Title: Book Review: If These Jewels Could Talk: The Legends Behind Celebrity Gems Abstract: By Beth Bernstein, 254 pp., hardcover, illus., publ. by Antique Collectors Club, Woodbridge, Suffolk, UK, 2015, US$95.00.

	Beth Bernstein’s If These Jewels Could Talk is a lush visual treat for anyone interested in the history of cinema, important jewelry and gemstones, and the place of powerful women in Western culture. The timeless jewelry pieces, by some of the biggest names in the jewelry industry, almost outshine the celebrities who owned and wore them.

	While the book showcases some spectacular jewelry owned by wealthy socialites (Barbara Hutton), women close to royalty (Wallis Simpson), and actual royalty (England’s Queen Elizabeth and Princess Diana), the primary focus is on pieces worn and treasured by Hollywood’s leading ladies. Although Bernstein touches on the actresses of today, they are overwhelmed by the tribute she pays to the iconic films of the 1930s, ’40s, and ’50s that starred women who are still synonymous with glamour: Mae West, Carole Lombard, Merle Oberon, Grace Kelly, Elizabeth Taylor, and Audrey Hepburn. This book belongs to them.

	With such an eclectic mix of jewelry and stars, organization might present a challenge, but Bernstein has logically divided the book into 14 chapters. The first five are organized by gemstone: Sapphire Sirens, Emerald Enchantresses, Ruby Romantics, Diamond Divas (with a subheading “Diamonds Are Forever,” featuring engagement diamonds), and Pearl Girls. A surprise from the sapphire chapter was the popularity of enormous star sapphires in the 1930s and ’40s).

		Sentimental Journeys (jewelry given as wedding or love gifts, and charm bracelets)

		Real to Reel (jewelry used in films and created for films)

		Screen to Street (pieces featured in films that created a demand in the market place)

		Owning It (jewelry owned by actresses and worn by them in numerous films)

		Building Character (jewelry that played a significant part in films, such as the ruby and diamond necklace worn by Julia Roberts in Pretty Woman, or Audrey Hepburn’s diamonds in Roman Holiday)

		Time Keepers (wrist watches in film)

		Credits Roll (the role jewelry houses played in supplying pieces for film and the reciprocal impact of those pieces on the houses’ reputations)

		Powerful Passionates (pieces purchased and commissioned by the women themselves)

		Bring On the Brands (capsule histories of some of the biggest jewelry houses in the world)

	The stories are delightful, romantic, and occasionally sad: Mike Todd’s surprise recreation, in diamonds, of Taylor’s paste earrings; Mae West’s husband’s refusal to sell her jewelry after her death, despite his own financial need; Edward VII’s presentation to Wallis Simpson of cross charms marking significant points in their courtship.

If These Jewels Could Talk is somewhat marred by poor sentence construction and muddy wording that confuses and distracts the reader. (Referring to the Duchess of Windsor’s panther clip brooch, for example: “This classic Cartier sapphire is set in white gold and platinum with single-cut white diamonds. It has yellow pear-shaped diamond eyes with smaller sapphire cabochons for the feline’s spots.”) Such flaws could have been eliminated by a careful final edit.

	In reality, the text is secondary to the photos of brilliantly designed jewelry, such as Merle Oberon’s breathtaking emerald and diamond necklace, the hand jewelry designed for the 2013 big-screen version of The Great Gatsby, and just about anything that belonged to Elizabeth Taylor. The glamour shots of actresses wearing their pieces are captivating. (A personal favorite is the image of Carole Lombard with a magnificent star sapphire clipped to a hat. The star is sharply lit and brilliant—even in black and white.) Also contributing to the visual feast are the drawings produced by the jewelry houses of jewels such as the neckpiece that would eventually showcase Taylor’s La Peregrina pearl.

	More than anything, this book is a reminder that jewelry bespeaks power and always has. And these women had real power: sexual power to inveigle men to buy important jewelry for them, power to influence market demand and fashion trends, financial power to purchase their own jewelry, and (in the case of Wallis Simpson) political power.

	For this alone, this unforgettable image of women of power, this large-format, high-quality coffee-table book is highly recommended. Source: GIA @topic:6


Title: Book Review: The Eduard Josef Gübelin Story: The Art and Science of Gems Abstract: By The Gübelin Group, 233 pp., hardcover, illus., 2014, Unicorn Press, London, $US60.00.

	The Swiss gemologist Dr. Edward J. Gübelin (1913–2005) will be forever linked to the study of inclusions in gems. His work revolutionized gemology: As a result of his groundbreaking research and photomicrography, these internal features are now recognized for their diagnostic value, as indicators of a gem’s identity, geographic source, treated or untreated condition, and natural or synthetic origin.

	This book, written by several family members, chronicles Edward Gübelin’s 65 years of pioneering research but also provides insight into his profound humanity. Even though the work of a research gemologist is often solitary, Dr. Gübelin touched thousands of lives through his prolific writings and photomicrographs, his extensive travels, the work of his laboratory, the educational organizations he helped establish, and the important gem collection he assembled.

	Dr. Gübelin’s impact on my own career began in 1979. I was 22 years old and thrilled to receive a long letter from him complimenting me on my first published article in Gems & Gemology. He encouraged me to continue writing and taking photomicrographs. His letter was articulate and gracious. Indeed, Dr. Gübelin elevated the art of letter writing to a new level of intelligence and eloquence. This letter started a 25-year correspondence and an enduring friendship that extended beyond gemology. He offered kindness, companionship, and advice on many topics. During my travels for GIA, Lucerne always seemed to be on the way to or on the way home from almost any destination. Even my vacations seemed to find me visiting Dr. and Mrs. Gübelin for a few days at their beautiful house on the shores of Lake Lucerne. It was an extraordinary privilege for me, and Dr. Gübelin also inspired and mentored countless other gemologists around the world.

	This richly illustrated volume is much more than an in-depth biography of one of gemology’s most important forefathers. It also provides a glimpse into the development of gemology from its infancy through the end of the 20th century and into the 21st.

	The chapters “Origins, Provenance,” and “Lucerne, Roots” trace the history of the company and family. The second chapter begins, “Eduard Joseph’s private life was all ebb and flow, a continual back and forth to life’s steady rhythms. For him, reconciling his responsibilities as son and heir to the established firm of Gübelin with his passion for science and his duties as a family man was no simple task.” As evidenced by the volume of published work after his retirement from the firm in 1977 until his passing on March 25, 2005, his was truly a life dedicated to gemology. “In fact,” the book notes, “only a few days before he died, he was still studying gemmological problems and exchanging views with his colleagues.”

	Subsequent chapters take the reader along on Dr. Gübelin’s journey from student of mineralogy and gemology in the 1930s to leading expert, and ultimately to the 21st century development of the one of the world’s leading gem laboratories, specializing in geographic origin determination. Dr. Gübelin was a world-class collector of gemstones, an intrepid traveler, teacher, and writer.

	The chapter on his literary contributions begins, “Eduard Joseph recorded his knowledge and experiences in numerous articles, books and contributions. What made them so special is that his vivid and descriptive language was unusual for scientific publications, and yet it made the contents all the more accessible—not just for the expert, but for the lay person too.”

	The book concludes with a synopsis of Dr. Gübelin’s enormous contributions to the gemological and scientific literature, a detailed timeline of milestones, recognitions and awards, and a bibliography of published books and articles.

	This book was preceded by a special limited edition—published in 2013, to commemorate his 100th birthday anniversary—titled Enduring Values: In Celebration of Eduard Josef Gübelin. Few copies of the 2013 special edition were printed; they were distributed as gifts to the clients of the Gübelin Gem Lab and the Gübelin Group. The main difference between the two is that the 2013 edition contained more than 18 personal tributes to Dr. Gübelin from colleagues and family, while the 2014 book contains only three. The remainder of the 2014 book is largely the same, with some differences in graphic layout, paper type, photographs, and text editing.

	This book is a must for any gemologist who is keenly interested in gemstone inclusions. It is especially geared to those seeking to understand the historical origins of gemology, as well as the life and innumerable contributions of one of gemology’s greatest pioneers. Source: GIA @topic:7


Title: Photoluminescence Review and Gem Material from Unusual Locales in the Spring 2016 G&G Abstract: This issue features G&G’s coverage of the 2016 Tucson gem and mineral shows. The cover photo shows Brian Cook’s Wheel of Light numinous pendant, which received first place in the AGTA Spectrum Awards’ Fashion Forward category. To create the pendant, Mr. Cook drilled a channel into the apex of an 825 ct quartz disk and inserted rough crystals of Paraíba tourmaline, haüyne, ruby, and spessartine garnet. The colors of these crystals are seen as concentric rings. A 24K gold setting, braided leather straps, a rutilated quartz length adjuster, and fire agate beads complete the piece. Photo by Robert Weldon/GIA, courtesy of Brian Cook (Nature’s Geometry).

	The Spring 2016 issue of Gems & Gemology explains the relevance of photoluminescence to the diamond trade and reports on Australian chrysoberyl, emerging production of Italian serpentine and Tajik variscite, the treatment processes used to create “pistachio” cultured pearls, and the recent Tucson gem shows.

	An Introduction to Photoluminescence Spectroscopy for Diamond and Its Applications in Gemology

	The lead article in this issue, by GIA’s Christopher M. Breeding and Sally Eaton-Magaña, reviews the physics and methodology of photoluminescence. This analytical technique is increasingly important in the separation of treated and synthetic diamonds from natural material, and the authors explain how it helps ensure proper disclosure of growth processes and treatments within the trade.

Diamonds can show a wide range of hues and fluorescence colors. GIA regularly uses photoluminescence spectroscopy to confirm the natural origin of such diamonds. Photoluminescence is a sensitive technique that allows one to characterize the atomic-level lattice defects that act as a fingerprint of the growth and possible treatment history of diamonds; this method is based on similar principles as the observed fluorescence. Photos of a portion of the Aurora Butterfly of Peace by Robert Weldon.

	Chrysoberyl Recovered with Sapphires Related to Tertiary Volcanics in the New England Placer Deposits, New South Wales, Australia

	German researcher Karl Schmetzer and his coauthors investigate chrysoberyl crystals from the sapphire placer deposits of Australia’s New England gem fields. Using various chemical and mineralogical properties to divide the materials into four specific subgroups, the authors explore various aspects of the material, including its unique sectorial color zoning, pleochroism, and chatoyancy.

	While some of the chrysoberyl research samples from the sapphire placer deposits in the New England area were faceted, others were cut as cabochons, showing chatoyancy. The cat’s-eye cabochons range from 1.34 ct (6.5 × 5.9 mm) to 0.64 ct (5.1 × 4.7 mm). Photo by K. Schmetzer.

	Gem-Quality Serpentine from Val Malenco, Central Alps, Italy

	A team of researchers, led by Ilaria Adamo of the Italian Gemological Institute in Milan, examines serpentine obtained from Pizzo Tremogge  a source located in the Central Alps of Italy. Spectroscopy and chemical analysis confirm the main phases of the serpentine group. In particular, the presence of antigorite indicates metamorphism at high temperatures, providing insight into the geological and petrological history of the Val Malenco region.

	Identification of “Pistachio” Colored Pearls Treated by Ballerina Pearl Co

	Chunhui Zhou and his GIA colleagues perform a number of experiments on cultured pearls from P. margaritifera treated by Ballerina Pearl Co. to mimic the pistachio hue that naturally occurs in some specimens. The authors look for indicators to separate naturally colored from treated material and eliminate bleaching as a possible treatment process.

Eight natural-color pistachio pearls ranging from 9.70 × 9.40 mm to 15.00 × 12.30 mm, produced by black-lipped pearl oysters, were examined in this study. Photo by Sood Oil (Judy) Chia.

	Variscite from Central Tajikistan: Preliminary Results

	Researchers led by Andrey Litvinenko (Russian State Geological Prospecting University, Moscow) investigate the production of cabochon-grade variscite from a relatively unknown deposit in Tajikistan. While further study is required, initial results reveal the presence of relatively high levels of arsenic and sulfur that may link this source to an inactive antimony deposit located nearby.

	Lab Notes

Lab Notes in the Spring issue include a report on the largest blue HPHT synthetic diamond examined at a GIA lab, an unusual emerald/emerald doublet submitted to the Tokyo lab, and the first mounted CVD synthetic melee diamond identified by GIA.

	Micro-World

Micro-World continues to reveal the inner mysteries of gemstones through photomicrography. The section features pieces on svanbergite inclusions in dolomite from British Columbia, orange platelets creating iridescence in scapolite, and visible phase changes in a Sri Lankan sapphire.

	Gem News International

G&G’s annual coverage of the Tucson gem shows, featuring fine colored stones from around the world, kicks off this issue’s Gem News International section. Other entries cover colorless HPHT synthetic diamonds weighing to up 3.5 ct from China, polymer-treated hessonite, and a new sapphire rush near Vohitany, Madagascar.

	This 31.34 ct bicolor tourmalines pin, which contains gemstones exclusively from the Stewart Lithia mine in San Diego County, has an emotional connotation for the artist. Photo by Robert Weldon/GIA; courtesy of Paula Crevoshay.

	Also in this issue are the winners of the Dr. Edward J. Gübelin Most Valuable Article Award, along with the 2016 Gems & Gemology Challenge quiz. Response cards and online entries for the Challenge must be submitted by Friday, August 5, 2016. Source: GIA @topic:1


Title: De Beers Optimistic for Holidays; Colored Gems Set Auction Records Abstract: Laurence Graff paid $15.8 million for this pair of Bulgari earrings that feature a 6.95 ct Fancy Vivid blue pear-shape diamond and a 6.79 ct Fancy Vivid pink pear-shape diamond. They are set with 19.8 cts of colorless diamonds graded by GIA. All photos courtesy Christie’s

                      De Beers remains positive that seasonal demand in the U.S. and China will provide the pull-through that will make it necessary for jewelers in these markets to restock early. In anticipation, the Nov. 3-7 sight was reportedly $560 million – much larger than expected – with prices remaining stable despite the softening rough market.

U.S. jewelry manufacturers and retailers remain cautious and are opting for lower quality diamonds, so De Beers did concede some small discounts on higher color goods – but not for the type that have been popular this year.

Diamond manufacturers, however, are grappling with major challenges that show no signs of easing: diminishing availability of credit; softening polished prices that make De Beers sight purchases a break-even venture at best; and inventories that have been building over the past several years because of production exceeding sales.

The Dec. 8-12 sight is traditionally quite small, but may swell because of clients’ obligation to take sight goods they had refused earlier in the year – about $50 million by some estimates.

De Beers has reportedly committed $100 million to advertise its diamond jewelry brand Forevermark in the U.S. this fall to help spur holiday sales.

AUCTIONS: The one part of the gem market that continues to thrive is the extreme top end of auctions. Both Christie’s and Sotheby’s again turned in record sales – and this season, colored stones garnered most of the buyer action.

Christie’s Nov. 11 Geneva auction set a record for the highest total ever achieved at a single sale ‒ $150 million ‒ and included 10 lots selling for more than $3.5 million each. In addition, more than half the lots exceeded their pre-sale estimates.

One private buyer paid the highest price ever recorded at auction for a sapphire: $17.3 million for the 392.52 carat (ct) Belle of Asia, more than twice its original estimate. The cushion-shaped gem was discovered in Ceylon (now Sri Lanka) in 1926 and is set in a diamond necklace.

	The Blue Belle of Asia, a 392.52 ct Ceylon sapphire, established a new world auction
	record for any sapphire: $17.3 million, more than twice its original estimate.
London jeweler Laurence Graff paid $15.8 million for a pair of Bulgari earrings featuring a 6.95 ct Fancy Vivid blue pear-shape diamond and a 6.79 ct Fancy Vivid pink pear-shape diamond set with 19.8 cts of colorless diamonds. The diamonds were graded by GIA.

An anonymous buyer paid nearly $6 million for an oval-shaped 23.66 ct Burmese ruby ring mounted by Cartier ‒ $254,000 per carat ‒ while a Middle Eastern dealer acquired a natural pearl and diamond necklace, originally owned by Baroness Edouard de Rothschild, for $5.1 million. Another dealer bought a GIA-graded pear-shape D flawless 20.2 ct diamond set in a diamond necklace for $5.65 million.

A diamond brooch, once the property of Empress Eugenie of France, also sold to an anonymous buyer for $2.3 million. The brooch was fashioned in 1855 by Bapst Jewellers and had been the property of the Metropolitan Opera of New York.

Sotheby’s sale two days later brought in $95.3 million, the top lot being an 8.62 ct cushion cut Burmese ruby that just missed being the first colored gemstone to break the $1 million per carat mark. The ruby sold to Graff for $8.62 million, or $997.727 per carat; both the highest total and per-carat price ever paid for a ruby. Graff had owned the stone before, buying it at auction in 2005.

Just before the ruby went under the auction hammer, anonymous buyers paid $5.98 million for a step-cut 27.54 ct Kashmir sapphire and $7.14 million for a pair of GIA-graded Type IIa D flawless diamonds, weighing 20.05 cts and 20.06 cts respectively. Graff also bought a 3.16 Fancy Intense blue diamond for $3.2 million, or just over $1 million per carat.

	Rahul Kadakia, GIA GG, the International Head of Christie’s Jewellery Department, led the Nov. 11 Geneva auction that set a record for the highest total ever achieved at a single sale ‒ $150 million. Source: GIA @topic:8


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

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

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

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

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

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

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

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

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

		Nancy Hornback

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

	This GIA Field Expedition (FE54) took place in June 2014. Besides Pardieu, the participants were cameramen Didier Gruel and Philippe Brunot and expedition members Victoria Raynaud, Stanislas Detroyat, and Marie Daufresne. Source: GIA @topic:7


Title: Inclusions in Transparent Gem Rhodonite from Broken Hill, New South Wales, Australia Abstract: Solid, vapor, and fluid inclusions in transparent gem rhodonite crystals from Broken Hill, New South Wales, Australia, have been identified for the first time using Raman spectroscopy and gemological/petrographic techniques. Among the solid inclusions are sphalerite, galena, quartz, and fluorite. The rhodonite also contained hollow needle-like tubes and negative rhodonite crystals. Three-phase inclusions were found to contain a saline liquid, a gaseous mixture of nitrogen (N2) and methane (CH4), and ilmenite crystals. Source: GIA @topic:2


Title: Gem-Quality Yellow-Green Haüyne from Oldoinyo Lengai Volcano, Northern Tanzania Abstract: Yellow-green to green-yellow gem-quality haüyne was found for the first time in an alkaline plutonic rock from the active Oldoinyo Lengai volcano in northern Tanzania. The mineral has optical and physical properties that are typical for sodalite-group minerals. Infrared and Raman spectroscopy showed that in addition to the (SO4)2- group, the haüyne also contains (NO3)-, (CO3)2-, and water in its structure. SEM-EDS and EDXRF analyses confirmed the presence of Na, Ca, Al, and Si as major cations, with minor amounts of K. Source: GIA @topic:12


Title: Mildly Radioactive Rhinestones and Synthetic Spinel-And-Glass Triplets Abstract: Low levels of radioactivity were found in some greenish yellow to yellow-green (peridot-like) synthetic spinel-and-glass triplets, mirror-backed glass rhinestone chatons, and fully fashioned glass rhinestones. Uranium was detected in the radioactive stones. Although individual stones in jewelry carry virtually no risk, it is recommended that parcels of such stones not be carried on one's person for prolonged periods. Source: GIA @topic:1


Title: Beryl Gem Nodules from the Bananal Mine, Minas Gerais, Brazil Abstract: Bicolored (aquamarine-morganite) beryl from a 1986 discovery at the Bananal mine is described. Most of the cutting material was of carving grade, but a small percentage of the crystals contained faceting-quality morganite gem nodules. This is the first published report of gem nodules of a species outside the tourmaline group. Much of the Bananal morganite is of a pleasing orange to pink-orange color that changes to pink on extended exposure to heat or sunlight. The inclusions in the nodules appear to be limited to muscovite crystals, while the rest of the material (both aquamarine and morganite) contains two- and three-phase inclusions, but little or no muscovite. The cause of the gem nodules is not established, but it may relate to the presence of the same type of variation in mosaic texture observed in some color-zoned tourmaline crystals. Source: GIA @topic:2


Title: Gem Pegmatites of Minas Gerais, Brazil: The Tourmalines of the Governador Valadares District Abstract: The previous article in this series focused on tourmaline production around the city of Araçuaí, in northeastern Minas Gerais, and discussed 20 important mines in that area. The present article turns to the major tourmaline mines in southeast Minas Gerais, in the broad area surrounding the gemstone capital, Governador Valadares. Specifically, the Cruzeiro, Golconda, Santa Rosa, and Jonas mines — all of which count among the most famous tourmaline mines in the world — are described. Source: GIA @topic:1


Title: Gem Pegmatites of Minas Gerais, Brazil: The Tourmalines of the Araçuaí Districts Abstract: The first article in this series discussed the history of gem mining in Minas Gerais from the colonial period to the present, the nature of granitic pegmatites and derived deposits yielding gemstones, and the important deposits of aquamarine and other gem beryls. The present article describes the major tourmaline deposits in the Araçuaí-Itinga and Araçuaí-Salinas districts of Minas Gerais, focusing on the Virgem da Lapa mines, the Salinas mine, and the Ouro Fino mine. Some of the finest green, blue, red and multicolored tourmalines ever produced originated from these mines. Source: GIA @topic:1


Title: Precision Measurement of Inter-Facet Angles on Faceted Gems Using a Goniometer Abstract: A classic two-circle reflecting goniometer was used to measure inter-facet angles on five faceted diamonds that included round brilliants and fancy shapes. The instrument provided significantly better precision (to within 2 minutes, or 0.034°) than the non-contact optical scanner that is customarily used at GIA for this purpose. With some procedural modifications, the goniometer could make measurements of all inter-facet angles, including the pavilion facets. The technique is potentially valuable for producing a well characterized set of reference stones for calibrating non-contact optical scanners. Source: GIA @topic:7


Title: Gem-Quality Red Beryl from the Wah Wah Mountains, Utah Abstract: A detailed investigation of the gem-quality red beryl from the southern Wah Wah Mountains, Utah, has confirmed the unique mineralogical and gemological character of this material. At the Violet Claims, red beryl is found associated with minor bixbyite in a volcanic rhyolite host rock. Analytical data gathered on the red beryl indicate relatively high contents of the minor or trace elements Mn, Ti, Zn, Sn, Li, Nb, Sc, Zr, Ga, Cs, Rb, B, and Pb, which are generally low or absent in other gem beryls. Measured refractive indices (1.564-1.574), specific gravity (2.66 -2.70), and unit-cell parameters (a= 9.222 Aº, c= 9.186 Aº) of the red beryl are distinct from most other beryls. The red beryl is thought to have crystallized along fractures, in cavities, or within the host rhyolite from a high-temperature gas or vapor phase released during the latter stages of cooling and crystallization of the rhyolite magma. Source: GIA @topic:2


Title: Gem Pegmatites of Minas Gerais, Brazil: Exploration, Occurrence, and Aquamarine Deposits Abstract: The northeastern portion of the state of Minas Gerais, Brazil, contains the world's greatest concentration of complex granitic pegmatites, which are especially noted for the production of gem beryl, chrysoberyl, topaz, tourmaline, and kunzite. Pegmatite gemstones were first found in this region over 400 years ago; in the last 100 years, Brazil has supplied most of the world market for these five gemstones. As the first of a series of articles on this region and these gem materials, this article reviews the early exploration for gemstones, their occurrence, and the mining methods and miners responsible for the development of the deposits. Focus is then given to some of the major deposits of aquamarine and other beryls, especially in the Teofilo Otoni-Marambaia and Jequitinhonha River valley districts. Source: GIA @topic:1


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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

Encouraged by the success of this inaugural show, the Hunan government plans to hold the second CMGS May 15–19, 2014. Source: GIA @topic:1


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

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

The Gianmaria Buccellati Foundation sponsored the award as a way to inspire beginning jewelry designers and honor the work of the renowned jewelry design house’s founder, Gianmaria Buccellati. The 2018 competition is under way and open to students in GIA’s Jewelry Design course who meet the eligibility requirements. Source: GIA @topic:11


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

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

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

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

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


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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

Public awareness of gemstones such as sphene and sphalerite has been growing thanks to high-end designers such as Paula Crevoshay and through mass marketing of commercial jewelry on television. Ms. Crevoshay told us she often piques customers’ interest by informing them about some of these lesser-known gem materials and how light interacts with them. The authors found this to be a fascinating look at how stones that were once a gemological novelty are becoming more widely known. Source: GIA @topic:9


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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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


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

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

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

She pointed out that “95% of luxury products come from nature, so we must take care of our environment.” She also said that in a company survey done for its fashion brands, “75% of people care where their products come from – they are more informed than ever.”
Lisa Bridge told the audience that “sustainability begins at home” and noted that the company supports community organizations in each town where it has stores.
“We encourage our employees to give back to their communities as well,” she said.
Further afield, Bridge staff personally visit each of its vendors so it can stand by its products “and we can be certain our jewelry is what we say it is.” Source: GIA @topic:10