Title: Book Review: Wartski: The First Hundred and Fifty Years Abstract: By Geoffrey Munn, hardcover, 288 pp., illus., publ. by Antique Collectors’ Club Ltd., Woodbridge, Suffolk, UK, 2015, US$125.00.

	Family-owned businesses are the backbone of the gem and jewelry industry. This is true for both small-scale companies and internationally known brands. One British-based family firm founded in the nineteenth century is the focus of Wartski: The First Hundred and Fifty Years, a commemoration of the company’s landmark anniversary. Since 1865, Wartski has specialized in Russian royal court art, fine jewelry, and silversmithing, building a world-class clientele (including the British royal family and numerous celebrities) along the way. Built on the efforts and dedication of the four generations from two families and its passionate employees, Wartski is still very active in the fine jewelry trade.

	Author Geoffrey Munn has worked for Wartski for over 40 years, since the age of 19. Today, he is the company’s managing director and official historian, a certified antiques expert, a BBC television show presenter, and a successful writer, as well as a renowned expert on Faberge metalwork and jewelry. A great storyteller, Munn brilliantly connects the most spectacular artworks with the human story of this unique business on each page of this book.  While readers will be immediately attracted by the exquisite photos and illustrations (particularly of the fine metalwork, jewelry, and celebrity patrons), Munn emphasizes at the start that this is a book to elaborate on the history of the business rather than the amazing artworks it collected and sold.

	The preface and the first two chapters are riveting, digging deep into the origins, growth, and all the challenges and successes of Wartski. The story of how founder Morris Wartski, the great-grandfather of the current business owner, had a life changing opportunity and opened the family’s first ever business in Bangor, North Wales reads like a movie script. Through hard work, integrity, expertise, and outstanding salesmanship, they successfully conquered all the difficulties met in the past century and half. Present jewelry businesses may have different challenges to face, but how this firm survived some of the critical periods in history might shed light on today’s practices. For instance, during the 1950s auction houses such as Sotheby’s and Christie’s stepped into the jewelry business, and Wartski felt the pressure of their presence. By sticking to their specialties like the Russian Fabergé eggs, jewelry and other art pieces, Wartski further strengthened its expertise on special collections and not only survived , but thrived.

	Wartski first gained attention from the British royal family due to their spectacular collection of Russian royal court jewels and artwork, especially those made by Carl Fabergé, including the 13 famous imperial Fabergé eggs. The second generation of Wartski jewelers were among the first to purchase these treasures from aristocrats after the Russian Revolution and from the Soviet government when it needed money to facilitate the new country. These painstaking purchases built a solid base for this brand, and attracted the British royal family members, whom Wartski has served as jewelers ever since. Today, Wartski has a royal appointment as jeweler to both Queen Elizabeth II and the Prince of Wales.

	The following chapters elaborate upon the diligent work done by the family to collect the world’s finest jewelry and metalwork (such as the Egyptian crown jewels) and the clients who visited and supported Wartski over the years, including former first lady Jacqueline Kennedy Onassis, author Ian Fleming, and the current Duke and Duchess of Cambridge The important clients of Wartski will attract a lot of readers even they are not in the industry. The enthusiasm of collecting and the future of the business are also explored.  All content was extremely well illustrated with eye-catching photos of well-known jewelry and precious metalwork, along with images of pieces never seen before.

	Though Munn has chosen to focus on the company’s history, one intriguing story involving a specific piece focuses on the lost imperial Fabergé Easter egg. Named “Nécessaire,” the egg was commissioned by Alexander III of Russia in 1889. It was set with diamonds, ruby cabochons, emeralds, a large colored diamond, and a sapphire cabochon, and the interior showed a little box mounted with 13 diamonds. The last showing of this piece occurred at Wartski in June of 1952. An anonymous buyer purchased it from the store; since then, the whereabouts of this treasure are lost. Munn’s exploration of Nécessaire’s whereabouts, based on a black and white photo taken during its last show at Wartski, will be fascinating to many readers.

	What distinguishes this book from most others is the depth of the knowledge and the insights Munn delivered to the readers. His fantastic storytelling skill adds charm to this book and made it an enjoyable experience for jewelry professional and enthusiasts alike. Readers get to know behind-the-scene stories and appreciate the diligent work jewelers and collectors do before they present these breathtaking pieces of art to the public.

	Overall, Wartski: The First Hundred and Fifty Years is fascinating in many different ways; it is well worth reading and will be a great addition to any jewelry book collection. Source: GIA @topic:6


Title: Bench Tip #19: Quickly, Accurately Saw Around a Sharp Corner Abstract: Saw around a sharp corner

Sawing is an essential skill for a bench jeweler. This article will show you a technique that will increase your sawing speed and accuracy when you need to make sharp corner cuts – and reduce your likelihood of breaking delicate saw blades.

First, be sure to observe all sawing basics. Make sure the blade is properly held in the saw frame and that it is lubricated.

In order to create a sharp corner, you can make a saw cut into the corner, then remove the saw blade and cut into the corner from another direction.

	This illustration shows how the saw blade cuts around a sharp corner.
It is possible to make a crisp 90-degree corner without backtracking, however. The material you are sawing should be supported firmly on a flat and level bench pin that has a cutout for piercing. Be sure the saw blade is perpendicular to the work surface while you are cutting. If the blade is tilted left, right, forward or backward, it will distort the cut and likely break the blade.

Saw along your line as you approach the corner. When you reach the corner, stop the forward movement of the blade, but keep moving it up and down. Next, change the direction of the cut by either turning the saw frame or moving the object. It is important to keep the saw blade moving up and down as you change direction. The teeth of the saw blade, which are slightly offset, will cut the metal away as the blade is turning, allowing you to saw right around the corner without breaking the blade.

	You can create a sharp corner by making the turn a short distance from it, then returning to touch it up.
With practice, you can make sharp corners of all angles. For corners less than 90 degrees, make your turn a short distance from the corner. This will leave the corner slightly rounded, but you can just come back and make the corner crisp with a few quick saw cuts. Source: GIA @topic:7


Title: Bench Tip #18: How To Modify a Wooden Ring Clamp Abstract: Modify a Wooden Ring Clamp

One persistent daily challenge a bench jeweler faces is trying to figure out the best way to hold onto tiny, delicate objects while performing mechanical operations such as sawing, filing or burring bearings for stone setting.

There are dozens of tools available for this purpose, some centuries old and some that are modern, sophisticated and often quite expensive. An alternative is to make a simple modification to a wooden ring clamp—which holds rings and other jewelry items—that turns it into a useful, multi-function holder.

The ring clamp is usually braced against the bench pin as you work. Trouble can develop if the clamp slips while you are applying pressure. When you push downward on the ring with a prong pusher, for example, the clamp can slip out of place—even slightly—and cause a sudden movement that results in a chipped stone, damaged prong or injury to your finger or hand.

	The inset shows the original shape of the ring clamp. Grinding a groove to modify it will help brace the clamp more securely and give you a greater range of motion as you work.
If you grind a channel in the ring clamp, however, you can lock it in place with the bench pin. This provides more stable support for the work in progress and enhances your accuracy and safety.

	The groove in the ring clamp locks it into place against the bench pin for safety and stability as you work.
An 80 grit ½” x ½” abrasive band and mandrel (drum arbor) works well for this modification. Draw a reference line on the ring clamp about 10mm from the end. Use the abrasive band to create a two-millimeter indentation around the ring clamp. Test the groove against your bench pin(s) and make adjustments as necessary so the clamp locks in place.

This simple modification will make your tool more stable and reduce the chance of damaged jewelry or injury. Source: GIA @topic:7


Title: Bench Tip #16: How to Modify a Goldsmith Hammer Abstract: Modify a goldsmith's hammer

Jewelers and metalsmiths have had to make their own tools throughout the ages to accomplish different tasks at the jeweler’s bench. One tool a jeweler can’t do without is a hammer. Today, many styles of hammers, made in a variety of shapes and materials, are available to the jeweler.

The hammer used here as an example of how to make modifications is used for riveting, shaping, forming and working on rings for sizing. The hammer has one round/slightly contoured end (called the pean) one chisel-shaped end and a hardwood handle.

Two modifications that are crucial to a jeweler will be made to:

		The handle, which is key to maximizing its effectiveness at achieving its specific task

		The round/slightly contoured face and the chisel-shaped heads

A hammer handle that is too long will not be balanced, and can cause fatigue. If it is too short, it reduces the amount of force you can apply with the hammer. The length of the handle can be modified to fit your hand by measuring from the tip of your thumb to the tip of your pinky, with your hand spread out. Alter the length of the handle, by cutting it down, to help you apply the maximum force to the object.

Next, you can modify the hammer heads by contouring and polishing them. Make a stack of paper on your work surface and place abrasive paper on top. Move the hammer in a circular motion over the paper to shape it. The stack provides a cushion so you can more easily modify the head. Work with sheets graduating grits of abrasive paper, from coarse to fine.

	You will achieve the maximum potential of your goldsmith hammer by modifying the round
	(top) and chiseled (bottom) heads. Polish with tripoli and rouge on a hard felt buff. This will
	give the surface of the round head a slightly convex shape, reduce the sharp outside edges,
	and leave a polished surface with minimal tool marks. If you don’t polish the head, the
	surface marks will transfer to the metal you are working on when struck.

You should apply the same modification to the chiseled end of the hammer head. Instead of a circular motion, however, use a back and forth motion that follows that end’s contours. The goal is to put a convex surface on the end face and to round over all edges and corners so they don’t leave deep, hard-edged marks in the metal you work on. Use the same materials and set up you used to finish and polish the hammer’s round face.

These two modifications will help you achieve the maximum potential of your goldsmith hammer.

	This goldsmith hammer is being used to tighten a hinge pin. Source: GIA @topic:7


Title: Bench Tip #15: Modify Your Prong Pushers to Make Them More Versatile Abstract: Modify prong pushers

Many stone setters would agree that one of the most challenging aspects of prong setting is getting the prongs down tight on the stone. It’s easy to take this process for granted. If it’s done well, you might never notice. But doing it poorly can result in damaged or lost gemstones, or prongs that snag clothing and feel rough or sharp to the wearer.

A variety of pliers or other tools can be used to push prongs down onto the stone once the bearings have been prepared. This article will focus on prong pushers, which consist of a piece of brass or steel fitted into a wooden handle.

Most common are the flat prong pusher and the grooved prong pusher. While these tools can be used “as is,” a few modifications will make them more versatile.

 Experienced stone setters will customize the face shapes and textures of their prong pushers.
Experienced stone setters often make their own prong pushers from used gravers, files or other tools. These are good options that allow them to reuse worn-out tools and customize the prong pusher for their particular needs, including creating different sizes so they can easily work on larger or smaller prongs and hard-to-reach areas.

	Use a cylinder burr to make a grooved prong pusher.
Many stone setters will also modify the prong pusher’s basic shape, preferring a rectangular face over a square face, which tends to block the view during the setting process. You can use a table-top bench grinder to make these modifications. Just make sure you dip the tools in water frequently as you are grinding to prevent overheating.

Many jewelers also prefer a textured face on their prong pushers. While this may cause minor tool marks on the prong as it is being tightened, the prong tips are often filed down anyway. The advantage of the textured surface is that it keeps the tool from slipping and possibly chipping the stone.

There are many ways to achieve this textured surface, but one is to simply sand across the face of the tool with a relatively coarse (220 or 320 grit) sandpaper.

The modification helps you feel the tool drop into place on the prong, allowing faster and more accurate work.
Another useful modification is to put a groove in the face of the prong pusher to keep it from slipping while you push down the prong. This modification is easily made with a small cylinder bur. By extending the groove across only three-quarters of the face of the tool, you can also put a “stop” in the groove. This is a great trick for working with smaller prongs because it helps you feel the tool drop into place on the prong, allowing faster and more accurate work. Source: GIA @topic:7


Title: Bench Tip #14: How to Handle the Flexshaft and Handpiece Abstract: Flexshaft and handpiece

 Here are a few observations that can make your equipment last longer and prevent possible injury.

The flexible shaft machine, commonly called a “flexshaft,” is a combination of a motor, handpiece and the flexible shaft that connects the two. The machine is usually operated by a foot pedal. Because jewelers often use more than one handpiece during the workday, the procedure of connecting a handpiece to the flexible shaft is a common operation, but is often done incorrectly.

	The handpiece (A) fits onto the end of the flexshaft (B), but must be properly aligned.
The end of the flexible shaft is a “keyed tip” that rotates when the foot pedal is depressed. When connecting the shaft to a handpiece, it is essential to fit this keyed tip into the slot inside the cover of the handpiece. Since the slot is inside the handpiece, it is difficult to see.

	The rotating keyed tip portion of the flexible shaft (A) fits and slides into the locking mechanism of the flex shaft handle (B).
If the flexshaft tip is pushed into the handpiece without aligning the key to the slot, there is potential for equipment damage and personal injury:

		Sometimes the key will rotate and drop into the slot when the pedal is depressed, but this will eventually wear down the key.

		The shaft can also bend the connector inside the handpiece, causing it to jam and the handpiece to violently jerk if the pedal is depressed quickly. This can cause injury or damage the flexshaft or handpiece.

	If not inserted properly, the keyed tip will wear down and eventually fail.
To make sure the key and slot are properly aligned, some jewelers will look down inside the handpiece to find the orientation of the slot, then turn the handpiece as needed so the key drops in. This works, but here is a fast and simple way to make the connection:

		Slightly depress the foot pedal so the shaft is turning slowly, then insert the shaft into the handpiece and gently push.

		You will feel the key drop into the slot and can see that the connection is correct when the handpiece begins to move (rotate or hammer, depending on the handpiece).

		Now you know the key and slot are properly aligned and it is safe to snap the shaft the rest of the way into the handpiece. Source: GIA @topic:7


Title: Bench Tip #13: Ergonomics for Bench Pin Modifications Abstract: Bench pin modifications

Ergonomics is the safe and effective relationship between a worker and the work environment. For the bench jeweler who spends hours working with a bench pin, it is important to make it work efficiently and effectively for you. There are many modifications you can make to ensure this.

People prefer different bench pins, namely a flat piercing pin vs. an angled working pin. Some modifications can be used with either type, while others work better with a specific style of bench pin.

To modify a working bench pin, start with a standard wedge-shaped bench pin, measuring 133 x 59 millimeters. These are available at most jewelry tool suppliers. With the angled side facing up, draw a 15-mm-long line, 13 mm in from the left edge. Make a mark 61 mm back from the front right edge and draw an angled line from that point to the end of the first line. The wood on the right side of the lines is cut away to leave the basic shape of the working bench pin. The 15 mm line is cut with a perpendicular cut. The angled line is cut at 45 degrees, tilting away from the front top, leaving a slanted surface. Holding items against that edge makes filing easier.

Whichever type of bench pin you use, the best place to start is with a piece of sandpaper. Simply smoothing the surface of the wood and gently rounding corners will make a difference you’ll feel immediately as your hands come in contact with the bench pin.

To help the bench pin hold a ring clamp securely, sand interlocking grooves with a 25 mm sanding band in the bench pin and the ring clamp. Sand the bench pin at the intersection of the first two cuts, leaving a semicircular arc with vertical sides. On the ring clamp, measure down 10 mm from each end and draw a line around the body. Sand a groove in the ring clamp following this line to create a lip at the end that will catch on the bench pin and hold it steady when in use. Sand the ring clamp groove until it mates nicely with the arc on the bench pin.

	A ring-cutting fixture at the end of the bench pin is invaluable and easy to make.
A ring-cutting fixture at the end of the bench pin is invaluable. To create one, file an 8-mm-wide groove in an arc around the squared end of the pin, 5 mm from the front edge. A ring shank will slip over this 5-mm-wide lip and be secured straight and square while you cut it for size. Next, use a No. 2 blade to cut a straight vertical slot into the end of the bench pin. Your saw will follow this slot when you cut ring shanks. You can also file a relief notch at the top center of the lip of the ring-cutting fixture with the narrow edge of a flat hand file centered on the saw cut. This will open up sight lines so the area you are cutting will not be obscured behind the lip of the fixture. This modification increases the accuracy of the cut and the efficiency of the operation while reducing the possibility of slipping, broken blades and injury.

	Holding a ring during the sawing operation with this modification makes it more secure.
	It also increases the accuracy of the cut and the efficiency of the operation, while reducing
	the possibility of slipping, breaking blades and suffering an injury.
You can also prevent rings from sliding on the bench pin while filing the insides of shanks by making a set of three grooves. Use a ball bur to cut the grooves—2 mm, 6 mm and 10 mm wide—in the top of the bench pin, just behind the angled diagonal cut. Each groove should be 12 mm long and aligned with the diagonal cut, side by side, parallel with the angled top edge. They should be 1-2 mm deep with at least 5 mm between them. This modification enables the jeweler to file flat inside ring contours.

A stone-holding tray can also be incorporated into the flat top of the bench pin. Mark a 12 x 22 mm rectangle and use a ball bur to carve out a shallow depression to hold the stones.

A similar feature can be added to the right side of the bench pin to hold cutting lubricant. Mark a 10 x 10 mm square and use a ball bur to carve a shallow depression, just like the one in the stone tray. Melt the cutting lubricant into the depression with a soft flame. Slightly overfill the cavity, and when it cools you can quickly wipe the cutting lubricant from your saw blades, burs and twist drills.

The more you specialize your tasks at the bench, the more specialized your modifications will become. Left-handed bench jewelers can simply mirror the locations and orientations of most of these modifications. As you continue to work, keep in mind that a few minutes with a file, bur and square- or straight-edge tool can make a significant difference in how well your bench pin works for you. Source: GIA @topic:7


Title: Bench Tip #12: How to Make Spiral-Cut Rubber Molds Abstract: Spiral-cut rubber molds

Master models used in mass jewelry manufacturing range from simple one-part pieces to intricate multiple-part forms. Rubber molds made from these master models are the key to reproducing consistent replicas of the original in wax form for casting. Cutting a rubber mold is a master craft in itself.

A rubber mold is heat-formed around the metal master. When it’s cured, the mold must be cut to remove the model and ensure two critical outcomes: the successful injection of molten wax to completely fill the mold cavity and the release of the resulting wax replica without distortion or breakage.  Cutting a rubber mold for a plain half-round band is a fairly simple task, but cutting one for a ring with a gallery or basket setting poses certain challenges.

In this installment we present a mold cutting technique called a spiral cut, which is designed to facilitate the successful release of a cage-like wax model from a mold.

After making initial cuts and creating your mold locks, cut along the sprue, the sides of the model, the finger hole and the gallery wires. Finally, cut across flat and parallel to the top plane of the setting to expose the top of the gallery wires. Release the master.

Draw a spiral with a ballpoint pen on the top flat section of the rubber, inside the gallery wires.

Push a scalpel blade straight down into the rubber. Carefully guide the blade along the spiral. Do not force it. The blade should remain perpendicular to the top surface while cutting, and the spiral cut should be the same depth all around.

	Push a scalpel blade straight down into the rubber. Carefully guide the blade along the spiral. While cutting, the blade should remain perpendicular to the top surface and the spiral cut should be the same depth all around.
Next, you will cut the base of the spiral at the depth of the cut. The objective is to release the outer spiral but leave the center core attached. Use caution as you guide the blade.

	Cut the base of the spiral at the depth of the cut. The objective is to release the outer spiral, but leave the center core attached.
The spiral cut allows the mass of rubber within the gallery cage to uncoil and release from the center outward. With the simultaneous stretching and thinning of the rubber as it’s being pulled, the mold is essentially “poured” out of the cavity through the small opening. The result is a wax model with no distortion or breakage and a rubber mold that becomes a most valuable asset in the production process.

	The spiral cut allows the mass of rubber within the gallery cage to uncoil and release from the center outward. Source: GIA @topic:7


Title: Bench Tip #11: Turn an Old Brush into a Whip Burnisher Abstract: Transform an old brush

A worn-out bristle brush can easily be recycled into a useful tool called a whip burnisher or rotary hammer to improve or even eliminate minor imperfections and surface porosity in castings and other metal surfaces.

You’ll need the following supplies, which are available at most jewelry shops, to make a whip burnisher:

		worn-out bristle brush wheel

		flex-shaft and handpiece

		bench grinder with a coarse grit wheel and a medium grit wheel (such as a cratex wheel)

		jeweler’s saw

		sanding sticks – 320, 400 and 600 grit

		polishing machine with tripoli and rouge buffing wheels

The first step is to use the jeweler’s saw to cut off the worn-out bristle brush. This will leave just the shaft of the former brush wheel -- a piece of mild “soft” steel about an inch and a half long. This type of steel works well because it’s not hardened or tempered. It’s strong, but you can still bend it easily without breaking it.

Use the coarse grinding wheel on the bench grinder to round the end steel piece. Remove coarse grinding marks with the medium wheel, then insert the steel into the flexshaft handpiece and spin it against 320, 400 and then 600 grit sandpaper sticks to make a smooth, rounded end. Finally, polish the rounded end with tripoli and rouge.

The last step is to make a slight bend about 6-7 mm from the end you have rounded and polished. The further you bend the stock, the more aggressive the burnisher will be when you use it. You can adjust the tool to suit your preferences.

To use the whip burnisher, insert it in the flexshaft handpiece and spin it at medium speed. Bring a metal surface against the spinning end, and it will hammer the surface and smooth out imperfections, such as porosity. A touch of burr lubricant will improve the performance of the whip burnisher.

Lightly sand the surface of your piece with 400 and 600 grit sandpaper after burnishing it, then polish as usual.

	This is what your final whip burnisher will look like. Source: GIA @topic:7


Title: Bench Tip #10: Use Vector Tightening to Overcome Metal Memory in Prongs Abstract: Vector tightening

Gemstones that become loose can cause damage to both the gem and the setting. A regular inspection of jewelry can catch this problem in its early stages, before too much damage is done. Vector tightening prong-set stones is a quick, safe, and effective way to secure gemstones.

We will use a four-prong head with a round brilliant-cut stone as an example. If you try to tighten the stone by simply pushing the prongs in toward the center of the stone -- seemingly the most direct way -- it probably won’t be secure. That’s because the “memory” of the metal in the prong will cause it to spring back to its original position, and the stone will still be loose. In vector tightening, you move the prongs in two different directions (vectors) to overcome the metal memory.  The prongs end up closer to the center of the stone, and are able to hold it tightly. You can use flat or chain-nose pliers to vector tighten, but parallel-jaw pliers work best.

Imagine the setting in a fixed position to help you better visualize the procedure; however, at the bench you would turn the setting around to get the best leverage. This way, the prongs being adjusted won’t get mixed up.

First, gently squeeze the two prongs on the right side (upper and lower right) toward each other. Next, do the same thing with the prongs on the left side. As you squeeze the prongs toward each other, they will “slide” around the contour of the stone. Don’t squeeze too hard -- just reduce the distance between the side prongs by roughly one-third.

At this point, the space between the top two prongs and the bottom two prongs should appear too large, and the space between the two prongs on the right and left sides should appear too small.

Next, squeeze the top two prongs (upper left and upper right) toward each other so they end up with what looks like the original spacing. Repeat with the bottom prongs. The gemstone is now tight, with the prongs evenly spaced around it.

The movement of the prongs in two directions, first toward the sides and then toward the top and bottom, provides tension in the prongs so they are somewhat spring-loaded and hold on to the gemstone securely. Source: GIA @topic:7


Title: Bench Tip #9: Use the Touchstone Method for Testing Purity in Karat Gold Abstract: Touchstone method

There are a few scientific methods for precisely determining karat gold purity, some destructive (fire assay) and others nondestructive (X-ray fluorescence). Both methods require costly equipment, special procedures and a well-lit and ventilated area. A simpler method for determining gold purity in jewelry is the “touchstone” testing process, an age-old technique that is relatively nondestructive to jewelry and offers quick results.

Use with care: Touchstone testing incorporates the use of acids, so pay close attention to safety.  Careful procedures are a must.

Touchstone testing is based on the fact that 24k gold resists all but the strongest acids. The purer the gold, the stronger the acid required to dissolve it. Measured strengths of nitric acid are used to test for 14k and lower. Aqua regia, a mixture of one part nitric acid and three parts hydrochloric acid, is used to test higher karat purity through the process of comparison and elimination.

To conduct touchstone testing, you’ll need an acid testing kit (available through jewelry tool suppliers), a well-ventilated area, two glass beakers, water, baking soda, protective gloves, 320-grit abrasive paper, safety goggles, and paper towels.

Your testing kit includes a set of testing needles. Each needle has a karat gold sample on its tip and the karat value stamped on the side. Use yellow gold needles for testing yellow gold, and white gold needles for testing white gold.

	Each known test sample is labeled on the needle. Rub the known samples onto the stone and label each on the testing stone.
Begin by checking the gold jewelry piece for other stampings (e.g., quality marks or manufacturer’s marks) and make note of characteristics such as heft, color and reflectivity. If you suspect the item may not be gold, use an engraving tool and make a small notch in an unobtrusive place on the jewelry to expose fresh metal. Next, put on protective gloves and place a drop of acid from the 18k gold testing bottle over the small notch. A highly effervescent green reaction indicates base metal, and no further testing is required.

If there is little or no reaction, the piece is likely karat gold, and the next test is for purity. Follow these steps:
• Rub the jewelry of unknown karat purity gently back and forth on the testing stone to leave a thin, but clearly visible, metal sample. Use care to take this sample from a place not clearly visible on the jewelry and away from solder joints.
• With a testing needle, draw a question mark on the touchstone that represents the unknown metal.
• Start with the 14k testing needle and rub a layer next to the unknown. Label it “14.”
• Repeat this process, making a layer and then labeling with the 18k, 22k, and 10k testing needles. Now choose the bottle labeled for testing 10k and lightly swipe the applicator across all the samples.
• After approximately 20 to 40 seconds, place the touchstone in a mixture of baking soda and water to neutralize the acid in one beaker, then rinse in water in the other beaker.
• Blot the touchstone with paper towels and observe. The 10k sample has dissolved, but the unknown metal is still visible. This confirms the unknown metal is finer than 10k.
• Next, choose the bottle labeled for testing 14k and swipe it across the samples just below the first test.
• Allow enough time for the acid to react and neutralize, then rinse and blot the touchstone and observe. The acid has dissolved both the 10k and 14k samples. The unknown metal is therefore 14-karat or slightly higher.

	Analyze the test results to determine the karatage.
Always prepare the touchstone for its next use by cleaning it thoroughly. Remove the metal from the stone’s surface by placing it facedown on a piece of 320-grit abrasive paper on a flat surface. Apply moderate pressure and sand it in a circular motion until sample layers are no longer visible. Neutralize, rinse and blot dry before replacing in the kit. Always follow the manufacturer’s directions for the proper care, storage and handling of acids Source: GIA @topic:7


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

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

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

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

Follow these important steps to prepare for successful soldering:

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

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

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

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

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

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

With practice, you can achieve strong and attractive solder joints on your precious metal jewelry. Source: GIA @topic:7


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

Try these steps for continual improvement:

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

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

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

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

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

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

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

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

If you can embrace the concept of continual improvement, you will see dramatic changes over time. At 250 work days a year, you could potentially come up with 2,500 improvements in the next 10 years! Source: GIA @topic:9


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

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

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

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

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

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


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

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

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

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

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

View Gallery

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

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

View Gallery

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

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

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

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

	Summary
As consumers become more aware of chrome diopside, the gem is gradually making its way into the mainstream jewelry market in China. In addition to its attractive color and comparatively affordable price, the stories of exotic sourcing and the gem’s untreated nature are both great diopside selling points. Modern Chinese consumers are more accepting of new stones than ever before. Chrome diopside already has great potential, and it is highly possible that its niche in the rapidly developing Chinese market will grow. Source: GIA @topic:1


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Title: Incredible Insects Abstract: View Gallery

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

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

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

	Photo courtesy Mona Nesseth and Michelle Laurenti

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

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

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

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

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

	Photo courtesy Wallace Goldsmithing

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

	Gift of Robert F. Officer Source: GIA @topic:10


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

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

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

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

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

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

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


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

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

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

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

To view the full section, download the PDF above. Source: GIA @topic:7


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

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

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

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

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

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

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

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

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

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

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

	Buckle courtesy of Ginger Moro.

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

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

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

Tips for designing and selling Art Deco jewelry

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

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

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


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

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

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

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

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


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

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

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

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


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

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

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

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

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

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


Title: The Hidden Beauty of Gemstones Abstract: View Gallery

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

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

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

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

			Nathan Renfro, lead analytical specialist, Laboratory Identification Services, GIA Source: GIA @topic:1


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

                      Where do jewelry designers find inspiration?

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

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

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

Follow the Cobblestone Road

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

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

Bridging Styles

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

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

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

Antique Twins

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

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

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

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

	Brooch courtesy of Mary Mathews.
Reinventing Canyons

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

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

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

	Gift of Richard H. Kimball.
A Blossoming Personality

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

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

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

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


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

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

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

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

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

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

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

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

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

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


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

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

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

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

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


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

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

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

Take advantage of GIA resources while you are a student.

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

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

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

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

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

Trust yourself and act with confidence.

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

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

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

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

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

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

Learn to court people who can help you.

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

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

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

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

		Kovacevich stressed the importance of humility.

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

Network. Network. Network.

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

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

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

Be the best you.

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

		 “If you’re worried about what your next step is, just put your head down, get into your work and stay focused until you can be the best you are,” Dunn said. “When the time comes, recognition will happen.” Source: GIA @topic:9


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


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

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

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

	Terry Coldham displaying Balinese opal carvings

	Balinese carvings by Susan Tereba Source: GIA @topic:10


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

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

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

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

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