Title: Exhibition Review: Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection Abstract: Figure 1. Amulet case (gau) with Face of Glory (Kīrtimukha), mid-20th century. Kathmandu Valley, Nepal. Promised gift of Barbara and David Kipper.

	Sweepingly Pan-Asian, Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection is currently on exhibit at the Chicago Art Institute. Consisting of more than three hundred objects, the exhibition is part of a promised gift to the museum and focuses largely on marginalized outlying Asian cultures. Encompassing many religions and cultures, artifacts ranging from textiles to elaborate jewels that belonged to monks, officials, and laypeople of all social statuses, it is a dazzling collection of gem-set items.

	The entire Kippers collection is comprised of more than 1300 items, most of it displayed in their Chicago home. “I turned down double the number of items I collected over the years,” said Mrs. Kipper, who is a professional photographer. From the start, her collection was based “on whether something spoke to me in a visceral and visual way, as opposed to any intellectual approach.” As she and her husband David traveled the world, they saw the cultures she had experienced on her first Asian trip in the 1960s giving way to modernity and geopolitical changes. At that point she took on a greater mission: to preserve the artifacts for posterity.

	The Silk Road, the ancient trade route leading from the Mediterranean Sea to China and India, brought gems, pearls, and glass to Asia, where these prized foreign commodities were combined with local material in spiritual and personal objects (figure 1).

	Throughout Asia, turquoise is commonly used in jewelry and ritual objects. About 70% of the gems used in Tibetan jewelry are turquoise, as the material has great spiritual meaning. Tibetan medicine ascribed a range of healing properties to turquoise as well, ranging from an antidote for poisoning to curing liver ailments. In Central Asia, turquoise was a symbol of chastity and purity, and was associated with prosperity, piety, and courage. The turquoise mined in Tibet and China was mostly in shades of green, and was used in jewelry and ritual objects for average folk. The vivid blue variety from Iran was more desirable, and the Persian material takes center stage in many of the more elaborate items for the highborn and powerful. The jantar in figure 2 is one example.

	While most of the items on display combine turquoise with emeralds, sapphires, rubies, amber, coral, carnelian, and pearls, colored glass and plastic beads are featured as well. As rare commodities from the west, their vibrancy and reflective qualities were important to these pieces both for their value and their spiritual potency. Healing, luck, and other protective qualities were ascribed to the various stones. To the Tajik and Uzbek people, coral was was believed to strengthen the eyes and heart and protect against forgetfulness and stomach ailments. And the Prophet Mohammad mentioned that carnelian (also called sard) protects against poverty and insures happiness.

	The metals in which the gems were set were as wide ranging as the cultures; in fact, certain metals were specified in religious texts and traditions. Depending on the use, and the status of the person using it, the metal could be silver, gilt copper, gilt iron, or gold. Whether the metal was cast or chased, granulated or worked in repousse, the craftsmen who created the items were engaged in a holy endeavor, and the most talented gold and silversmiths were highly revered and sought-after.

	A particularly strong assemblage within the collection are the amulet boxes, or gaus, which range from small, simple designs to large and opulent pieces; an example is seen in figure 1. These amulet boxes are common to many, if not most, Asian cultures. The gau is worn around the neck, or sewn or attached to clothing or headwear as a portable shrine, to ward off evil spirits. They may also be used to invoke auspicious spirits, to honor teachers or deities, or to carry religious relics. The Kipper collection is particularly rich in Himalayan gaus, created in gold, silver, iron, and copper, and frequently set with gems.  One gau (again, see figure 1), crafted from filigreed gilt silver, is set with pearls, coral, lapis lazuli, and rubies, and features the auspicious guardian monster Kīrtimukha  (also known as Face of Glory), whose claws delicately hold the natural pearls.

	Another sort of amulet case is the jantar, which is similar to a gau, but without a hollow place for an amulet. The jantar in figure 2, showing a Buddhist goddess, is designed as a necklace for a Nepalese woman who revered this goddess. Carved turquoise is inlaid, alongside bezel-set rubies, corals, pearls, emeralds, and sapphires, with granulation and rope edge details.

Figure 2. Woman's amulet case (jantar) depicting a Buddhist deity, early 19th century. Kathmandu Valley, Nepal. Promised gift of Barbara and David Kipper.

	The Kippers were avid collectors of headdresses from all over Asia; these pieces were executed in a wide variety of materials and diverse imagery. A particularly interesting comparison is made between a grouping of refined Chinese Imperial headwear fashioned in kingfisher feathers, the vibrantly turquoise and indigo creations, and the wildly gaudy silver headdresses of the southwestern Chinese minorities. Both share imagery of flora and fauna, but the rarity of materials used and ultimate expression, as well as their stations in life are quite different.

	There are crowns for Tibetan oracles and priests, as well as ornate crowns for statues, all crafted in gilt copper with elaborate chasing and engraving. A Tantric priest’s crown has pigmented decoration above the abstracted riot of skulls (figure 3). The crown also features skulls, more fearsome with large red glass set into their eyes, offset by decorative placement of flat turquoise ovals. The Repousse gilt copper diadem incorporates floral elements of cabochon ruby centers surrounded by turquoise petals.

Figure 3. Oracle diadem, 19th century, Tibet. Promised gift of Barbara and David Kipper.

	A wide variety of earrings are in the collection, including a pair of Indonesian togé (figure 4). These earrings are made from finely granulated gold to simulate the snakeskin texture of a Naga, the mythological snake deity of rain and fertility. Earrings such as these would be worn by young women of marriageable age

Figure 4. Pair of women's ear studs (togé), early 20th century. Southern Sulawesi or Coastal Borneo, Bugis, Indonesia. Promised gift of Barbara and David Kipper.

	The show is dazzling and informative. The museum’s effort to mount this exhibit took more than a year, involving the services of a gemologist to confirm gem identities, extensive conservation efforts, and photography. The exhibition creates context with film, soundscapes, and vintage photographs to enhance the visitor’s experience. Mrs. Kipper’s own photographs, which show how the items were worn within each culture, are also provided. The curatorial groupings allow wonderful comparisons for this jeweled ethnographic travelogue. Vanishing Beauty is sure to please any visitor, but is especially wonderful for gem lovers.

	After the exhibition ends in August 2016, fifty to sixty items from the Barbara and David Kipper Collection will be on rotating display for the next ten to fifteen years. The Himalayan material will be the first group to be displayed.

Vanishing Beauty: Asian Jewelry and Ritual Objects from the Barbara and David Kipper Collection is on view through Sunday, August 21, 2016. The Art Institute of Chicago, at 111 Michigan Avenue in downtown Chicago, is open daily 10:30–5:00, Thursday until 8:00 p.m. General admission is $25 for adults; admission for seniors, students, and teenagers from 14–17 is $19. Children under 14 are free. Source: GIA @topic:6


Title: Exhibition Review: Bent, Cast & Forged: The Jewelry of Harry Bertoia Abstract: Figure 1. Bertoia created this articulated brass necklace with forged elements and rivets circa 1942-1943. From the collection of Cranbrook Art Museum, gift of Dorothy Dunitz in memory of Saul Dunitz. Photo by R. H. Hensleigh.

	Harry Bertoia (1915–1978) was not like most jewelry designers. He did not find inspiration through cherished memories of a mother’s or grandmother’s jewelry. He credited his passion for metalwork to gypsies who came to his hometown of San Lorenzo, Italy to repair and fabricate kitchen equipment. The shining metal and pounding left a “deep and delightful” impression that influenced his work, some of which is currently on display at New York City’s Museum of Arts and Design in Bent, Cast & Forged: The Jewelry of Harry Bertoia (figure 1).

	Bertoia’s jewelry is only a small representation of his work. He immigrated to Detroit from Italy in 1930 and attended the Cass Technical School, where he studied art and design and learned how to make jewelry. In 1936 he began his studies at the Art School of the Detroit Society of Arts and Crafts, entering the Cranbrook Academy of Art the following year on a teaching scholarship to study painting and drawing. At the time, the relatively young academy was a melting pot of creativity, attracting many famous artists, designers, and architects such as Walter Gropius, Ray and Charles Eames, and Florence Knoll. After finishing his program, Bertoia was asked to stay on in 1939 to re-open Cranbrook’s metalworking shop. Beginning in 1941, metals were being funneled into manufacturing for WWII, and Bertoia’s work was confined to small ornaments and jewelry. He scavenged scraps from metal shops and scoured flea markets for tableware to find brass and silver. When even these sources became scarce, he taught graphic design. The exhibition includes jewelry pieces from Cranbrook, from both his student days and from his most prolific period in the 1940s.

	Starting at Cranbrook, Bertoia also created drawings and monotypes as a way to harness his creative visions, allowing him to investigate structure and line with freedom and spontaneity. Bertoia produced more than 4000 monotypes throughout his career. The media served as a launching point for his exploration into the abstract, helping him to develop relationships between shapes and lines with organic volumetric forms that resulted in expressions of kinetics and latent vitality. Most of the monotypes in the exhibit were created in the same time period as the jewelry.

	Bertoia moved to California in 1943 to work for designers (and former classmates) Charles and Ray Eames. Throughout the 1940s, Bertoia continued to make and sell jewelry and monotypes, his style becoming more gestural and biomorphic. His work was in several exhibitions of contemporary jewelry, including one at New York’s Museum of Modern Art in, 1946, and was on the crest of the studio jewelry movement that emphasized design over materials.

	The earliest piece in MAD’s exhibition, a pendant from 1935 made from sterling silver and unidentified gemstones, echoes Art Deco geometry and shows skill for handmaking chain and setting gemstones, but it is evident that it is a student piece as it does not yet show the distinct design voice that Bertoia would soon develop. A spherical hatpin is distinctive for its airiness. It is composed of three textured ceramic beads orbiting on silver wire. It was reportedly made as a response to Cranbrook’s visiting Bauhaus architect Walter Gropius’s challenge to design objects in space. There are several monotypes displayed that are very reminiscent of the piece, exhibiting concentric and overlapping orbits.

	The 1940s-era fish spine brooch (figure 2, left) was made during the metal shortage; it and retains the sterling silver hallmark that belies its source as recycled silverware. This piece has articulations, which would come to be a trademark of Bertoia’s brooches and necklaces. The brooch is accompanied by a monotype that is evocative of its repeated forms (figure 2, right).

Figure 2. Left: “Fishbone” Pendant, circa 1940s, of forged and riveted sterling silver. Photo by Richard Goodbody, courtesy of Leah Gordon Antiques. Right: Untitled Monotype (Non-Objective Polychrome Block Print), c. 1943, ink on Japanese-style paper.  From the collection of Cranbrook Art Museum, gift of Dr. and Mrs. Irving F. Burton. Photo by R. H. Hensleigh.

	One of the few pieces in gold, a necklace for his wife, exemplifies his fascination with biomorphic shapes and movement in the early 1940s (figure 3). It is comprised of hammered and forged leaf-like components; this articulation through riveted and linked construction also appears in a brass leaf necklace and a 19.5” ornamental centipede.

Figure 3. Bertoia made this forged and fabricated gold necklace for his wife, Brigitta Valentiner. From the collection of Kim and Al Eiber. Photo by Tim Thayer and R. H. Hensleigh.

	As the decade progressed, Bertoia’s work became more abstract. It exhibited less literal interpretations of gestural form and movement, typified by a deceptively simple zigzag motif brooch (figure 4). A bracelet from the late 1940s used a more rectilinear design, foreshadowing some of the large-scale brass and copper screens that would grace public and corporate spaces in the future.

Figure 4. This brooch, forged and fabricated in sterling silver (c. 1945), is an example of the abstract jewelry Bertoia produced in the 1940s. From the collection of Kim and Al Eiber, photo courtesy of Wright Auction House.

	Bertoia moved to Pennsylvania in 1950 to work with Hans and Florence Knoll. He designed a five piece furniture collection, including the famous “Diamond” chair that is still in production. The income from the successful furniture collection enabled Bertoia to flourish as an independent sculptor in the next decade, with over 50 commissioned pieces that showed an artistic journey in the variety of method and form.  He did not make any jewelry in that decade.

	In the 1960s, Bertoia experimented with what he called “tonal” sculptures, made with tall vertical rods on flat bases ranging from a few inches to 20 ft, and large gong sculptures. He renovated an old barn and put in about 100 of his favorite "Sonambient" sculptures. Bertoia returned briefly to jewelry, producing a small collection of pendants and brooches based on his large gong sculptures (figure 5). The jewelry pieces are monumental at 4 to 5 inches across.

Figure 5. The forged sterling silver “Gong” pendant is reminiscent of the larger sculptures of Bertoia’s later years. Photo by Richard Goodbody, courtesy of Leah Gordon Antiques.

	While viewing the jewelry exhibit, one can hear the evocative lingering sounds emanating from the co-exhibition Atmosphere for Enjoyment: Harry Bertoia’s Environment for Sound, featuring recordings made in the barn.  Appreciation of Bertoia’s breadth of work and inspiration is completed as the exhibition ends with examples of his furniture designs and a video featuring Bertoia “playing” his Sonambient sculptures while narrating reflections on his design philosophy.

	One cannot walk away from these exhibits without being affected, feeling that one has encountered greatness. Bertoia was an artist who truly experienced and witnessed his surroundings through his senses. He used many mediums to translate life, movement, space, air, and sound, creating atmosphere through objects. The two exhibits will inspire designers, jewelry professionals, art aficionados, and philosophers to find their muses and their voices.

Bent, Cast & Forged: The Jewelry of Harry Bertoia runs until Sunday, September 25, 2016. The recommended admission is $16 for adults, $14 for seniors, and $12 for students. MAD is open Tuesday to Sunday from 10:00 am to 6:00 pm, and Thursdays and Fridays from 10:00 am to 9:00 pm. The museum is closed Mondays and major holidays. Shown in tandem with Atmosphere for Enjoyment: Harry Bertoia’s Environment for Sound. Source: GIA @topic:6


Title: Book Review: Jewelry by Suzanne Belperron: My Style is My Signature Abstract: By Patricia Corbett, Ward Landrigan, and Nico Landrigan, hardcover, 239 pp., illus., publ. by Thames & Hudson, Ltd., London, UK, 2015, US$85.

	Much like the jeweled creations of the designer herself, Jewelry by Suzanne Belperron invites being treasured on many levels. The book profiles a remarkable woman born in 1900 whose talents were recognized at an early age and who, through her drive, artistic commitment, and singularity, attracted enlightened business and creative partners.

	It is also a tale of female fortitude in a man’s world, where a young woman from a small town in the Jura Mountains learns a broad range of design skills. Shortly after her 1919 arrival in Paris, Belperron (then known as Suzanne Vuillerme) was hired as a designer-draftswoman by Maison Boivin, one of the city’s few premier jewelry houses. At the age of 32, she aligned herself with Bernard Herz, receiving the allegiance of Groëné and Darde, two of the most renowned Parisian jewelers, along with other jewelers, polishers, and stone setters.

	Suzanne Belperron’s saga is also that of a singular individualist, a virtuoso whose style and artistry were so distinctive that she felt no need to sign her work, asserting that her style was her signature. Hardship, an enviable clientele, war, and loss are reflected in Belperron’s jewelry, at once breathtakingly magnificent yet rooted in themes and materials that reveal the soul and sensibility behind her luxurious splendor.

	Above all, the jewels reign supreme. Exquisitely captured by photographer David Behl and others, pieces feature Belperron’s sculptural and fluid designs. Scroll, shell, pyramidal, domed, winged, petal, and other motifs are used to embellish carved hardstones, metals, and gems ranging from diamonds, sapphires, rubies, and emeralds to her much-admired chalcedonies and onyx. As one of the innovators of the serti mystérieux, or invisible setting, Belperron used diamonds of varying sizes and relations in her pavé designs. The results are much like the painter’s brushstrokes that evoke movement, depth and highlights. Belperron designs also redefined the parure (matching jewelry sets), providing versatility through diverse elements that could be added or removed to create the desired amount of adornment.

	Besides the superb photography, the book includes many of Madame Belperron’s gouache opaque watercolor renderings from Harper’s Bazaar and Vogue covers and features, including Diana Vreeland’s popular and provocative “Why don’t you…” columns that suggested a look illustrated by the wearing of a Belperron piece. Occasional obverse views of breathtaking pieces, such as the deceptively casual setting of a diamond and ruby bib necklace, reveal the intricate platinum links that invisibly grant the piece the appearance of flowing fabric.

	Although Belperron’s name may be less familiar than those of many other 20th century jewelers, this book establishes her as one of the most significant jewelers, if not the most notable female jewelry artist, of her time. Testifying to her work’s enchantment was a client list that included royalty, artists, and prominent public figures. The Duke and Duchess of Windsor, Princess Grace of Monaco, Clark Gable, Lauren Bacall and Humphrey Bogart, and members of the Lanvin, Mellon and Paley families all owned pieces by Belperron.

	Authors Patricia Corbett and Ward and Nico Landrigan bring to life the masterful body of work displayed in these pages. The authors worked with Belperron’s former partners’ descendants, master craftsmen, collectors, and archivists, among others to bring this book to fruition. Without their efforts, the legacy of Suzanne Belperron may have been lost, much like the artist’s many pieces that have been sold at auction unrecognized and perhaps underappreciated.

	The story of Suzanne Belperron is a rich one indeed, worthy of the interest and scholarship of aspiring and established jewelry designers and lapidaries, jewelry historians and all those interested in stories of immeasurable talent, quietly productive introversion, fortitude, and groundbreaking creativity. Source: GIA @topic:6


Title: Books: In Praise of Hands: The Art of Fine Jewelry at Van Cleef & Arpels Abstract: By Franco Cologni, 199 pp., hardcover, illus., publ. by Marsilio Editori, S.p.a. Venice, 2012, $90.00.

              Van Cleef & Arpels, born from the matrimonial alliance of two prominent Dutch jewelers’ families in 1895, opened their boutique in Paris’s Place Vendôme in 1906 and quickly gained international acclaim. Over the years, the maison created iconic jewelry pieces, such as invisibly set floral brooches, fashionable minaudières and cigarette cases, Ludo Hexagone bracelets, and zipper necklaces. One of the forces behind the firm’s meteoric rise was its excellence in design and craftsmanship. As part of its public relations and branding strategy, Van Cleef & Arpels emphasizes quality craftsmanship and respect for traditional techniques. In Praise of Hands embodies this branding effort. This luxurious book, titled in honor of art historian Henri Focillon’s 1943 philosophical essay on how hands shape art, celebrates Van Cleef & Arpels’s Mains d’Or, or most skilled craftspeople.

The book’s first eleven chapters correspond to various specialized crafts: “The Designer,” “The Mock-Up Maker,” “The Jeweler,” “The Setter,” “Mystery Setting,” “The Stone-Cutter,” “The Diamond-Cutter,” “The Polisher,” “The Smelter,” “The Sculptor-Engraver,” and “The Boîtier.” Each explains, in great detail, a given stage of the design and manufacturing process. Some chapters are of particular interest for jewelers, such as “The Designer,” “The Smelter” and “The Polisher.” These craftsmen are instrumental in creating and giving shape to all jewelry pieces, so it is important to have them featured. For gemologists, “The Stone-Cutter” and “The Sculptor-Engraver” are extremely informative, providing great detail on both processes. The most stimulating and revealing chapters to jewelry enthusiasts are “The Mock-Up Maker,” “Mystery Setting,” and “The Boîtier.” These allow the reader to uncover some of Van Cleef & Arpels’ manufacturing secrets and better fathom its high level of craftsmanship. For instance, the systematic use of mock-ups, made of alloy and rhinestones, demonstrates the utmost attention to detail and practicality. This rendering technique is poles apart from today’s abstract 3D CAD/CAM projections. It allows design and production teams to spot potential technical problems and even provides for price estimates of jewelry pieces at an early stage.

One of the book’s strong points is its display of artful color jewelry renderings. Given the Place Vendôme’s world of secrecy, it is worth noting that some of the sketches feature serial numbers, names of patrons, and details on gemstone costs and corresponding vendors. This type of information is useful to anyone involved in jewelry pricing.

The book is selectively illustrated with three categories of photos. The first type consists of original color sketches with corresponding magnified shots of antique pieces, many of them from the jewelry house’s archival collection. The second type consists of black-and-white photos, using the chiaroscuro technique, of the Mains d’Or craftspeople at work. The third type, appearing at the end of each chapter, features a general shot of a recent piece alongside a detailed photo (showing individual gemstones in some cases). The opening and ending chapter photos are well suited to the chapters’ topics, proving that the craftsmanship inherent in past masterpieces is still alive.

On the down side, there is a relative disconnect between the photos of artisans’ hands and the contemporary jewelry pieces shown at the ends of sections. There would have been greater impact if the book had shown the same piece twice, once between the hands of a jeweler during its making and once completed. The photos of jewelers’ hands, though certainly a strong homage to their skills and dedication, are a superficial representation. At best, these pictures convey the contrast between rugged hands and delicate jewelry components in various stage of completion, as well as the artisans’; strength and dexterity. Yet focusing on their hands is too restrictive, and does not convey the physicality involved in jewelry making. The process is not limited to the hands; rather, it is a constant connection between hands, eyes, and brain, which is difficult to capture in photos. The concluding chapter, “The Crafts,” presents photos of all the craftsmen’s hands. This allows the reader to envision the actual handling of a piece through the different steps.

The text is extremely informative and detailed on all the phases of jewelry manufacturing. It does not shy away from technical descriptions—including an impressive list of tool names—while remaining inviting and accessible. It gives way, however, to the repetition of clichés, such as the poetic vision of the maison’s single-minded pursuit of perfection, beauty, and total control over its whole manufacturing process.

Despite these few shortcomings, the book is a must-have for jewelry students, bench jewelers, and gem experts who wish to become more familiar with this exclusive brand. Cologni describes a level of craftsmanship and organization that is almost extinct in the industry today. Van Cleef & Arpels’s variety of inspirations, design creativity, and manufacturing quality are among the very highest, and this opus is a beautiful tribute. Source: GIA @topic:6


Title: Book Review: Gold, Platinum, Palladium, Silver & Other Jewelry Metals: How to Test, Select & Care for Them Abstract: By Renee Newman, 144 pp., illus., paperback, publ. by International Jewelry Publications, Los Angeles, 2013. US$19.95.

              “Underpromise, overdeliver…underpromise, overdeliver…” Renee Newman must have been chanting that mantra the entire time she was writing her most recent book, Gold, Platinum, Palladium, Silver & Other Jewelry Metals. It absolutely delivers on the title, but if you were to hide the cover and give the book to someone to read, they would have a hard time guessing its name. They might come up with something like “Contemporary Jewelry and Metals,” but that would miss the mark because of all the historical background. There’s also scientific information about the metals, production technologies from the past as well as today’s cutting-edge processes, and so much more.

Though not characterized this way, there is almost a cradle-to-grave approach at work here. You can learn sources of information about jewelry, old and new, how to verify the nature and quality of the materials, and tips on acquiring jewelry, caring for it, and reselling unwanted pieces. There’s even a bit about do-it-yourself metal testing (you can’t keep a good jewelry appraiser down!) and a simple way to remove tarnish from silver. It’s simply jammed full of a wide range of useful information that’s well illustrated and easily readable. What’s not to love?

Who’s the target reader for this book? That could be just about anyone, from the layperson who wants to know more about jewelry to an industry professional seeking a broader perspective. The book is so wide-ranging that it would be hard to imagine anyone not getting their money’s worth. Broad range can imply a shallow depth, but that is definitely not the case here. One of the first things I do with a book is to peek at its index, bibliography, acknowledgments, and table of contents. This gives me an idea how well researched a book is, and the kind of scope I might expect. Newman’s list of contributors is impressive. The works cited come from a broad range of sources, and the topics span from ancient to cutting-edge.

The book starts with some general background on metals and is arranged in eight chapters that discuss specific metals and families of metals that share common characteristics. The chapters have a nice blending of scientific, historical, practical, and commercial knowledge. In each chapter there are charts to draw distinctions between alloys, clear images of hallmarking stamps one will encounter, and wonderful photographs. The photos offer compelling examples of each metal, showing off its color and beauty and how a variety of makers use it in their designs, along with close-ups that hone in on various details.

Roughly half of the book is devoted to its survey of metals, and the balance is spent covering manufacturing methods, the differences and consequences of real versus fake jewelry (some interesting legal points here), valuation, care, determining fineness or karat value, and plating and coatings. Last but not least, I’m giving the author a Good Citizenship merit badge for including a chapter titled “Responsible Mining and Manufacturing.” Newman rightly points out the more enlightened path that many are taking in this regard. She lists best practices and cites numerous organizations concerned with environmental impact, origin and chain-of-custody issues, health and safety, social responsibility, and ethics. Brava!

You will be enriched by having read this book, and will value and use the information contained within it.

Douglas Hall
Gemological Institute of America
Carlsbad, California Source: GIA @topic:9


Title: Book Review: Swarovski: Celebrating a History of Collaboration in Fashion, Jewelry, Performance and Design Abstract: By Deborah Landis and Vivienne Becker, hardcover, 352 pp., illus., publ. by Rizzoli, New York, NY, 2015, US$95.00.

	This book is sumptuous in its presentation. Its production quality is elegant from the silver cardstock end papers to the beautiful photography and fancy gatefold spreads. It will display nicely on your coffee table, weighing in at a whopping six pounds.

	Beyond the dazzling first impression, the value of the book is really in the eye of the beholder. If you are looking for an in-depth history of the use of Swarovski crystals in jewelry, or even simply a look at the firm’s contemporary jewelry output, this book may not be for you. The photographs are gorgeous and the creations divine, but the text lacks in substance.

	The book is divided into four sections: Fashion, Jewelry, Performance, and Design. The jewelry section has a nice essay by noted jewelry historian Vivienne Becker. It is oddly printed on mini pages and bound in front of the oversize pages containing images of the jewelry. It seems to say the story is less important than the imagery. And the jewelry pieces shown are over-the-top creations rather than a representative gallery of the Swarovski crystals used in jewelry since the end of the 19th century. Is it really necessary to show a high-style ring fashioned of Swarovski crystals as a 10 in. × 12.5 in. photo? The essay itself is a useful discussion of Swarovski’s role in establishing the costume jewelry world. But the author’s voice is not continued throughout the many images that are shown through captions, which would have been useful.

	It is great fun to see Michael Jackson’s crystal-covered glove, pieces created for major fashion houses, the original crystal chandelier lighting commissioned for the Metropolitan Opera House in New York, and more. Yet this book offers little information for those interested in jewelry specifically. The jewelry actually depicted in this book consists mostly of one-of-a-kind pieces worn on the runway or sold to an elite audience through couture houses, not jewelry most of us will ever see. Source: GIA @topic:6


Title: Book Review: Cartier Royal High Jewelry and Precious Objects Abstract: By François Chaille, 260 pp., hardcover, publ. by Flammarion S.A., Paris, 2014, US $125.00.

	With glossy paper, beautiful photographs, and sizeable heft, Cartier Royal High Jewelry and Precious Objects appears at first glance to be another lush and colorful coffee table book. But it is so much more! A photo gallery of 100 jeweled creations made for the 2014 season comprise this biennial catalog, along with a narrative history focusing on royal jewels and their connection with Cartier over the firm’s entire existence.

	Cartier’s 168-year history has been linked with royalty and aristocracy since the influential Princess Mathilde, niece of Napoleon Bonaparte, started purchasing items from the jewelry house in 1859. English royalty also enjoyed Cartier’s services. After the death of Queen Victoria in 1901, a flood of orders came into the Cartier headquarters in anticipation of the 1902 coronation of Edward VII. In 1904, Edward’s consort, Queen Alexandra, awarded Cartier the title of official supplier to the English court. Not content with supplying the most illustrious families in Western Europe, Cartier traveled to Russia in 1907 at the encouragement of Grand Duchess Maria Pavlovna. Over the course of two months during the fall and winter season of that year, the company gained the attention of the tsar and tsarina and other members of the Russian court. Although business at first was tentative, two years later Cartier was appointed an official supplier to the Russian Imperial Court; until the Russian Revolution in 1917, they served as jewelry supplier to a significant portion of the Russian gentry.

	It was during the later years of the 19th century and first years of the 20th century, as it gained popularity with the European royal families, that Cartier’s “garland” style was developed. Royalty and the general public alike met this signature form with great appreciation. The use of platinum for jewelry settings during this time period was in part due to the firm’s innovative casting techniques, exploiting the hard metal’s ability to form with great airiness and finesse. This infinitely light and delicate style coincided with what has been called the Edwardian era, and is now referred to as the Beaux Arts period.

	In 1911 Jacques Cartier traveled to the Indian subcontinent to buy gemstones and connect with wealthy Indian maharajahs, resulting in some of the most lavish pieces Cartier has ever produced, including a choker-style necklace for the Maharaja of Patiala, featuring ruby cabochons, natural pearls, and diamonds set in platinum. Connoisseurship of colored gemstones began at this time and continues to be a hallmark of Cartier style. Connections to the wealthiest families in the world fed the house’s reputation and set the firm up to receive the newest form of royalty: movie stars. Elizabeth Taylor was a devoted fan, and had Cartier mount the famous La Peregrina pearl in a double-strand natural pearl choker intersected with diamond and ruby quatrefoils, with an additional diamond and ruby flame pendant connecter. Merle Oberon was another Cartier devotee. Almost as famous for her jewels as for her acting talents, perhaps her most noteworthy piece was a necklace of drop baroque emeralds accented by numerous small diamonds.

	Exceptional gems are noted in a chapter on Cartier jewelry inspired by these worldly treasures. So many famous gems have passed through the firm’s hands, including the Hope, Pasha diamond, and Williamson Pink diamonds. Colored gems are also given their due and include the Berenice emerald, Queen Marie of Spain’s 478.68 ct faceted blue sapphire, and the Nawanagar necklace, featuring 119 Burmese rubies and totaling 210 carats of crimson perfection.

	The book’s photography is superb and highlights all the features you would want to find in jeweled pieces of wearable art. Rare archival photographs add so much to the text, allowing the reader to visualize the personalities that were active Cartier clients. The one criticism that I have with this book is the print. It is frustrating for older eyes to focus on the very small and light gray type; I would hope in the future that this feature could be improved. This book is an excellent choice for anyone with an interest in Cartier, royal jewels, jewelry history, or jewelry design. Source: GIA @topic:6


Title: Books: Maker & Muse: Women and Early Twentieth Century Art Jewelry Abstract: By Elyse Zorn Karlin, Ed., hardcover, 256 pp., publ. by Monacelli Press, New York, 2015, US$50.00.

Maker & Muse: Women and Early Twentieth Century Art Jewelry is a collaborative effort undertaken to accompany the current exhibit of the same name at the Richard H. Driehaus Museum in Chicago. Its 256 pages celebrate the role of women as creator of and inspiration for important jewelry from the turn of the 19th century. It showcases the history of women as jewelry designers, as muses portrayed on the jeweler’s canvas, and as wearers of the art during the Arts and Crafts and Art Nouveau movements.

	This beautifully illustrated book contains seven well-organized chapters full of insight on the period, covering the British, German, Austrian, and American Arts and Crafts movements from 1890 to 1910 and the French and American Art Nouveau movements from 1900 to 1915. Museum founder Richard H. Driehaus, who owns the majority of the pieces on display, wrote the preface. While collecting decorative arts 15 years ago, he was drawn to a piece of Arts and Crafts jewelry in London. His collection blossomed from there to include Art Nouveau jewelry.

	The first two chapters are by the book’s editor and the curator of the exhibit, Elyse Zorn Karlin. Her first chapter is an overview of the women and their jewelry in the early 20th century. Karlin follows with the British Arts and Crafts Movement, which advocated economic and social reform, which is essentially anti-industrial. As a result, there was a greater emphasis on the finished piece art rather than materials.

	The next four chapters are essays by the expert curators who had a hand in the other four exhibition rooms at the Driehaus. Each chapter is embellished with remarkable photos of pertinent jewelry and their makers and muse. “Metamorphosis: The Female Figure in Art Nouveau” is written by Yvonne J. Markowitz, curator emerita of the Museum of Fine Art in Boston, and Emily Banis Stoehrer, curator of jewelry at the same museum. They explain that Art Nouveau jewelry, designed by men (most notably Rene Lalique) and worn by women, is the French high-end answer to the Arts and Crafts movement. The jewels are about natural forms and structures, flowers, plants, and curved lines.  Jeannine Falino, an independent curator for the Museum of Art and Design in New York, writes the next chapter on the American art of Louis Comfort Tiffany, whose design staff included Julia Munson and Meta Overbeck. These women held the jewelry to the highest standards of artistry and quality. Tiffany branded his products, and the executors became mostly anonymous.

	Janis Staggs, author and curator of Neue Galerie in New York, documents the Arts and Crafts movement in Germany and Austria, known as Jugendstil or “youth style,” which brought about a shift in women’s social status as workers, patrons, suffragettes, athletes, artists, and muses.   Well-known designers Josef Hoffman and Karl Rothmuller, along with artist Gustav Klimt, are contributors to this period. Sharon S. Darling, author of Chicago Metalsmiths: An Illustrated History, writes about the Chicago Arts and Crafts movement, where a large number of women worked as professional and amateur jewelers. Of particular note is the hand-wrought Kalo silver workshop, which was founded by six women graduates of the Art Institute of Chicago in 1900.

	The photography, principally by John A. Faier, the editing, and the quality of the paper and printing are superb. This book will find its way into the libraries of scholars, collectors, and professionals interested in the Arts and Crafts and Art Nouveau movements, which still influence jewelry artists more than a century later. Source: GIA @topic:6


Title: Spring 2015 G&G Examines Blue Spinel, Chinese Jewelry Design and the Latest in Synthetics Abstract: The lead article in this issue examines the geological and gemological characteristics of blue spinel from Luc Yen, Vietnam. The centerpiece of the 18k yellow gold ring from the Love Doves collection is a 4.95 ct. marquise-cut spinel, framed on either side by doves with ruby eyes. Photo by Robert Weldon/GIA, courtesy of Loretta Castoro. The gem-quality blue spinel octahedron associated with olivine in marble matrix was seen at a mine in the Luc Yen district. Photo by Vincent Pardieu/GIA. Composite image by Kevin Schumacher.

The Spring 2015 issue of Gems & Gemology features an array of reports from around the globe and a cover article on one of the major sources of blue spinel: Luc Yen in Vietnam.
Blue spinel is rare in nature and not well-known in world gem markets, but its color rivals that of sapphire. Luc Yen, located about 100 miles from Hanoi, has been a source for gem-quality ruby, sapphire and red spinel for the past 25 years. Blue spinel is a more recent discovery, not mined in significant quantities until a decade ago. The gems come from three deposits and are hard-won, requiring a four-hour hike, rising 1,800 feet through dense foliage to reach the mine sites.

In primary deposits, the blue spinel crystals are found in a marble layer some 1,500-feet thick. Miners – primarily local farmers working part time – extract it using hand tools and jackhammers. However, most of the blue spinels, along with their red counterparts, are found in secondary deposits, where they eroded out of their host rocks and washed into the valleys. Here, the miners use a water hose and sluice to sort out the gem-bearing gravels, which can also include ruby and sapphire.

The authors (Boris Chauvire, Benjamin Rondeau, Emmanuel Fritsch, Phillipe Ressigeac and Jean Lu-Luc Devidal) conducted extensive gemological analyses of samples they purchased from local merchants. The colors and saturation varied from deposit to deposit, but ranged from violet-blue to blue and slightly grayish to vivid saturation, and very light to medium-dark tone. Analysis found the most vibrant blue colors came from trace amounts of cobalt, which is similar to blue spinel from some other locations. In addition, the authors present a lot of information on the geology along with a hypothesis on the gems’ geologic origin.

The Chinese Soul in Contemporary Jewelry Design

This diamond and emerald bracelet is from Dickson Yewn’s “Lock of Good Wishes” collection. The four corners of the lock panel are decorated with simplified bat patterns, which symbolize good luck and happiness in Chinese culture. The clasp is a realistic recreation of an ordinary gate lock from ancient China. The concept is typically used in baby jewelry to make the wearer feel blessed throughout life, and Yewn has successfully applied it to adult pieces. Photo courtesy of Dickson Yewn
Historically, Chinese culture - and jewelry design/tastes - was known for its dragon, bamboo and phoenix motifs, as well as its symbolic writing for millennia. Today, China is the world’s second largest jewelry market with a growing penchant for brand names and luxury. GIA staff authors, Andrew Lucas, Merilee Chapin, Moqing Lin and Xiaodan Jia profile six designers whose work incorporates traditional motifs and materials with modern sensibilities, combined with traditional Chinese and Western techniques.

		Hong Kong designer Dickson Yewn incorporates traditional door lock motifs and lattice windows in his emerald pieces. The lock motif in the bracelet is meant to symbolize health and happiness to the wearer. The window lattice ring design was patterned after the Classical Gardens of Suzhou, and was worn by Michelle Obama at a banquet honoring Queen Elizabeth.

		Master Jingyi Bai, who learned her craft from master goldsmiths, creates traditional filigree and inlay art objects. She also creates replicas of historic pieces in the style of the old masters.

		Taiwanese designer Yue-Yo Wang incorporates ancient art of knotting into modern-styled pieces that feature colored gemstones such as rose quartz, chalcedony, tourmaline and, of course, jadeite. Jadeite is one of the strongest traditions in Chinese jewel craft and Shanghai designer Kaka Zhang creates jadeite pieces of traditional fairy tale characters that she markets mainly online.

		Shirley Zhang, working from Shenzhen, creates highly intricate pieces that combine ancient motifs and innovative techniques, such as gem setting that enables more light to pass through the stones.One of her award winning pieces, “Dancing on Flowers,” features 1,002 colored stones and 4,986 small diamonds in a suite of three pieces featuring blossoms and bees to symbolize diligence and beauty.

		Jin Ren, of Beijing, bases some of his designs on mythological characters such as the Monkey King. He created a suite of jewels with colorless, yellow and black diamond arranged in a snakeskin motif to symbolize renewal, as when a snake sheds his skin.

Amethyst from Boudi, Morocco

Amethyst is one of the most popular gemstones in world markets, and authors Fabrizio Troilo, Abdelghani El Harfi, Salahaddine Mouaddib, Erica Bittarello and Emanuele Costa, from the Instituto Gemmologico Italiano and universities in Italy and Morocco, examined material from the Boudi area of Morocco that is being commercially mined.

While much of the Boudi production has color and properties similar to amethyst found in other parts of the world, it does produce some fine reddish-purple gems that resemble top-quality from classic deposits.

Visible Absorption Spectra of Colored Diamonds

GIA researchers Dr. James Shigley and Dr. Christopher Breeding present a review of the absorption features of yellow, pink to red, gray to blue and orange to brown diamonds.

Colorless diamonds have few or no trace elements or growth defects (such as misaligned crystal structure) to absorb certain colors of the spectrum from the light that passes through them, so the light returned is “white.” Elements such as nitrogen and boron, however, absorb certain colors of the spectrum, so the light returned is yellow or blue. Other factors can also cause diamond color. Natural or artificial radiation displaces some of the carbons atoms from the crystal structure of the diamond to create vacancies that cause green color.

The authors created a color chart that shows visible absorption spectra for a range of colored diamonds to serve as a reference tool for researchers and gemologists.

Mozambique: A Ruby Discovery for the 21st Century

The final full article is from a G&G staff field trip to the Montepuez ruby deposit in Mozambique. The article details the geology of the area that has produced the largest ruby find in recent history and how the rough gems are mined, sorted and graded for sale. The authors, Merilee Chapin, Vincent Pardieu and Andrew Lucas, detail the nature of the rubies in comparison with those from other sources.

Lab Notes

The chameleon diamond is shown before and after heating (left and right).
This issue features an entry on techniques for identifying very small synthetic diamonds using a microscope equipped with a Fourier-transform infrared (FTIR) spectrometer. The report notes that GIA has seen a surge in faceted melee goods submitted for identification. Combining the FTIR spectrometer with the microscope has enabled GIA researchers to get accurate spectra readings for diamonds as small as .00054 carats. It had been difficult to retrieve proper spectra for diamonds under .01 carat (ct.) before this, because readings were often indistinct and had to be taken while the diamond was in a set position. This set-up allows clear readings to be taken independently of a diamond’s position whether mounted in jewelry or loose.

The above method was also used to examine a pendant holding 118 diamonds, including 58 fancy yellows and 60 colorless stones. GIA staff found one HPHT grown synthetic weighing .00431 ct. Nearly all of the other diamonds were natural type 1aA or type 1aAB.

In Hong Kong, GIA recently examined two large synthetic colorless diamonds, submitted with full disclosure by a Russian producer. One was a 4.30 ct. D SI1; the other a 5.11 ct. K I1. Both were HPHT grown and contained distinctive metallic inclusions. The quality and size of these diamonds demonstrates that HPHT synthetic technology has made great strides in recent years.

GIA staff in New York examined two chameleon diamonds, a 0.35 ct. Fancy Deep yellow-green and a 0.27 ct. Fancy Deep grayish yellowish green marquise cuts. Spectral analysis revealed that these diamonds were irradiated to enhance their body color – a process not usually performed on chameleon stones.

Additional GIA lab notes include an analysis of a large (13.69 mm x 11.80 mm) fine color Quahog pearl with very good symmetry and shape; a report on large specimens of pink and reddish purple cobaltocalcite; a diamond that contains a tiny diamond inclusion that formed in a different geologic environment; and conservation concerns over use of a natural large saltwater clam shell (Tridacna) beads in imitation pearls as all species in this family of mollusks are listed in Appendix II of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). Source: GIA @topic:1


Title: Appreciation for Art, Antiques Leads to Love of Jewelry Abstract: April Matteini earned her GIA Graduate Gemologist diploma in 2000. Courtesy of April Matteini.

	April Matteini’s passion for the decorative arts has propelled her from European museums to Miami showrooms.

	Matteini, the regional director for Skinner, Inc. in Florida, says her love of art and antiques took hold at an early age, so she studied furniture, paintings, sculpture, and silver in Florence, Italy after earning her Bachelor of Fine Arts from St. Lawrence University in New York.

	Her skills in circa dating and cataloging paved the way to her first job with Skinner, Inc. in Boston, where she cataloged antique and estate jewelry for four annual auctions. Next, she joined the Northeastern powerhouse J & SS DeYoung, a fifth-generation family firm specializing in rare, unique jewelry and gemstones.

	“Handling so many incredible pieces was what sparked my love for diamonds and gemstones – I knew then I wanted to earn a Graduate Gemologist (GG) diploma to make those foundations stronger and enhance my career opportunities,” says Matteini, a Massachusetts native.

	She found a kindred spirit in Joe Samuel, a former member of the GIA Board of Governors, as she began to work toward her GG diploma to take her career “to a higher level.”

	“I was mentored by Mr. Samuel, who was incredibly supportive and encouraged my gemological studies,” she says. “I was a distance education student before the Internet, and he encouraged me to attend lab classes in New York and Boston, and use all of the office laboratory equipment for my homework.”

	Though “diamond grading and its terminology felt like mastering a new language,” Matteini persisted and earned her GG diploma in 2000. She soon saw that the benefits of her education extended further than she expected.

	“I find GIA is not only an industry standard, but recognized by consumers as a name they can trust,” she says.

	Matteini and her family – her husband, Francesco, and their two children – relocated to South Florida in 2005, and the self-avowed “New Englander at heart” discovered that as an independent appraiser, her new clients’ jewelry collections had a different flair.

	“Miami is a vibrant, multicultural city,” she says. “Big, colorful, statement pieces are everywhere. I don’t see as much small, antique jewelry in Miami as in the Northeast. That said, big or small, I find the same sentimental attachment and love of jewelry everywhere.”

	Matteini embraced the “fantastic weather” and big personality of her new home, and joined her local GIA Alumni chapter. In 2011, she began her tenure as president of the GIA Alumni of South Florida.

	The group has “joined forces” with the local AGS Guild, she says, and together they “form one organization that serves local industry professionals with high-level educational meetings and networking events.” Recently, for example, they brought Cigdem Lule and Stuart Robertson – fellow GG’s, and experts from GemWorld – from Chicago to present the group with their workshops on corundum and cultured pearls treatments and pricing.

	“Continuing education is the best way to ensure a competitive edge in this industry – access to current information is critical,” Matteini stresses. “Beyond classroom education, the relationships that develop from a GIA affiliation are an invaluable asset for building a successful business.”

	In addition to increasing professional development opportunities for GIA and AGS alumni in her area and her work with Skinner, she still enjoys the beauty and mystique that drew her to jewelry appraisal in the first place.

	Not long ago, a client brought her entire jewelry collection for Matteini to appraise, including a flea-market cuff bracelet that was “just along for the ride.”

	The $25 bracelet turned out to be a valuable piece signed by Art Smith, a leading mid-20th century modernist jeweler. It was very similar to a bracelet on the cover of the Brooklyn Museum’s retrospective exhibit on the New York City-based jeweler, and Matteini says the piece was “quite a nice return on her (client’s) investment.”

	This kind of find reminds Matteini of a key reason she pursued a career in antique and estate jewelry in the first place.

	“I have a tremendous appreciation for diamonds and gemstones, but I still love a jewelry mystery,” Matteini says. “If I can successfully research a hallmark or identify a signature for a client and let them know that their jewelry is not just special to them, but it’s valuable as well – I love that.”

	South Florida Alumni Chapter members with recent presenters, and fellow Graduate Gemologists, Cigdem Lule and Stuart Robertson of Gem World. (Back row: Luke Moorman, John Moorman; Front row: Debra LeVasseur, Joe Kientzy, Amy Walter, April Matteini, Cigdem Lule, Stuart Robertson) Courtesy of April Matteini. Source: GIA @topic:11


Title: A New World of Glamour:  Former Model Launches Fine Jewelry Brand Abstract: Talk about persistence.

Vania Leles earned her GG from GIA in London in 2004 and promptly sent her curriculum vitae to Graff Diamonds on Bond Street for her dream job.

She sent it again … and again … and again.

The 15th time was the charm and she got a call for an interview.

“It was the only place I wanted to work,” she said. “Knowing what you want -- and why -- is important. Being persistent was key and led me to a wonderful career.”

Leles, a former fashion model who used to jet-set around the world for photo shoots and fashion shows, switched careers because she couldn’t resist the draw of diamonds and fine jewelry. Her interest in gems dates back to her memories of playing with her mother’s collection as a little girl.

“The seven years I spent as a model working in London, New York and Paris with couturiers, stylists and fashionistas exposed me to the world of exquisitely designed fine jewellery,” she said. “I was compelled [to change careers] by the fact that these beautiful pieces were made with vibrant and exciting stones.”

She was an in-house gemologist and brand ambassador for Graff, where she gained invaluable experience sourcing fine high-end jewelry for the design house’s exclusive clientele.

“Working with such valuable pieces gave me a keen eye for identifying and appreciating the rarest and most beautiful diamonds and gemstones in the world,” she said.

She credits her GIA education with giving her the essential skills she needed to embark on her gem and jewelry career, including being able to talk about the 4Cs in depth with clients.

“GIA empowered me and gave me the confidence to negotiate and engage with clients,” she said. “You need to transmit knowledge when negotiating. They need to feel secure that you know you understand your product.”

After two years at Graff, which is essentially a family-owned business, she decided she wanted to experience corporate structure and went to De Beers to create bespoke jewelry and source fine investment-purpose diamonds for clients, including royalty.

Three years later, she set her sights on the auction houses to gain expertise with all periods of jewelry. She was invited to join the Jewellery Department at Sotheby's, where she oversaw and participated in auctioning some of the world's most prestigious diamond and gemstone pieces, including the sale of the magnificent jewels of the Duchess of Windsor.

Leles appreciated the insight earned at these iconic jewelry businesses, but knew she wanted to launch her own company, so Vanleles Diamonds opened for business in 2011.

“I felt privileged to have been trusted enough to work in such fine companies, but I knew that ultimately my destiny was to source my own diamonds and gems -- and design my own jewelry for my trusted circle of clients,” she said. “Vanleles Diamonds is a labor of love.”

Her clients range from bankers and entrepreneurs in the tech industry, to fashion stylists and at least one member of a royal family.

“My clients look for quality, a jeweler they can trust and good value for his/her hard-earned money,” she said. “They are typically heavily involved in the fine details of the specifications and design of the piece and expect excellence service.”

Leles took some of GIA’s design courses, so she sketches ideas as she meets with clients to capture their concepts on paper.

“I have been fortunate enough to work with some of the most talented designers and craftsmen in the world and this has really helped me find my own voice as a jeweler,” she said. “We take the time to really get to know our client’s lifestyle and needs to create truly unique pieces of jewelry. Our passion is to create something personal and exceptional that tells a story within the client’s budget and requirements.”

Leles’ day starts at 7:30 a.m. with a quick jog, some strong coffee and getting up to speed on her trusted MacBook Air. She updates Vanleles Diamonds’ social media channels and checks the prices of precious metals and diamonds. Done with the computer, she makes her way to her workshop to check in with the master craftsmen working on their latest designs.

“I normally have my first client appointments by 11a.m. in our Belgravia studio and spend the rest of the day with clients, showing them a selection of the diamonds we’ve sourced that week and sketching jewelry that reflects their wishes.”

Leles, who was born in Guinea-Bissau, on the West African Coast, is proud of the fact that her company only buys conflict-free diamonds and is supporting the economic growth of Botswana and Namibia.

Ultimately, it is clear Leles’ persistence paid off.

“I love every aspect of my job – from sourcing rare, precious and ethical diamonds, to spending time with our clients to get the design absolutely perfect, to the pride of being able to deliver a true masterpiece of jewelry,” Leles said. “I love to be able to exceed our clients’ expectations of the amazing beauty of our products and the great value we offer.” Source: GIA @topic:11


Title: Thai Designers Draw Inspiration from Tradition, Heritage for Jewelry Contest Abstract: View Gallery

Fresh. Exciting. Innovative.

	These are just a few words used to describe the nearly 300 designs submitted to the “Create Your Own Legacy” jewelry design challenge hosted by GIA in Bangkok.

	The contest, which opened mid-2013, encouraged designers of all experience levels to be inspired by the cultural legacy of Thailand. The result? A bounty of jewelry sketches inspired by native flowers, mangrove trees and other symbols of Thailand as varied as the designers who created them – from college students and jewelry enthusiasts to jewelry professionals.

	The five-month process – organized to commemorate the 20-year anniversary of GIA in Bangkok – was an opportunity for Thai designers to showcase their talent, expand their gemological knowledge and work alongside prominent jewelry companies Beauty Gems, Blue River, Fadamas, Mouawad and Sette. The finalists were also awarded prizes and scholarships for GIA design, gemology and jewelry programs. The first place designer earned a scholarship for the on-campus Graduate Gemologist program and a trip to the Hong Kong International Jewellery and Gem Show in March 2014.

	“The Bangkok community has been a gracious and hospitable host to GIA for 20 years. This contest was an opportunity to give something back to the jewelry industry here,” said Kenneth Scarratt, GIA managing director of South East Asia and director of the laboratory in Bangkok.

	Entries were reviewed by a panel of judges that included industry experts and respected members of the community. The group selected 21 designers to advance to the next step of the contest: an intensive gemological workshop at the Bangkok campus specifically created to further develop the participants’ knowledge of diamonds and gemstones, as well as to strengthen their design capabilities.

	Participants at the three-day gemological workshop at the GIA campus in Bangkok show their design sketches. Photos by GIA

	Finalist Songsak Sirimartpornchai of Bangkok, a jewelry designer with more than 18 years of experience, said the workshop helped him learn more about the types of gems to select for his jewelry pieces. “I will use the knowledge I learned in this class for future designs as well,” he said.

	Once they completed the workshop, the designers were asked to either develop their original work further or submit a new sketch for the next round of judging, taking care to incorporate colored gemstones in their designs.

	Another finalist, Sutattar Chanrungrojne, from Ayutthaya, Thailand, designed a necklace, cuff and earring set inspired by a practical baking tool.

	“People often find inspiration from beautiful objects, but I wanted to think differently,” she said. “Banana leaves, which don’t always look appealing, are very useful in the traditional Thai way of life. They are often used for baking food and desserts instead of tinfoil or parchment papers.”

	Sutattar Chanrungrojne was inspired by banana leaves when she designed “Baitong,” a necklace, cuff bracelet and earring set. Contestants worked with jewelry companies to manufacture their designs (left) into tangible jewelry pieces.

	Her sketch, which features vibrant green gems, was chosen as one of the top five designs.

	The five finalists had the opportunity to work directly with jewelry companies to manufacture their designs into finished pieces that were then reviewed by the judging panel. The winner’s designs were announced at a presentation ceremony at the Bangkok Art and Culture Center in late 2013.

	The first place winner, Nattawat Srinoon, of Nakhon sri thammarat, Thailand, designed pieces inspired by traditional Thai textiles. His jewelry, titled “You Clothe Me,” represents the history and legacy of Thai culture. A student majoring in jewelry design at Silpakorn University, he plans to further his studies in fashion design after completing the Graduate Gemologist diploma.

	First place winner Nattawat Srinoon designed “You Clothe Me,” a suite of jewelry pieces inspired by traditional Thai clothing.

	“I believe that jewelry and fashion are inseparable,” he said.

	He said it is rare to find jewelry contests specifically targeted to Thai designers, especially ones supported by leading jewelry companies. “I learned a lot from the intensive gemological workshop, and also gained more experience in manufacturing by working with the jewelry companies.”

	But it wasn’t only the contestants who benefitted from the event.

	“Contestants had the opportunity to have their designs reviewed by industry professionals and design experts and each contestant gained experience to move forward in their gem and jewelry career,” GIA’s Scarratt said. “But the participating jewelry companies also had a great opportunity to work with new talent and be inspired by the creative designs.” Source: GIA @topic:6


Title: Cindy Yeung Embraces Her Role in Family Jewelry Empire Abstract: Cindy Yeung, chairperson of Emperor Watch and Jewellery, oversees the family business begun by her grandfather. Photos by GIA

                      Cindy Yeung remembers the exact moment she embraced her destiny.

It was a summer day in her father’s shop in Kowloon, China. At 21, she was not paying much attention to the jewelry, even though her father had been encouraging her to take an interest in it since she was a young girl. She just couldn’t relate – until the moment she paused to look back into the shop on her way out and saw a “very bright diamond.”

That sparkling gem grabbed her attention and sparked her passion.

Yeung’s grandfather, Yeung Shing, opened the family’s first watch shop in Kowloon in 1942. Her father, Dr. Albert Yeung, opened his first store in 1964 and, for more than 50 years, grew the business into the one of the world’s most prestigious watch and jewelry retailers: Emperor Watch and Jewellery.

He trained his daughter on the ins-and-outs of running a jewelry store from the time she was 12. "Oh, you'll be the one who will pick up the business later on," he told her. Yeung says it didn’t mean anything to her; she didn’t think it had anything to do with her life.

“At that time, I didn't pay any attention because I was so young,” she said. “I told him ‘Oh, OK,’ but I didn't really pay attention.”

Her father, who owned three or four stores then, persisted and asked her to collect the total sales every day.

	Yeung’s father, Dr. Albert Yeung, left, trained his daughter from a very young age to run the family business.
“I had to remember the telephone number of each shop and remember all the sales of each shop,” she said. “Then I had to present it back to him. So, from that time, he trained me.”

But it wasn’t until that summer day when that diamond caught her eye and made her “feel happy” that she felt the allure of gems and knew she was ready to fully immerse herself in the family business.

She graduated from the University of San Francisco with a bachelor’s degree in business administration with a major in management and an emphasis in international business. She learned about GIA from a friend in the industry and quickly recognized that she needed the education about diamonds and gems offered at GIA’s Santa Monica, California campus.

“I gained both technical expertise and the practical skills to evaluate gemstones,” she said. “GIA gave me the comprehensive knowledge of diamonds and colored stones I need to succeed in the jewelry business. It opened up a world of opportunity for me.”

Yeung wanted to get outside experience, so she joined the sales department of Anju Jewelry Ltd., a U.S. company based in Hong Kong that trades jewelry products, before she joined the family business in 1990.

From the beginning of her career she learned the importance of building trust to establish long-term relationships with her customers. She really cares about helping her customers make the best choices for them and is careful not to present pieces she doesn’t think are suitable for their age, lifestyle or income. She learned to listen to what they were looking for and watch their reactions to pieces as she showed them.

“Maybe with their eyes they tell me they would love to have [a piece that was] a bit more expensive or a little bit less. From their gesture or expression, I can feel them,” she said. “I have a sense of what they like, what they want, and then how much they can afford. I don't want to ask them to come in and show them [pieces] they cannot afford.”

She sees her customers as her friends and often looks forward to sharing her passion for jewelry and showing them something she has found she thinks they will love.

“I love sharing delicate, wonderful things with my customers and friends. I know what they want. I know their style,” she said. “That is the most satisfaction I have, because they will say, ‘Oh, how do you know I like this? How do you know I want this?’ I feel especially contented when my customers are celebrating their special occasions with my jewelry.”

Yeung is also very passionate about jewelry design. She created the group’s design and production team, a milestone for the company. She is inspired by the natural world; leaves, animals, waterfalls and fireworks stimulate her design aesthetic. Yeung attends jewelry and fashion shows, reads the magazines for each industry and shares her insights and perspective with her staff to help the design team stay on top of trends in the market.

She says the most special design she has worked on was the necklace she wore on her wedding day.

“I think pearl is the most suitable for the wedding gown, but I didn't want it to be only pearl. I wanted to have something a bit different, so I put yellow diamonds with a pearl … a very elegant and with a simple sense of the design. I showed it to my husband and he liked it very much, too. So, he presented it to me on the day of the wedding.”

Yeung and the family’s business have grown together. She is chairperson of Emperor Watch and Jewellery, which has 24 shops in Hong Kong, 55 in China, six in Macau and four in Singapore. She has learned that every part of the business is vital for management and works closely with her staff to ensure that the family tradition of quality and service continue to define their luxury brand.

“To run a family business is never an easy task,” she says. “I have to keep an impressive track record of it and in the meantime implement innovative policies. There is a lot of pressure, but I’ve learned how to use it to motivate myself and my staff.”

Yeung has more than realized the importance and allure of gems and jewelry in her life.

	Cindy Yeung Shares Insights to Her Family Business
Want to hear more from Cindy Yeung? In these interview excerpts, this busy, attentive entrepreneur speaks from the heart about her role in the family jewelry empire.

Tell us your favorite part of this business.
I enjoy meeting people and building relationships with them. We get to work in partnership with our customers at some of the biggest moments in their lives. Imagine my excitement when they celebrate their special occasions with my jewelry. It’s immensely rewarding to get to know my customers, and then call them my friends.

How do you build those great customer relationships?
My job is more than management, strategy and a lot of decision-making. I like to visit our shops to ask a lot of questions of my staff and talk to customers directly. You can learn so much from your customers. By carefully listening and observing, you learn about their tastes and preferences, and how to guide them through their jewelry purchases. For example, I always tell my staff not to present the full tray, but to present two or three pieces, maximum. Make sure the design is suitable and let the customer pick up and handle the jewelry. When a customer says, “How did you know I wanted this?” that’s when I am really happy. I know we are building a relationship of trust and making our brand stronger.

What role does gemological knowledge play?
Our customers are sophisticated and they have plenty of questions. We use GIA grading reports to demonstrate the facts about a diamond’s 4Cs, which in turn leads to conversations about quality and value. We make sure new staff is trained about product sense, design, and know how to communicate features and benefits to customers. We also make sure one out of five of our staff is a trained gemologist, and use their technical expertise to evaluate gemstones.

How do you develop your staff?
Experience is very precious. Our qualified gemologists and new staff members do role play exercises and participate in morning briefings. We also bring staff to the Basel Fair and the Hong Kong Fairs to make sure they see the trends at the shows. This is how we encourage our staff to develop a passion for jewelry and become more professional.

What’s the most challenging aspect of your business?
To run a family business is never easy. There’s a lot of pressure on me to continue our amazing track record while constantly implementing innovative practices. I believe that my personal involvement in every part of the business is vital for success, which is why I work so closely with my staff each and every day.

Give us your take on the future of the jewelry business.
It seems the average customer range is expanding, along with their incomes. I think there is now and will continue to be a growing demand in the affordable luxury market. We’re planning to open 20 new shops in China because we see how much potential there is and we’re always working towards growth. Our passion for this business won’t be slowing down anytime soon.

How will changing consumer trends impact your business?
Our customers have certainly become more sophisticated and so have their demands. In their aspirational quest, they seek branded items with genuine value. So along with our new shops, we are optimizing our portfolio of brands, to capture this dynamic market.

Can you let us in on any specific plans for growth?
We'll be launching a series of innovative marketing campaigns and introducing our signature collections, which are designed for a more refined consumer with a focus on quality and craftsmanship.

What new markets are you exploring as you expand the Emperor Jewellery brand?
We believe that Southeast Asia is a growing force in the luxury market, with great potential as a source for revenue. With our goal to further establish ourselves as a global brand, we are always optimistically looking beyond where we currently are. Source: GIA @topic:10


Title: Books: Untamed Encounters: Contemporary Jewelry from Extraordinary Gemstones Abstract: By Mimi Lipton, 245 pp., hardcover, illus., publ. by Thames & Hudson, New York, 2014. US$95.00.

Untamed Encounters: Contemporary Jewelry from Extraordinary Gemstones is a print gallery of 80 jewels commissioned by collector and author Mimi Lipton, whose interests run not to faceted and finished stones but to unfinished raw materials: mineral crystals, fragments of opal broken from the vein, gems inextricably bound to the matrix in which they have formed, coral worn by the ocean, unusual Baltic amber, and strangely shaped freshwater pearls. In her world travels, Lipton has also discovered carved pieces of amber, bone, ivory, and jade, as well as coral nuggets from old jewelry.

Crystals take millennia to form and rise to the earth’s surface, the accident of their survival a small miracle; corals are burnished by sea and sand into stark, skeletal shapes. Each unique “untamed” piece shows us the beauty and power often inherent in the unfinished and the worn. They are reminiscent of ancient talismanic jewelry in which raw materials of surpassing beauty or strange shape were thought to hold magical powers. Or perhaps they were simply beautiful to look at and to hold.

Suiting the international provenance of these raw materials, Lipton has gathered an international group of seven jewelry artists to create large, bold, unusual works that emphasize the uniqueness of each material. The pieces are often inspired by ethnic jewelry Lipton has encountered in her travels. While most are in 22K gold, some include iron, silver, driftwood, and silk cord. Many of the rough-hewn pieces echo the unfinished quality of the materials set into them. Others contrast the rugged quality of the materials with smoothly finished metal.

Illustrated with 260 large-format color photographs, many of them extreme close-ups, the book allows readers to visually examine these works in detail, from mineral and stone shapes and surfaces to material textures, craftsmanship, and connections. So that nothing interrupts the visual feast, a section at the end provides material and artist information next to thumbnails of each piece. Another section provides biographies of the artists, the photographer, and other contributors.

If anything is missing, it is the stories behind the pieces: where and how Lipton discovered each one, what they mean to her, the story behind each creation—her vision and the artists’ visions and how those met and evolved into finished jewelry. Collaboration is an art in itself, and it would have been enlightening to see how the artists and the collector communicated to create these unique pieces.

Regardless, Untamed Encounters  is certain to be a treat for anyone who appreciates or collects jewelry. It inspires us to take a second look at the world and to question our definitions of beauty and preciousness. Source: GIA @topic:6


Title: Books: Unique by Design: Contemporary Jewelry in the Donna Schneier Collection Abstract: By Suzanne Ramljak, 136 pp., illus., publ. by the Metropolitan Museum of Art, New York, 2014, $25.00.

              This book documents the eponymous 2014 exhibition organized by New York’s Metropolitan Museum of Art. As the museum does not provide an exhibit booklet, this is the only available guide to the collection of art and jewelry dealer Donna Schneier. Now retired, Schneier donated her collection of significant studio jewelry pieces to the Met in 2007.

The core of this volume is a chapter titled “Seductive Tactics.” Rather than a systematically documented catalog, this chapter is actually a general essay on contemporary jewelry. Most of the examples and illustrations in the book are pieces from the collection. Maisie Broadhead’s three conceptual pieces, collectively titled “Which Weigh to Go,” are a notable exception. The first of the three pieces is a photo showing a pastiche of a Vermeer painting, depicting a young woman weighing a pearl.  The two other photos are the necklaces in the background of the previous, a gold link chain titled “Big Fake Little Real Chain” and a freshwater pearl necklace named “Big Fake Little Real Pearl.” The “Plates” chapter features more photos that highlight of the collection, such as “Brass Knuckles, a four-finger ring by Myra Mimiltsch-Gray. No explanation is provided as to the motive for this photo selection. The last chapter of the book is a very succinct bibliography on contemporary jewelry.

One strong point is the book’s use of clinically precise color photos, some showing appreciable texture and surface details. The rendering of those photos is uniform throughout the book, which is rare. The use of those pictures is partially illustrative, as this book is more art essay than a catalog. As is usual in this type of book, jewelry measurements and carat weight are not noted, and magnification is not mentioned. To properly catalog the exhibition, the book should have contained a section presenting the 132 displayed pieces, with thumbnail pictures, detailed descriptions, measurements, artist biographies, and details on how the pieces were acquired. The book gives very little insight on the collection itself and does not answer one legitimate question: If the collection was donated in 2007, why show it now?

Overall, Unique By Design reads like a general introductory art essay to studio jewelry rather than a guide to a specific exhibition. Therefore, it is more suited to jewelry students and art collectors with an interest in studio jewelry. Source: GIA @topic:6


Title: Books: Unique by Design: Contemporary Jewelry in the Donna Schneier Collection Abstract: By Suzanne Ramljak, 136 pp., illus., publ. by the Metropolitan Museum of Art, New York, 2014, $25.00.

                      This book documents the eponymous 2014 exhibition organized by New York’s Metropolitan Museum of Art. As the museum does not provide an exhibit booklet, this is the only available guide to the collection of art and jewelry dealer Donna Schneier. Now retired, Schneier donated her collection of significant studio jewelry pieces to the Met in 2007.

The core of this volume is a chapter titled “Seductive Tactics.” Rather than a systematically documented catalog, this chapter is actually a general essay on contemporary jewelry. Most of the examples and illustrations in the book are pieces from the collection. Maisie Broadhead’s three conceptual pieces, collectively titled “Which Weigh to Go,” are a notable exception. The first of the three pieces is a photo showing a pastiche of a Vermeer painting, depicting a young woman weighing a pearl.  The two other photos are the necklaces in the background of the previous, a gold link chain titled “Big Fake Little Real Chain” and a freshwater pearl necklace named “Big Fake Little Real Pearl.” The “Plates” chapter features more photos that highlight of the collection, such as “Brass Knuckles, a four-finger ring by Myra Mimiltsch-Gray. No explanation is provided as to the motive for this photo selection. The last chapter of the book is a very succinct bibliography on contemporary jewelry.

One strong point is the book’s use of clinically precise color photos, some showing appreciable texture and surface details. The rendering of those photos is uniform throughout the book, which is rare. The use of those pictures is partially illustrative, as this book is more art essay than a catalog. As is usual in this type of book, jewelry measurements and carat weight are not noted, and magnification is not mentioned. To properly catalog the exhibition, the book should have contained a section presenting the 132 displayed pieces, with thumbnail pictures, detailed descriptions, measurements, artist biographies, and details on how the pieces were acquired. The book gives very little insight on the collection itself and does not answer one legitimate question: If the collection was donated in 2007, why show it now?

Overall, Unique By Design reads like a general introductory art essay to studio jewelry rather than a guide to a specific exhibition. Therefore, it is more suited to jewelry students and art collectors with an interest in studio jewelry. Source: GIA @topic:6


Title: Methods for Determining Gold Content of Jewelry Metals Abstract: Verifying the gold content of karat-gold jewelry is a problem for the entire industry. This study compares four widely available testing methods: density (measured by hydrostatic weighing), chemical reactivity (touchstone testing), capacitive decay (Tri-Electronics G-XL-18 Gold Tester), and X-ray fluorescence (Seiko Instruments SEA 2001 Jewelry Assay System). The latter three methods all proved useful within certain limitations; hydrostatic weighing was least suitable. None of these methods reliably determined gold content within the 3-ppt tolerance allowed by U.S. plumb laws. Source: GIA @topic:7


Title: Books: In Praise of Hands: The Art of Fine Jewelry at Van Cleef & Arpels Abstract: By Franco Cologni, 199 pp., hardcover, illus., publ. by Marsilio Editori, S.p.a. Venice, 2012, $90.00.

                      Van Cleef & Arpels, born from the matrimonial alliance of two prominent Dutch jewelers’ families in 1895, opened their boutique in Paris’s Place Vendôme in 1906 and quickly gained international acclaim. Over the years, the maison created iconic jewelry pieces, such as invisibly set floral brooches, fashionable minaudières and cigarette cases, Ludo Hexagone bracelets, and zipper necklaces. One of the forces behind the firm’s meteoric rise was its excellence in design and craftsmanship. As part of its public relations and branding strategy, Van Cleef & Arpels emphasizes quality craftsmanship and respect for traditional techniques. In Praise of Hands embodies this branding effort. This luxurious book, titled in honor of art historian Henri Focillon’s 1943 philosophical essay on how hands shape art, celebrates Van Cleef & Arpels’s Mains d’Or, or most skilled craftspeople.

The book’s first eleven chapters correspond to various specialized crafts: “The Designer,” “The Mock-Up Maker,” “The Jeweler,” “The Setter,” “Mystery Setting,” “The Stone-Cutter,” “The Diamond-Cutter,” “The Polisher,” “The Smelter,” “The Sculptor-Engraver,” and “The Boîtier.” Each explains, in great detail, a given stage of the design and manufacturing process. Some chapters are of particular interest for jewelers, such as “The Designer,” “The Smelter” and “The Polisher.” These craftsmen are instrumental in creating and giving shape to all jewelry pieces, so it is important to have them featured. For gemologists, “The Stone-Cutter” and “The Sculptor-Engraver” are extremely informative, providing great detail on both processes. The most stimulating and revealing chapters to jewelry enthusiasts are “The Mock-Up Maker,” “Mystery Setting,” and “The Boîtier.” These allow the reader to uncover some of Van Cleef & Arpels’ manufacturing secrets and better fathom its high level of craftsmanship. For instance, the systematic use of mock-ups, made of alloy and rhinestones, demonstrates the utmost attention to detail and practicality. This rendering technique is poles apart from today’s abstract 3D CAD/CAM projections. It allows design and production teams to spot potential technical problems and even provides for price estimates of jewelry pieces at an early stage.

One of the book’s strong points is its display of artful color jewelry renderings. Given the Place Vendôme’s world of secrecy, it is worth noting that some of the sketches feature serial numbers, names of patrons, and details on gemstone costs and corresponding vendors. This type of information is useful to anyone involved in jewelry pricing.

The book is selectively illustrated with three categories of photos. The first type consists of original color sketches with corresponding magnified shots of antique pieces, many of them from the jewelry house’s archival collection. The second type consists of black-and-white photos, using the chiaroscuro technique, of the Mains d’Or craftspeople at work. The third type, appearing at the end of each chapter, features a general shot of a recent piece alongside a detailed photo (showing individual gemstones in some cases). The opening and ending chapter photos are well suited to the chapters’ topics, proving that the craftsmanship inherent in past masterpieces is still alive.

On the down side, there is a relative disconnect between the photos of artisans’ hands and the contemporary jewelry pieces shown at the ends of sections. There would have been greater impact if the book had shown the same piece twice, once between the hands of a jeweler during its making and once completed. The photos of jewelers’ hands, though certainly a strong homage to their skills and dedication, are a superficial representation. At best, these pictures convey the contrast between rugged hands and delicate jewelry components in various stage of completion, as well as the artisans’; strength and dexterity. Yet focusing on their hands is too restrictive, and does not convey the physicality involved in jewelry making. The process is not limited to the hands; rather, it is a constant connection between hands, eyes, and brain, which is difficult to capture in photos. The concluding chapter, “The Crafts,” presents photos of all the craftsmen’s hands. This allows the reader to envision the actual handling of a piece through the different steps.

The text is extremely informative and detailed on all the phases of jewelry manufacturing. It does not shy away from technical descriptions—including an impressive list of tool names—while remaining inviting and accessible. It gives way, however, to the repetition of clichés, such as the poetic vision of the maison’s single-minded pursuit of perfection, beauty, and total control over its whole manufacturing process.

Despite these few shortcomings, the book is a must-have for jewelry students, bench jewelers, and gem experts who wish to become more familiar with this exclusive brand. Cologni describes a level of craftsmanship and organization that is almost extinct in the industry today. Van Cleef & Arpels’s variety of inspirations, design creativity, and manufacturing quality are among the very highest, and this opus is a beautiful tribute. Source: GIA @topic:6