF)

34444

			39.02 ct Sphalerite
			Mexico (PDF)

34117

			11.05 ct Sphalerite
			Spain (PDF)

34114

			20.88 ct Sphalerite
			Spain (PDF)

34174

			21.81 ct Spodumene
			Afghanistan (PDF)

34169

			23.11 ct Spodumene
			Afghanistan (PDF)

34255

			55.50 ct Spodumene
			Brazil (PDF)

34175

			56.34 ct Spodumene
			Brazil (PDF)

34182

			7.26 ct Spodumene
			Locality not stated (PDF)

34176

			29.20 ct Spodumene
			Locality not stated (PDF)

34162

			17.09 ct Spodumene Kunzite
			Afghanistan (PDF)

34287

			22.98 ct Spodumene - Kunzite
			Brazil (PDF)

34417

			17.20 ct Spodumene - Kunzite
			Madagascar (PDF)

34161

			21.40 ct Spodumene - Kunzite
			Madagascar (PDF)

35150

			25.53 ct Spodumene - Kunzite
			The United States (PDF)

35529

			7.07 ct Stibiotantalite
			Locality not stated (PDF) Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Olivine - Rutile Abstract: Peridot
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 33884

Among the collection assembled by Dr. Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewelry to those that are quite rare and seldom faceted because of the lack of suitable starting material.

33884

			18.72 ct Olivine (Forsterite) -
			Peridot
			Egypt (PDF)

33885

			19.46 ct Olivine (Forsterite) -
			Peridot
			Egypt (PDF)

33879

			28.99 ct Olivine (Forsterite) -
			Peridot
			Myanmar (PDF)

35195

			5.92 ct Olivine (Forsterite) -
			Peridot
			The United States (PDF)

33367

			6.05 ct Opal
			Mexico (PDF)

34464

			6.59 ct Opal
			Mexico (PDF)

35459

			5.38 ct Parisite
			Colombia (PDF)

35196

			15.94 ct Periclase
			The United States (PDF)

35474

			11.14 ct Petalite
			Brazil (PDF)

34291

			16.48 ct Petalite
			Brazil (PDF)

35463

			41.12 ct Petalite
			Brazil (PDF)

35461

			17.60 ct Petalite
			Locality not stated (PDF)

35633

			2.92 ct Pezzottaite
			Madagascar (PDF)

35636

			4.15 ct Pezzottaite
			Madagascar (PDF)

34089

			33.15 ct Phenakite
			Brazil (PDF)

34094

			15.53 ct Phenakite
			Russia (PDF)

34861

			5.81 ct Phenakite
			Sri Lanka (PDF)

35478

			16.48 ct Phosgenite
			Morocco (PDF)

35466

			25.56 ct Phosgenite
			Morocco (PDF)

35481

			5.12 ct Phosphophyllite
			Bolivia (PDF)

35207

			2.69 ct Pollucite
			The United States (PDF)

35623

			31.53 ct Powellite
			India (PDF)

35486

			8.56 ct Prehnite
			Australia (PDF)

35485

			10.55 ct Prehnite
			Australia (PDF)

35468

			13.61 ct Prehnite
			Locality not stated (PDF)

35467

			15.18 ct Prehnite
			South Africa (PDF)

35208

			11.10 ct Prehnite
			The United States (PDF)

35469

			12.07 ct Proustite
			Chile (PDF)

35015

			4.87 ct Pyroxene (Bronzite)
			Tanzania (PDF)

34414

			4.52 ct Pyroxene (Diopside)
			Madagascar (PDF)

34560

			8.34 ct Pyroxene (Diopside)
			Myanmar (PDF)

34565

			14.19 ct Pyroxene (Diopside)
			Myanmar (PDF)

34847

			13.55 ct Pyroxene (Diopside)
			Sri Lanka (PDF)

35381

			3.70 ct Pyroxene (Diopside)
			The United States (PDF)

35385

			0.91 ct Pyroxene (Diopside) -
			Chrome Diopside
			Kenya (PDF)

34413

			9.15 ct Pyroxene (Enstatite)
			Madagascar (PDF)

34561

			1.50 ct Pyroxene (Enstatite)
			Myanmar

34846

			2.90 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34826

			6.32 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34819

			9.98 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34827

			12.05 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

34820

			16.31 ct Pyroxene (Enstatite)
			Sri Lanka (PDF)

35004

			13.38 ct Pyroxene (Enstatite)
			Tanzania (PDF)

34034

			6.47 ct Pyroxene (Hypersthene)
			India (PDF)

34644

			9.72 ct Pyroxene (Jadeite)
			Myanmar (PDF)

35584

			8.54 ct Pyroxmangite
			Brazil (PDF)

34442

			30.23 ct Quartz
			Mexico (PDF)

33422

			56.19 ct Quartz
			Locality not stated (PDF)

33388

			23.76 ct Quartz - Amethyst
			Brazil (PDF)

35264

			10.95 ct Quartz - Amethyst
			Zimbabwe (PDF)

35001

			4.94 ct Quartz - Chalcedony
			(Chrysoprase)
			Tanzania (PDF)

33423

			26.57 ct Quartz - Citrine
			Locality not stated (PDF)

35299

			8.10 ct Quartz - Citrine
			Zimbabwe (PDF)

35257

			11.11 ct Quartz - Citrine
			Zimbabwe (PDF)

33385

			29.04 ct Quartz - Rose Quartz
			Locality not stated (PDF)

35019

			5.21 ct Rhodochrosite
			South Africa (PDF)

34709

			11.32 ct Rhodochrosite
			South Africa (PDF)

34679

			17.77 ct Rhodochrosite
			South Africa (PDF)

35491

			4.62 ct Rhodochrosite
			The United States (PDF)

35209

			9.06 ct Rhodochrosite
			The United States (PDF)

35212

			10.50 ct Rhodochrosite
			The United States (PDF)

35496

			2.09 ct Rhodonite
			Australia (PDF)

34865

			4.69 ct Rutile
			Sri Lanka (PDF)

34855

			5.64 ct Rutile
			Sri Lanka (PDF) Source: GIA @topic:1


Title: GIA's Gübelin Gem Project: Various Gems, Kornerupine - Natrolite Abstract: Kornerupine
Photo by Robert Weldon/GIA, courtesy Dr. E. J. Gübelin Collection
GIA Collection 34365

Among the collection assembled by Dr Edward Gübelin are a number of uncommon gemstones from many worldwide localities. Documents, like the ones below, present information on gemstones that range from occasional use in jewellery to those that are quite rare and seldom faceted because of the lack of suitable starting material.

34702

			2.60 ct jeremejevite
			Namibia (PDF)

34365

			1.64 ct kornerupine
			Kenya (PDF)

34366

			1.80 ct kornerupine
			Kenya (PDF)

34368

			5.54 ct kornerupine
			Kenya (PDF)

34067

			3.96 ct kornerupine
			Sri Lanka (PDF)

34848

			4.90 ct kornerupine
			Sri Lanka (PDF)

34069

			7.11 ct kornerupine
			Sri Lanka (PDF)

34851

			7.43 ct kornerupine
			Sri Lanka (PDF)

34850

			7.86 ct kornerupine
			Sri Lanka (PDF)

34063

			11.19 ct kornerupine
			Sri Lanka (PDF)

35016

			4.39 ct kornerupine
			Tanzania (PDF)

34274

			6.10 ct kyanite
			Brazil (PDF)

34276

			7.81 ct kyanite
			Brazil (PDF)

33854

			8.37 ct kyanite
			Brazil (PDF)

33849

			18.43 ct kyanite
			Brazil (PDF)

34352

			4.44 ct kyanite
			Kenya (PDF)

33835

			2.77 ct kyanite
			Madagascar (PDF)

35630

			15.30 ct kyanite
			Myanmar (PDF)

33839

			3.68 ct kyanite
			Nepal (PDF)

34742

			5.78 ct kyanite
			Nepal (PDF)

34964

			3.85 ct kyanite
			Switzerland (PDF)

34993

			15.81 ct kyanite
			Tanzania (PDF)

35283

			3.55 ct kyanite
			Zimbabwe (PDF)

35287

			5.05 ct kyanite
			Zimbabwe (PDF)

35579

			3.51 ct leadhillite
			Namibia (PDF)

35442

			1.52 ct leucite
			Italy (PDF)

35411

			12.93 ct magnesite
			Brazil (PDF)

34483

			3.51 ct manganotantalite
			Mexico (PDF)

35448

			5.51 ct manganotantalite
			Mozambique (PDF)

35449

			9.90 ct manganotantalite
			Pakistan (PDF)

35453

			4.46 ct mimetite
			Namibia (PDF)

35581

			1.01 ct monazite
			Brazil (PDF)

35456

			1.34 ct montebrasite
			Brazil (PDF)

34258

			46.28 ct montebrasite
			Brazil (PDF)

35836

			3.58 ct musgravite (magnesiotaaffeite)
			Locality not stated (PDF)

35190

			4.54 ct natrolite
			The United States (PDF) Source: GIA @topic:1


Title: New or Unusual Gem Materials Encountered in the Institute’s Gem Trade Laboratories Abstract: One of the favorites for Gems & Gemology readers is the Lab Notes column, the brief reports in each issue describing notable or unusual gem materials that have made their way to GIA’s laboratory. In this inaugural column from Summer 1957, Robert Crowningshield launches an enduring tradition, sharing discoveries about materials as diverse as rocks masquerading as minerals, a so-called television stone, an imitation moonstone, and dyed green jadeite. Source: GIA @topic:1