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

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

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

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

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

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

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

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

	Analyze the test results to determine the karatage.
Always prepare the touchstone for its next use by cleaning it thoroughly. Remove the metal from the stone’s surface by placing it facedown on a piece of 320-grit abrasive paper on a flat surface. Apply moderate pressure and sand it in a circular motion until sample layers are no longer visible. Neutralize, rinse and blot dry before replacing in the kit. Always follow the manufacturer’s directions for the proper care, storage and handling of acids @chapter:34 @chapter:3 @chapter:34


# Publication Year: -
# Title: Books: Cycles of Life: Rings from the Benjamin Zucker Family Collection
# Abstract: By Sandra Hindman, with Beatriz Chadour-Sampson, Reine Hadjadj, Jack Ogden, and Diana Scarisbrick, hardcover, illus., 258 pp., publ. by Paul Holberton Publishing, London, 2014, £35.00.

Cycles of Life: Rings from the Benjamin Zucker Family Collection celebrates 40 years of collecting by one of the world’s most notable gem dealers. The book is the third in Hindman’s series on recent exhibitions at Les Enluminures, her gallery specializing in manuscripts, miniatures, and jewelry from the Middle Ages and the Renaissance.

	Hindman presents a selection of rings from the Zucker collection, much of which has been on loan to the Walters Art Museum in Baltimore since 1985. They are organized according to the talismanic, symbolic and commemorative roles rings have played in birth, marriage, death, and everyday life, and even as a symbol of eternity.

	Although organized by life cycles, the rings also document the changes in styles through the ages. Hindman describes the forces that were often behind these changes, such as the discovery of Brazilian diamonds, which caused the proliferation of diamonds in rings; and the  wars, disease, and plagues of the 1600s that led to the commemorative “memento mori” rings. It is also intriguing to see the continuity of jewelry design. Many of the pieces would not be out of place in a modern jewelry store: diamond solitaires, with the stones set high and with open sides so that light can enter; clusters of small diamonds that give the impression of greater size; and trios of diamonds set on the shoulders of rings.

	Hindman opens each section with an appropriate illustration from a medieval or Renaissance manuscript. Other reproductions of paintings and illuminations show how rings were actually worn in the past. My favorite illustration is from the beginning of the “Everyday Life” chapter. It shows a busy jewelry shop in the Middle Ages, with cloths spread with gems on the counters, and jewelry and vessels displayed on the shelves in the back. Change the clothing and it could be almost any family-run jewelry store today.

	As Hindman notes early on, rings often fit into multiple categories, and Cycles of Life is not meant to force them into rigid classifications. Instead, the book considers how, since the dawn of history, rings have encapsulated our hopes, our desires, our fears.

	“Birth” includes rings that offer prayers to Mary and Christ—both virgin births. A spectacular “gimmel”—or twin—ring, with its engraved and enameled interlocking shanks, opens to show a figure of a baby on one side and a skeleton on the other. It serves as a reminder of the importance of humility, signaling that the end of life is death, and that all things pass.

	“Marriage” features a broad selection of elaborate Jewish marriage rings—probably only worn during the wedding ceremony. Fascinating “key” rings indicate that, upon marriage, wives took on the keys to the stores and the responsibility of feeding the household. Most of the rings have been decorated with loving sentiments. Hindman traces the shift from the medieval practice of engraving sentiments on the outside of the ring shanks, in a public display, to the Renaissance practice of engraving them privately inside the rings.

	“Everyday Life” illustrates seal rings used for signing documents, rings engraved with crests and coats of arms identifying families, and gemstone rings worn not necessarily for vanity, but to invoke the special power and properties often associated with those stones.

	Medieval rings in the “Death” section show the well-warranted fears of mortality in that era. They are inscribed with charms and prayers, and set with stones believed to have magical properties. “Death jewelry,” writes Hindman, “appeared to have enjoyed a vogue” in the late Renaissance. These rings, worn in remembrance of a lost loved one, might today be considered gruesome: decorated with skulls and bones, or containing the hair of a deceased person. Such rings were often set with diamonds, a symbol of eternal life.

	Finally, “Eternity” tracks the evolution of the diamond ring from ancient Rome to the modern era. As Hindman writes, this section presents “a kind of mini-history of the diamond ring,” following the history of setting and cutting. Known since antiquity for their indestructibility, diamonds quite naturally became a symbol of eternity—hence their eventual use in betrothal and wedding rings. Diamonds represented the enduring nature of a monarch’s reign and, perhaps not inconsequentially, were believed to protect against poisoning. As already mentioned, diamonds in memento mori rings signified the eternal nature of the soul. The inclusion of perpetual calendar rings seems a bit out of place among so many diamonds, but is appropriate to rings dealing with eternity. This section acknowledges Benjamin Zucker’s long love affair with diamonds and diamond jewelry, and the important place they hold in his collection.

Cycles of Life is primarily a catalog of an exhibition of the same name at Hindman’s Les Enluminures gallery in New York that ran from Oct. 30 to Dec. 6, 2014. Excellent notes on provenance and sources as well as comparable pieces make this a valuable resource for the specialist. It also makes absorbing reading for non-specialists with an interest in jewelry history; the notes and bibliography provide gateways to further study. Comparison pieces show how styles influenced and were influenced by others. Descriptions of shank shape, enameling and setting techniques, manufacturing methods, and metal types offer fascinating windows into the superb skills of jewelers through the ages. Notes on gemstones serve as a reminder of the extent of trade in the ancient world: Garnets from India and emeralds from Egypt appear in ancient Roman rings.

	In addition to the breadth of the collection, the quality of the pieces is astonishing. Many are in excellent shape, with gemstones and even enameling in place. Excellent photos taken from multiple angles allow the reader to examine minute details of each ring, from enameling and engraving to areas of damage and repair.

	In addition to the five sections—Birth, Marriage, Everyday Life, Death, and Eternity—the book includes a preface by Benjamin Zucker outlining his initiation into the world of ancient jewelry as a young man just out of Harvard, through his lifelong habit of collecting. There is also a bibliography of Zucker’s writing, and a separate bibliography of references.

Cycles of Life would make a worthwhile addition to the library of anyone interested in jewelry history. @chapter:25 @chapter:2 @chapter:25


# Publication Year: -
# Title: Heart Jewelry and Gems for a Valentine
# Abstract: This heart-shaped 8.01ct Burmese ruby ring, set in platinum and surrounded with diamonds evokes love and passion just in time for Valentine’s Day. Photo by Robert Weldon/GIA, courtesy of Jan Goodman Co.

	The heart has been celebrated as the dwelling place of romantic love for centuries. Some scholars speculate that the earlier winged Cupids with heart-shaped arrows depicted in Renaissance art symbolized love, while others say the heart as the seat of affection dates back the first century BCE.

	Hearts and Valentine’s Day were forever wedded when Hallmark began mass production of Valentine’s Day cards in 1913. Today, it’s a holiday celebrated around the world.

	Valentine’s Day has a long tradition. In 496 CE Pope Galasius designated February 14th as a feast day to mark the martyrdom of Saint Valentine. While little is known about him, he is considered the Patron Saint of love, blissful engaged couples and happily married people. His image is often associated with birds and roses.

View Gallery

		To-morrow is Saint Valentine’s day,
		All in the morning betime,
		And I a maid at your window,
		To be your Valentine.
Hamlet, Shakespeare

	You don’t need to be in love to appreciate the romance and devotion of Valentine’s Day, or the beauty of the heart-shaped gems and heart-inspired jewelry. If you “heart” jewelry and gems, every day is Valentine’s Day. @chapter:25 @chapter:2 @chapter:25


# Publication Year: 2013
# Title: Gem Olivine and Calcite Mineralization Precipitated from Subduction-Derived Fluids in the Kohistan Arc-Mantle (Pakistan)
# Abstract: Geochemical data in this study suggests that remobilized CO2 and H2O from a subducted island arc helped form the calcite + olivine-bearing veins in Kohsitan, Pakistan. The authors provide details on the geologic setting, mineralogy, and geochemistry of the vein assemblages, which can yield gem-quality olivine (peridot). The CO2 and H2O from island arc magmas and carbonates mixed with mantle fluids rich in Bo (as evidenced by ludwigite-vonsenite needlelike inclusions in olivine) as well as La, Ce, Ta, Cu, and Zn (from trace-element analysis). Fluid origin and emplacement are discussed at length, with emphasis on macro-geophysical mechanisms within the earth. Gem olivine production data and characterization of the rough were not provided.

Abstracted by Keith A. Mychaluk @chapter:0 @chapter:0 @chapter:0


# Publication Year: -
# Title: Opal Quality Factors
# Abstract: This large Australian light opal cabochon weighs 117.85 carats. Small play-of-color flashes of orange and green predominate in a pinfire pattern, with spots of a more muted blue over a grayish bodycolor.

Individual opals can vary widely in appearance and quality. As diverse as snowflakes or fingerprints, each gem can differ noticeably.
There are three main aspects of an opal’s quality:

Color—Background color and play-of-color
Pattern—Arrangement of play-of-color
Clarity—Transparency and quantity of inclusions

How to Evaluate an Opal
Opal evaluation should be done under controlled lighting on a dark background. Rotating the opal against a background helps when you’re determining its type and evaluating its play-of-color and cut.
The Five Steps of Evaluating an Opal

Determine the type of opal:

Is it a black opal, white opal, crystal opal, etc.?

Determine the ratio and quality of its play-of-color:

Consider the percentage of play-of-color compared to background color, its intensity, dominant hues, range of color and pattern.

Determine the opal’s transparency:

Is it transparent, semi-transparent, translucent, semi-translucent or opaque?

Determine the opal’s clarity:

Look for the presence of matrix, crazing, pits, etc.

Evaluate the opal’s cut:

Consider the opal’s symmetry, thickness, polish, sizing and calibration.

Opal Colors
Opal hues can range across the spectrum. An opal might display a single color, two or three colors, or all the colors of the rainbow. Opal displays background color in addition to play-of-color. Background color—also called bodycolor—is caused by the suspension of tiny impurities within opal’s silica spheres.

This black opal has a lot of red play-of-color, which is considered highly desirable. Courtesy Mariora, Surfer’s Paradise, Australia
Opals are often divided into types based on background color. Even though there are many different categories for opals, here are the main five types:

Black Opal
All other quality factors being equal, many buyers favor the dark background color of black opal. This is partly because play-of-color tends to stand out attractively against a dark background. The contrast of play-of-color to bodycolor makes black opals very popular. Additionally, black opals are considered to be the rarest (white opals are more common).

White Opal
An opal with a translucent to opaque white and other light color backgrounds (bodycolor) with play-of-color is called white opal.

Fire Opal
Fire opal is transparent to translucent with a bodycolor that is usually yellow, orange or red. This material, which might show play-of-color, is also known in the trade as “Mexican opal” or “Mexican fire opal”.

This fire opal weighs a spectacular 132 carats. Courtesy W. Constantin Wild & Co., Idar-Oberstein, Germany
Boulder Opal
Boulder opal is translucent to opaque opal with play-of-color within a host rock. Thin layers of opal exist within the host rock (called matrix). The opal is cut with the matrix attached and is part of the finished gem.

Boulder opals can display intense play-of-color. Photo: Robert Weldon/GIA

Crystal and Water Opal
Crystal opal is transparent to semitransparent with a clear background. This type of opal can show excellent play-of-color. Water opal might or might not display play-of-color. If it does show play-of-color, it is faint and covers only small portions of the gem.

Play-of-color might be the most spectacular aspect of an opal’s appearance. No matter the color or combination of colors, play-of-color must be vivid to command a high rating. In other words, opal lovers prize bright play-of-color over faint play-of-color.
Secondary in importance to play-of-color’s strength is its range. If an opal’s play-of-color is not just bright, but also ranges across the entire spectrum, it’s very rare and valuable. Not every precious opal, however, sparkles with every color of the rainbow. In some, the play-of-color consists of just one main color and two or more secondary colors.

These light-colored opal beads are milky in appearance and have numerous dead spots with no play-of-color. Courtesy Cody Opal
Desirable play-of-color is further broken down by the colors themselves. Traditionally, red is considered the best prominent color, orange the next most desirable, followed by green. However, favored colors can vary with fashion or personal preference.
In addition, an opal’s play-of-color can change along with the viewing angle or type of light. For example, red might dominate in the same portion of an opal cabochon where blue dominates when it’s viewed from a different angle.
The most valuable opals display play-of-color from all angles.
Opal Patterns
Pattern describes the arrangement of an opal’s play-of-color. Like the shapes you see in the clouds, play-of-color takes many forms.
Common terms for play-of-color patterns include:

Pinfire or pinpoint: Small, closely set patches of color
Harlequin or mosaic: Broad, angular, closely set patches of color
Flame: Sweeping reddish bands or streaks that shoot across the stone
Peacock: Mainly blue and green

In general, connoisseurs prefer large, closely arranged patches of color over tiny, scattered dots. As with any play-of-color, no matter what the pattern, colors must be bright for the stone to be valuable.

The harlequin pattern in this black opal has a lot of red, blue, and green play-of-color. Photo: Rudy Weber. Courtesy Cody Opal

In a close-up view, you can see the details of a black opal’s near-perfect harlequin pattern. Courtesy Cody Opal
In addition to the arrangement and shape of the play-of-color patches, buyers must consider extinction, or “dead spots,” when evaluating pattern. A dead spot is an area of the gem in which no play-of-color appears and only background color is visible. Dead spots detract from opal value, especially if there are several of them.
Opal Clarity and Transparency
With an opal, clarity is its degree of transparency and freedom from inclusions. An opal’s clarity can range all the way from completely transparent to opaque. Experts prize different levels of clarity for different opal types. For example, in crystal opal, experts admire transparency, while in black opal they prefer an opaque background. Each provides the best background for displaying play-of-color in its individual opal type. A cloudy or milky background color lowers the value of any opal. It makes the gem less attractive, and it can sometimes signal a lack of stability.

Crystal opal can have intense play-of-color in a harlequin pattern.
There are various types of opal clarity characteristics that affect value. Opals, like other gems, can have fractures, or pits and other surface blemishes. An opal might also contain fragments of its host rock, called matrix. Matrix in a polished opal is usually—but not always—detrimental to its appearance and value. It depends on the type of opal.
If an opal loses moisture, it can lead to crazing: a fine network of cracks that resembles a spider’s web. The moisture loss can be caused by heat or excessive dryness, or by exposure to bright light or direct sunlight. Crazing can be prevented by never displaying opals in places— such as window displays—where they’re exposed to these conditions.

Boulder opals are opaque, giving them a mysterious look that’s ideal for designer jewelry pieces. Courtesy Cody Opal
Even if cracked opals don’t break right away, they have little durability in jewelry, and the fractures spoil the beauty and clarity of the gem. For quality control, producers and dealers single out opals that they suspect might ultimately craze. Dealers who willingly buy crazed opal do so because it commands a lower wholesale price than undamaged opal. This means they can sell it at a lower retail price level.
Opal Cutting
The cutter considers an opal’s color, pattern, and clarity when planning the finished gem. As with many top-quality colored stones, exceptional opals might not be cut to standard sizes and shapes.

This incredible black opal is cut in a freeform shape. Photo: GIA
Cutters usually fashion exceptional rubies or sapphires, for example, in a way that saves weight or maximizes color— even if the result is an unevenly proportioned gem. In a similar strategy, opal cutters usually cut top-quality rough to show off its spectacular play-of-color.
To achieve this goal, cutters might fashion fine opals into large, irregular shapes that keep as much play-of-color as possible. Designers set these costly one-of-a-kind gems into custom pieces.
On the other hand, cutters typically fashion commercial-quality white opal and assembled opal into standard calibrated sizes, usually ovals.
The cut of a fine opal should be symmetrical. If it’s a cabochon, the dome should be well rounded. Domed surfaces give the best play-of-color, and make the stone appear vivid from most viewing angles. If the cabochon is flat, it might be vulnerable to breakage, especially during setting into jewelry. If it’s too high, it might be hard to set in jewelry.
Carat Weight
Opals come in a wide range of sizes and carat weights. Opal has relatively low density compared to many other gemstones so even larger sizes can be comfortable to wear.
Common sizes for many of the opal cabochons set in jewelry are 6×4, 7×5, and 8×6 mm.
The Fire of Australia, a large uncut opal, weighs 998 grams or just under 5,000 carats. South Australia is one of the few places on Earth where opals of this size can be found. Approximately 90% of the world’s opals are from Australia.

At 24 carats, this high-quality black opal will make an impressive centerpiece for a jewelry design.  Courtesy Cody Opal
Assembled Opals
Opal can be fragile. In solid opal cabochons, the gem material is usually thick enough to withstand everyday wear and jewelry repair without breaking. But with thinner material, manufacturers often have to add a rigid backing for durability.
Assembled opals are fashioned opals with backings. They might include materials like glass that aren’t usually part of gem-quality jewelry, but because they are partly precious opal, they still have value as gems. They sell for only a fraction of the price of boulder opals, but they allow manufacturers to make attractive finished gems from thin opal pieces.
The two common types of assembled opal are the opal doublet and triplet. The doublet is a thin layer of opal cemented to a backing. The backing is often composed of obsidian, dyed black chalcedony, black glass, natural common opal, or plastic. The triplet is a thin layer of opal cemented between a domed top of colorless quartz or clear glass and a backing of obsidian, chalcedony, or black glass. @chapter:48 @chapter:0 @chapter:48


# Publication Year: 2019
# Title: Jeffrey Bilgore Gems and Jewelry Designs
# Abstract: Figure 1. This exceptional 10.02 ct 15.4 × 12.0 mm cushion-cut dark blue cobalt spinel is unheated. Photo by Robert Weldon/GIA, courtesy of Jeffrey Bilgore and John Bachman.

Jeffrey Bilgore is both a prominent gem dealer and an award-winning jewelry designer, and at his AGTA booth we found examples of exotic gems and exquisite jewelry. Among these was one of the most notable cobalt spinel gems we have encountered (figure 1). Displayed between two similarly sized blue sapphires, the unheated spinel was almost indistinguishable from them. A stunning fire opal and Russian demantoid garnet pin with tsavorite garnets and yellow diamonds (figure 2) also caught our attention, a testament to the artistry of Bilgore’s work.

Figure 2. A fire opal and Russian demantoid garnet pin designed and produced by Jeffrey Bilgore. The piece contains five carved fire opal leaves (18.74 carats total), four demantoid garnets (0.40 carats total), seven tsavorite garnets (0.17 carats total), a 0.20 ct pear-shaped Fancy Intense yellow diamond, and five additional yellow round diamonds (0.03 carats total), set in platinum. Photo by Robert Weldon/GIA. @chapter:33 @chapter:2 @chapter:33


# Publication Year: 2012
# Title: Update on the Identification of Dye Treatment in Yellow or “Golden” Cultured Pearls
# Abstract: Dye treatments in yellow or “golden” cultured pearls have improved to the point that some samples show little surface evidence. In addition to routine gemological observations, analytical techniques such as UV-Vis reflectance and Raman photoluminescence (PL) spectroscopy are critical to identifying the treatment. This study demonstrated three indications of dye treatment: broad reflectance features between 410 and 450 nm, the lack of a reflectance feature at 350 nm in the UV-Vis spectra, and intense fluorescence in the visible spectrum under 514 nm wavelength laser excitation. These diagnostic features may be used independently, even when no visual evidence of a dye exists. @chapter:54 @chapter:4 @chapter:54


# Publication Year: 2024
# Title: The State of Colored Gemstones: Why the Market is More Vibrant Than Ever

# Abstract: Prices of Popular Colored Gemstones Soar: Market Response and Sustainability Concerns

The prices of the three most popular colored gemstones (ruby, sapphire, and emerald) have soared, with their availability in the market declining. Coupled with increased attention to sustainability, we are witnessing the dawn of a new, more open-minded era.

**News Content:** This article compiles insights from discussions with exhibitors at the AGTA GemFair Tucson 2024, as well as from seminars held at the event. The key points can be summarized as follows:

In a seminar led by Stuart Robertson, President of Gemworld International Inc. and Director of Research at GemGuide, alongside Brecken Branstrator, Executive Editor, they encouraged attendees to purchase high-quality gemstones at the event if found. Attendees, while hoping to get a broad picture of the gem business, wondered why gemstone prices have surged unusually high. The answer lies in the current severe shortage of high and very high-quality gemstone raw materials. The major concern is that there is no source capable of restoring production levels close to those before the pandemic. Therefore, the hope of an influx of raw materials into the market to bring prices down is almost impossible. Prices are expected to either stabilize or rise further. One category of goods severely impacted by the pandemic is pearls.

Pearls seem to be heavily affected, with production capacities during the production season (during the pandemic) being lost from Tahiti, the South Sea, and Akoya. This has caused pearl prices to skyrocket and remain high for the next 3-4 years before stabilizing. Ray Mastoloni, owner of Mastoloni, confirmed the shortage of raw materials for the European and American markets, which are huge consumers of pearls. The situation worsened when the Chinese market became intensely obsessed with pearls, buying any quality available, driving prices up as the Chinese are willing to pay no matter how high the prices.

The demand for pearls from the Chinese market has caused pearl prices to soar while quality goods have become even scarcer. This sudden surge in demand has created a more challenging market for sellers than ever before, driven by delays in the production process and the influence of Chinese actress Ni Ni, who has heightened interest in pearls. This makes finding high-quality pearls exceptionally difficult and cost-prohibitive.

Similarly, high-quality colored gemstones are becoming increasingly rare. John W. Ford Sr., Executive Director of AGTA, and Martin Rapaport, Chairman of the Rapaport Group, discussed the soaring prices of various top-quality gemstones, particularly rubies, emeralds, and sapphires, often referred to in the industry as "The Big Three." Sapphires, especially blue ones, are in such high demand that buyers are scrambling for them, with prices expected to continue rising. Moreover, Burmese rubies are in severe shortage, to the extent that they are not available from regular sources. Only a few highly specialized traders have access to them. The soaring prices of these three popular gemstones have increased interest in other similarly colored gemstones, which will continue to be popular for some time as they are seen as more affordable alternatives.
### High-Quality Colored Gemstones Also Scarce

Just like high-quality pearls, high-quality colored gemstones are becoming increasingly rare. John W. Ford Sr., Executive Director of AGTA, and Martin Rapaport, Chairman of the Rapaport Group, discussed the soaring prices of various top-quality gemstones, particularly ruby, emerald, and sapphire, often referred to in the industry as "The Big Three." Prices have significantly increased, especially for blue sapphires, with buyers competing fiercely. Prices are expected to continue rising. Additionally, Burmese rubies are in severe shortage, to the extent that they are not available from regular sources. Only a few highly specialized traders have access to them. The soaring prices of these three popular gemstones have increased interest in other similarly colored gemstones, which will continue to be popular for some time as they are seen as more affordable alternatives.

In the diamond trade, it is well-known that rising prices lead buyers to seek alternative options, such as lab-grown diamonds. However, for colored gemstones, lab-grown alternatives are not as problematic because consumers looking for more affordable options prefer genuine natural colored gemstones over lab-grown ones. There is increasing demand for colored gemstones in the market, especially in the bridal category. Colored gemstones like sapphires are becoming more popular as engagement ring options. The trend of consumers wanting to express their individuality by choosing colorful gemstones is growing, in contrast to the past emphasis on diamonds only.

The colored gemstone industry is undergoing a major shift as consumers start to reject traditionally popular but overly expensive gemstones and turn to new, unique alternatives. One gemstone gaining popularity is spinel, known for its variety of colors, signaling that consumers are becoming more open to colored gemstones. Robertson emphasized the importance of having new colored gemstone options to meet consumer demand. Gemstones like zircon, tourmaline, tsavorite garnet, beryl, and topaz are becoming increasingly popular. Sapphires, especially those from Montana, are gaining significant popularity in the U.S. market due to their variety of colors and distinctive characteristics.

Jewelry designers and consumers are starting to favor unique gemstones with inclusions and natural patterns, moving away from the preference for flawless gemstones. Columbia Gem House noted the trend of cabochon-cut colored stones, which are polished and rounded without facets.### Unique Cabochon Cuts and Creative Marketing Strategies

Due to high buyer demand, uniquely shaped cabochon cuts were a major highlight at the Tucson show. The company showcased new gemstone collections reflecting the trend of gemstones designed as art inspired by diverse ancient styles. These collections included bullet-shaped, cone-shaped, curved, and mini-cabochon cuts (small cabochons of 1.5-2 or 3mm size). The company introduced two new collections at the show: "Occult" and "Zodiac." Additionally, Branstrator noted an increase in unique and playful cuts, such as kite and hexagonal shapes, as well as the revival of vintage cuts and the portrait cut. It is expected that these unique cuts will gain more attention in the coming year.

Creative marketing strategies have significantly influenced consumer gemstone choices. Instead of hiding flaws, sellers emphasize the uniqueness of each gemstone as a selling point to attract buyers. Responsible sourcing of colored gemstones and minerals, considering their origin and ethical procurement, is gaining market interest. The Federal Trade Commission (FTC) is currently reviewing appropriate definitions of "responsible sourcing" in the environmental guide to regulate advertisements claiming environmental benefits. The release date of this guide is uncertain, but sustainability practices are gaining attention. This includes the buying and selling of pre-owned jewelry and gemstones, particularly popular among young consumers seeking unique and environmentally friendly options.

### Analysis/Comments/Suggestions

The article discusses the trends in demand and the crisis of skyrocketing gemstone prices since the pandemic, which continue to affect the U.S. and global markets. Notably, the trends seem particularly advantageous for Thailand's gemstone industry. The shift from diamonds to colored gemstones, for which Thailand is a major producer, and the demand for unique cuts, where Thai artisans are renowned for their craftsmanship, create opportunities. Additionally, new designers who understand the young market could shine on the global jewelry design stage due to the interest in unique, standout designs that embrace natural flaws of colored gemstones. Furthermore, the growing emphasis on environmental and ethical concerns in gemstone sourcing, where Thailand has a clean reputation, aligns well with current market trends.

The key to seizing opportunities amidst this diamond price crisis is to make the market aware of Thailand's diverse strengths that align with the preferences of new-generation consumers in the United States. This communication can be done through various promotional channels. Unlike in the past, today's online social media platforms offer access to target consumer groups without massive investments. By managing these platforms effectively, you can reach your target audience through platforms that cater specifically to different age groups, allowing for more targeted marketing. This approach requires a deep understanding of the target audience and some creativity in presenting your offerings. While past television advertisements in Thailand have amused many foreigners given the chance, don't wait too long. Study the behaviors of your target audience and utilize online social media platforms that directly engage them. @chapter:42 @chapter:3 @chapter:42


# Publication Year: 2015
# Title: Colored Gems, Chinese Jewelry Designers, and Colored Diamond Spectra
# Abstract: Welcome to the first Gems & Gemology of 2015!

Spring is always an especially busy time, because our first issue comes hard on the heels of the annual Tucson gem shows. This event always provides an illuminating window into the world of colored gem supply and demand. Indeed, articles in this G&G provide a flavor of that worldview, featuring Vietnamese blue spinel, Moroccan amethyst, ruby from Mozambique, and a survey of contemporary Chinese jewelry designs featuring a wealth of colored gemstones.

Our lead article, by French researcher Boris Chauviré and his coauthors, offers geological context and a gemological characterization of the vivid blue spinel from Luc Yen, northern Vietnam, which owes its remarkable color to traces of cobalt.

Next, GIA’s Andrew Lucas and Merilee Chapin partner with Chinese coauthors Moqing Lin and Xiaodan Jia to survey the tremendous progress this country’s jewelry designers have made in the last decade. Informed by their civilization’s rich cultural roots and driven by the power of a rapidly growing domestic consumer market, the artistic prowess of Chinese designers is increasingly evident on the global stage.

Our third article, by a joint Moroccan-Italian team headed by lead author Fabrizio Troilo, provides an introduction to amethysts from Boudi, Morocco. Their study outlines the geology, mining, and the internal and external features of this attractive material.

Our fourth paper, by GIA’s Dr. Jim Shigley and Dr. Mike Breeding, bucks this issue’s colored-gem trend. Their article provides a review of colored diamond spectra, including a foldout chart, which we trust many practicing gemologists will find illuminating.

In addition, we’re delighted to present G&G’s third field report. GIA authors Merilee Chapin, Vincent Pardieu, and Andrew Lucas report on the geology and mining practices at Mozambique’s Montepuez ruby deposit, currently the world’s most important commercial source of ruby.

After these five feature articles, you’ll find our regular Lab Notes and Gem News sections. This issue contains in-depth coverage of the February 2015 Tucson Gem and Mineral shows, along with reports on the recent Gemstone Industry & Laboratory Conference (GILC) and the GIA-sponsored International Diamond School for natural diamond researchers held late January in Brixen, Italy.

We’re also delighted to present the results of the 2014 Dr. Edward J. Gubelin Most Valuable Article Award. Our sincere thanks to everyone who participated—we had an excellent response this year. Please see the results on page 31. Also, please don’t forget to take the G&G Challenge, our annual multiple-choice quiz!

Finally, as many longtime contributors know, Stuart Overlin has been the editorial backbone of our journal for a number of years. I’m very pleased to announce Stuart’s promotion to G&G’s managing editor. I’d also like to thank former managing editor Justin Hunter for his contribution. Justin is moving to an important new role at GIA.

We hope you enjoy this edition! @chapter:6 @chapter:0 @chapter:6


# Publication Year: 2013
# Title: Dumortierite-Quartz Rock Presented as Sapphire
# Abstract: Figure 1. These 5.16 and 2.59 ct specimens, submitted as sapphire and initially thought to be dyed quartzite, were identified as dumortierite-quartz rock. Photo by G. Choudhary.

              The Gem Testing Laboratory of Jaipur, India, received for identification an opaque blue specimen, submitted as sapphire. The 5.16 ct cabochon (figure 1, above) measured 12.59 × 10.28 × 4.71 mm. Examined under a fiber-optic light source, the specimen displayed an uneven blue coloration associated with dyed materials, possibly dyed quartzite.

Gemological testing gave a vague spot RI around 1.55 and a hydrostatic SG of 2.99.The stone fluoresced strong blue to short-wave UV and was inert to long-wave UV. It showed no reaction when viewed with the Chelsea color filter and no distinct absorptions using the desk-model spectroscope, reactions that would preclude the possibility of dyeing. The RI was consistent with quartz, but the SG value ruled out that possibility. Because of the curved surface and opacity of the cabochon, we asked the client to provide a specimen with a flat polish, enabling us to properly study the material. The client also provided a thin slice of the material (figure 15, right), which allowed light to pass through easily. The properties of the slice were similar to those recorded for the cabochon. Two RI readings were obtained while slightly shifting the slice, however. Although the readings were not clear, shadow edges were seen at about 1.54 and 1.68.

Initial microscopic observations of the slice with strong transmitted light suggested blue color concentrations along the boundaries of white to colorless grains, as seen in dyed materials (figure 2, below). Yet the interstitial areas were wider than those of dyed quartzite or any other dyed substance. On further examination of the slice, inhomogeneous blue and white granular texture became evident, where some blue grains were also visible. Reflected light revealed a clear difference between the blue and whitish portions (figure 16, right). The sharp-edged whitish irregular grains, which appear gray in the image, seemed to be embedded in the blue matrix. Also, the white portion had a much duller luster than the blue one. These features suggested that the blue color was indeed natural and that the uneven coloration was not the result of dyeing, but rather a mixture of white and blue materials.

	Figure 2. Uneven blue and colorless areas (left) suggested color concentrations associated with a dyed specimen, but reflected light (right) revealed a clear difference between the blue and whitish portions. The sharp-edged whitish irregular grains (which appear gray in the image) seemed to be embedded in the blue matrix. The white mineral was identified as quartz and the blue mineral as dumortierite. Also note the difference in the luster of two areas, although both minerals have similar hardness. Photomicrographs by G. Choudhary; magnified 32×.
UV-Vis-NIR spectroscopy of the slice in the 200–2000 nm region showed broad absorption bands (figure 3) centered at ~290 and ~610 nm, which are assigned to the Fe2+-Ti4+ charge transfer (see Platonov et al., “Fe2+-Ti4+ charge-transfer in dumortierite,” European Journal of Mineralogy, Vol. 12, No. 3, pp. 521–528). This was confirmed by EDXRF analysis, which detected the presence of Fe and Ti along with Al, Si, Ca, and As. In the DiamondView, the blue portions gave strong blue reactions while the white grains remained inert (figure 4).

	Figure 3. The slice’s UV-Vis-NIR spectrum in the 200–2000 nm region showed broad absorption bands centered at ~290 and ~610 nm, which are assigned to Fe2+-Ti4+ charge transfer and associated with dumortierite.
Raman analysis using a 532 nm laser confirmed the blue and white minerals as dumortierite and quartz, respectively. The blue durmortierite revealed major peaks in the 200–2000 cm–1 region at ~206, 290, 396, 446, 506, 844, 945, and 1068 cm–1, while the white quartz showed major peaks at ~206, 263, 353, 464, 807, 1080, and 1157 cm–1.

These peaks are consistent with those reported for dumortierite and quartz in the RRUFF database. Furthermore, the SG value of 2.99 suggested a composition of approximately 54.64% quartz and 45.36% dumortierite (assuming an SG of 2.65 for pure quartz and 3.40 for dumortierite, while disregarding other accessory minerals).

	Figure 4. DiamondView imaging revealed strong blue fluorescence in the dumortierite portion of the slice, while the quartz grains appeared dark and remained inert.
Identification of this specimen would have been difficult in the absence of Raman analysis, though UV reactions and a vague RI shadow edge offered some clues. For several years dumortierite has been known to occur with quartz as rock and massive forms, but it is not routinely seen in the trade, perhaps due to lack of awareness or because it is being misrepresented, as in this case. The client had no information on the origin of these specimens, which were purchased on the local market, but dumortierite in quartz has been reported from India (R. Webster, Gems, 5th ed., revised by P. G. Read, Butterworth-Heinemann, Oxford, UK, 1994). @chapter:15 @chapter:0 @chapter:15


# Publication Year: 2017
# Title: The Foxfire Diamond, Revisited
# Abstract: Figure 1. The 187.63 ct Foxfire rough diamond. Photo by Jeffrey Post.

The largest gem-quality rough diamond found in Canada, reported earlier in Gems & Gemology (Summer 2016 GNI, pp. 188–189), has revealed remarkable responses to excitation with long- and mid-wave UV light. This 187.63 ct diamond (figure 1) was extracted from the Diavik mine in the Canadian Arctic in the spring of 2015. Aptly named for the aurora borealis, the “Foxfire” displays unusual fluorescence and phosphorescence behavior upon exposure to ultraviolet light. As previously reported, this type Ia diamond has a high concentration of nitrogen impurities, a weak hydrogen-related absorption at 3107 cm–1, and typical “cape” absorption lines.

Exposing this stone to the near-band-gap ultraviolet light of the DiamondView instrument (about 210 nm) and short-wave UV (253.7 nm) results in only very weak fluorescence and phosphorescence, as reported earlier. However, exposure to mid- and long-wave UV (313 nm and 365.0 nm, respectively) produces extremely strong blue fluorescence and strong, long-lived orangish phosphorescence (figure 2).

Figure 2. Left: The Foxfire diamond, photographed in daylight-equivalent lighting. Center: The fluorescence exhibited in a darkened room while the diamond was exposed to long-wave UV. Right: The phosphorescence shown in a darkened room immediately after extinguishing long-wave UV excitation. Photos by Jeffrey Post.

Figure 3. The Foxfire under ambient room lighting, before (left) and just after exposure to long-wave UV light (right). Photos by Jeffrey Post.
Another surprising result of exposing the Foxfire diamond to UV light is a noticeable color change from very pale yellow to a light brown color (figure 3). Fortunately, the diamond reverts to its original color in a matter of minutes in ambient room lighting.

We further examined the spectral characteristics of the UV-excited phosphorescence emission with the spectrometer previously used to study phosphorescence from the Hope and other colored diamonds (S. Eaton-Magaña et al., “Fluorescence spectra of colored diamonds using a rapid, mobile spectrometer,” Winter 2007 G&G, pp. 332–351; S. Eaton-Magaña et al., “Using phosphorescence as a fingerprint for the Hope and other blue diamonds,” Geology, Vol. 36, No. 1, 2008, pp. 83–86). In the present experiments, the UV light sources employed were mineralogical short-, mid-, and long-wave UV lamps. Figure 4 displays the spectral emission between 350 and 1000 nm (approximately 10 nm resolution) as a function of time after turning off the UV light. The most intense emission resulted from long- and mid-wave UV excitation, while phosphorescence excited by short-wave UV was extremely weak.

Figure 4. Phosphorescence emission vs. time after extinguishing long-wave (left), mid-wave (center), and short-wave UV excitation (right)
The spectra of the “orange” phosphorescence reported above are unusual and distinct from those of other natural and lab-grown phosphorescent diamonds we have examined. We speculate that the primary mechanism for phosphorescence in diamonds is light emission resulting from recombination of electrons trapped at ionized donors and holes trapped at ionized acceptors that are in close proximity to one another. The long time delay results from the thermal movement of the trapped electrons or holes to retrap close enough to one another (P.J. Dean et al., “Intrinsic and extrinsic recombination radiation from natural and synthetic aluminum-doped diamond,” Physical Review, Vol. 140, No. 1A, 1965, p. A352–A386; B. Dischler et al., “Diamond luminescence: Resolved donor-acceptor pair recombination lines,” Diamond and Related Materials, Vol. 3, 1994, pp. 825–830). In the case of the Foxfire, we cannot identify as yet the nature of either the acceptors or donors involved.

Similarly, the phenomenon of the observed color change from light yellow to light brown with UV excitation and the reversal to light yellow has no detailed explanation yet. Such color changes, or sometimes a lightening of color, are often observed in natural diamonds. It is speculated that these are due to charge transfer between various defects (donor or acceptor states) within diamond. Diamond is inherently an insulator where electric charges move very slowly and their motion depends on the nature of the defects present, the temperature of the diamond, and its exposure to light. For an interesting discussion, see K.S. Byrne et al., “Chameleon diamonds: Thermal processes governing luminescence and a model for the color change,” Diamond and Related Materials, Vol. 81, 2018, pp. 45–53. @chapter:22 @chapter:1 @chapter:22


# Publication Year: 2018
# Title: Large Faceted Afghanite
# Abstract: An exceptionally large and clean 1.91 ct faceted oval brilliant afghanite was recently submitted to GIA’s Carlsbad lab. Photo by Robison McMurtry.

Afghanite is a blue mineral named in 1968 after its discovery in Badakhshan Province, Afghanistan. It is often found in association with lapis lazuli and sodalite (R.V. Gaines et al., Dana’s New Mineralogy, John Wiley & Sons, New York, 1997, p. 1634). It has a chemical formula of (Na,Ca,K)8(Si,Al)12O24(SO4,Cl,CO3)3·H2O (Gaines et al., 1997). Since 2003, there have been only a few mentions in the literature of gem-quality afghanite (Winter 2003 GNI, pp. 326–327; Spring 2008 GNI, pp. 79–80; Fall 2011 GNI, p. 235; Spring 2015 GNI, p. 83), with no reports of finished faceted stones larger than 1.5 ct. Five gem-quality samples ranging in size from 2.87 to 7.25 ct have been reported; however, all five were cabochons and contained numerous inclusions of lazurite (Winter 2003 GNI, pp. 326–327).
For these reasons, the 1.91 ct transparent faceted oval brilliant afghanite recently submitted to the Carlsbad lab for an identification report was truly exceptional (see above). The only inclusions in the stone were minor fractures. To date, it is the largest facet-grade afghanite on record in the GIA gem identification department. Standard gemological testing revealed that the stone was doubly refractive and uniaxial, with a refractive index (RI) of 1.522 to 1.530 and a specific gravity (SG) of 2.52. These results are consistent with the published properties of afghanite (Gaines et al., 1997). Additionally, an early report on gem-quality afghanite notes that “an interesting feature of afghanite that should prove useful in its identification is its strong, bright orange fluorescence to long-wave UV radiation,” a property that this remarkable stone exhibited (Winter 2003 GNI, p. 326–327). Further confirmation of the stone’s identity was obtained by using Raman spectroscopy, which yielded a spectrum that matched that of known afghanite samples. @chapter:14 @chapter:0 @chapter:14


# Publication Year: 1996
# Title: Winter 1996 G&G Book Reviews
# Abstract: “Gemstones of Afghanistan”
By Gary W. Bowersox and Bonita E. Chamberlin, 220 pp., iilus., publ. by Geoscience Press, Tucson, Arizona, 1995, US$60.00

“The Volcanic Earth”
By Lin Sutherland, 248 pp., illus., jmbl. by University of New South Wales Press, Sydney, NSW, Australia, 1995. US$45.95

To view the full section, download the PDF above. @chapter:30 @chapter:0 @chapter:30


# Publication Year: 2020
# Title: Robert Weldon Receives Bonanno Award
# Abstract: G&G contributor Robert Weldon received the 2020 Bonanno Award for Excellence in Gemology.
Longtime Gems & Gemology  author and photographer Robert Weldon (see above) has received the Accredited Gemologists Association’s 2020 Antonio C. Bonanno Award for Excellence in Gemology. The award was presented during AGA’s annual gala in Tucson on February 5.
During his more than 30-year career, Weldon has contributed scores of publications, serving as colored gemstone editor at JCK and senior writer at Professional Jeweler. His photography has appeared on more than 30 G&G  covers, and he has written numerous feature articles for the journal. He coauthored, with Dona Dirlam, Splendour & Science of Pearls (2013). Since 2017, Weldon has been director of GIA’s Richard T. Liddicoat Gemological Library and Information Center. In recent years he has also been closely involved in providing gemological training to independent African miners. @chapter:34 @chapter:0 @chapter:34


# Publication Year: 2019
# Title: Tagua Nut as a Sustainable Botanical Alternative for Ivory
# Abstract: Figure 1. These teardrop earrings show the kayonan, or tree of life, carved into the tagua nut and the lotus flower in sawo wood. Two brilliant-cut diamonds totaling 0.11 carats are at the center of the earrings. The gold work shows designs usually seen on Balinese temples. Photo by Russell Starr, courtesy of Alexandra Mor.

Award-winning haute couture jewelry designer Alexandra Mor considers sustainability a way of life. When designing her one-of-a-kind pieces, she is mindful of her client’s lifestyle and interests while also thinking of the environment and of the culture and well-being of the artisans who bring each object to completion. It is in this spirit that she created the Tagua Collection, which uses the endosperm of the ivory palm tree—also known as the tagua nut or tagua seed—as an elephant ivory substitute. Now she is expanding into 3D printing using tagua nut specimens.
Mor, who believes that “designers are the new activists,” is not new to ethical or sustainable jewelry design. In 2013, she created a ring (later modeled by actress Mila Kunis) using ethically sourced emeralds, the same year she won the Fashion Group International Rising Star Award. But Mor wished to create a more meaningful, spiritual, and eco-conscious practice of her own. Concerned about the plight of elephants and the continued use of ivory in jewelry, she was inspired to use the tagua nut as a botanical alternative. Mor, who was influenced by Balinese philosophy, chose to ethically source the tagua nuts from Ecuador and Colombia and create the collection in Bali. She worked for 10 months with carvers and master goldsmiths to create the pieces, which are rich in local cultural motifs and Buddhist symbolism. Balinese designs found in this collection include the vines, leaves, and tendrils seen in the gold work of the tagua seed, wood, and diamond earrings (figure 1); these are often seen on the island’s temples. The kayonan, or tree of life, motif is carved into the tagua nut sections of the earrings in figure 2.

Figure 2. These hoop earrings measure 57 × 42 mm, and once again show the kayonan motif carved into the tagua seed surface. The areng ebony wood rim shows off the tagua’s color. The earrings are set on 22K gold. Photo by Russell Starr, courtesy of Alexandra Mor.
The Tagua Collection has been well received among collectors and in the trade. The introduction of a new and sustainable fine jewelry material, at a time when clients seek out such goods, has been an inspiration to others, and Mor was named Town & Country’s Fine Jewelry Innovator of the Year for 2018. Since 2016 she has directed Vogue Italia’s The Protagonist at Christie’s New York, a competition in which 14 designers use sustainable materials such as reclaimed gold and wood, vegetable leather, and responsibly mined gemstones alongside the tagua nut. Mor’s work has also drawn attention outside the industry, allowing opportunities to expand her work. At the 2018 Gem & Jewellery Export Promotion Council (GJEPC) meeting in Mumbai, she met Kamlesh Parekh of Imaginarium, India’s largest 3D printing company. After touring their facilities with Parekh, Mor believed she had found a way to overcome the small size of the tagua seed, a major limitation. She gave Parekh three seeds to test, and Imaginarium has produced the first 3D-printed tagua nut. Such production will allow for larger, more plentiful tagua pieces in the future.
Mor’s next collections will continue to use tagua seeds, as well as sustainably sourced precious metals and conflict-free diamonds, and she will continue to collaborate with Colombia’s Muzo mine due to their social and environmental commitment (figure 3). She supports Space for Giants, a conservation organization dedicated to protecting elephant habitats. She has also launched the Tagua Foundation, which is dedicated to inspiring young designers and leaders, as well as students of all ages, to create sustainable jewelry. Mor explained, “As designers, we have a responsibility to what materials we are using, and as collectors of fine jewelry, we have a voice and can make a difference in how we purchase. I have decided to use my voice to lead and inspire the fine jewelry industry to take the necessary steps to care for our planet and its people through grace and education. It doesn’t matter what we choose to do, what matters is that what we choose will make a difference.”

Figure 3. This one-of-a-kind ring is part of a collaboration between Mor and Colombia’s Muzo emerald mine. The ethically sourced emerald beads, weighing a total of 18.15 carats, are set with a 16.80 ct wild tagua seed bead. The 1.15 carats of diamond melee are in platinum set on 18K yellow gold. Photo by Russell Starr, courtesy of Alexandra Mor. @chapter:25 @chapter:2 @chapter:25


# Publication Year: 2023
# Title: The luxury market and products with potential that Thailand responds to.
# Abstract: In India, there are approximately 150,000 High Net Worth Individuals (HNWIs), individuals with assets exceeding $30 million USD, ranking third globally after the United States and China. This number has increased elevenfold over the past decade. A study by Credit Suisse indicates that the number of HNWIs with assets over $100 million USD in India is expected to double in the next three years. Euromonitor International's market research center estimates strong growth trends for products catering to this group, driven by the expanding economy and emerging cities in India. This presents opportunities for high-quality and luxurious products such as cars, fashion apparel, jewelry, skincare products, and alcoholic beverages. The total value of these goods is projected to increase from 2.08 trillion INR in 2566 to 2.2 trillion INR in 2567.
Despite global economic slowdowns, consumers in this group continue to maintain purchasing power. In 2565, following the COVID-19 pandemic, sales of luxury cars in India reached approximately 38,000 units, a 50% increase from the previous year. In the first quarter of 2566, about 9,500 luxury cars were sold, marking a 10% increase from the same period in the previous year, with Mercedes-Benz showing the highest sales increase.
According to Knight Frank's Wealth Report 2023, half of this group is inclined to collect unique artworks for both home and office decoration and investment purposes. Additionally, there is a trend towards purchasing luxury items such as handbags, eyewear, watches, and wines. This aligns with India Sotheby’s International Realty's Luxury Outlook Survey 2023 and The American Express survey, which found that 90% of high-income Indians seek specialized health services tailored to their interests and are interested in traveling to new and exclusive destinations. There is also a preference for participating in culinary activities during travel, such as cooking classes and food festivals. Regarding communication channels for service offerings, 48% of the sample group tends to receive information from online media platforms like Instagram and Facebook, as well as from television programs and movies such as 'Emily in Paris' and 'Game of Thrones'. Moreover, there is a trend towards acquiring vacation homes in both India and abroad.
Additional Information and Comments:
Thai products with unique designs and manufacturing are already well-received in India and can meet the demands of high-income individuals, especially in the fashion and lifestyle categories. This can be enhanced by increasing access to this consumer group through collaborative activities with influential figures in online media, trade associations, airlines, sports clubs, hotels, hospitals, and participation in exhibitions in department stores with high-end brands, catering to the needs of affluent customers, especially in major cities such as Mumbai, Ahmedabad, Surat, and Goa. @chapter:32 @chapter:3 @chapter:32


# Publication Year: -
# Title: Sapphire History and Lore
# Abstract: The 330-ct Star of Asia is in the collection of the National Museum of Natural History – Chip Clark, courtesy Smithsonian Institution

                      Traditionally, sapphire symbolizes nobility, truth, sincerity, and faithfulness. It has decorated the robes of royalty and clergy members for centuries. Its extraordinary color is the standard against which other blue gems—from topaz to tanzanite—are measured.

For centuries, sapphire has been associated with royalty and romance. The association was reinforced in 1981, when Britain’s Prince Charles gave a blue sapphire engagement ring to Lady Diana Spencer. Until her death in 1997, Princess Di, as she was known, charmed and captivated the world. Her sapphire ring helped link modern events with history and fairy tales.

In ancient Greece and Rome, kings and queens were convinced that blue sapphires protected their owners from envy and harm. During the Middle Ages, the clergy wore blue sapphires to symbolize Heaven, and ordinary folks thought the gem attracted heavenly blessings. In other times and places, people instilled sapphires with the power to guard chastity, make peace between enemies, influence spirits, and reveal the secrets of oracles.

In folklore, history, art, and consumer awareness, sapphire has always been associated with the color blue. Its name comes from the Greek word sappheiros, which probably referred to lapis lazuli. Most jewelry customers think all sapphires are blue, and when gem and jewelry professionals use the word “sapphire” alone, they normally mean “blue sapphire.”

A special orangy pink sapphire color is called padparadscha, which means “lotus flower” in Sinhalese, the language spoken in Sri Lanka. Stones from Sri Lanka were initially the only ones labeled with this marketable name. There’s no telling how many padparadschas have been sifted from Sri Lankan river gravel throughout history. Sri Lankans have a special affection for the color that’s traditionally been linked with their country. @chapter:55 @chapter:2 @chapter:55


# Publication Year: 2020
# Title: Interesting Sapphires from Montana and Australia
# Abstract: Figure 1. Bicolor sapphires from the Rock Creek mine, Montana. Cutters took advantage of the color inhomogeneity of the rough to create these interesting color combinations. These stones range from 1.61 to 7.36 ct. Photo by Emily Lane; courtesy of Potentate Mining.

While sapphire has always been popular at trade shows, occasionally the authors find some interesting stones with attractive color distribution or growth patterns that have a niche in the market.
At this year’s AGTA show, Potentate Mining carried some spectacular bicolor faceted sapphires and a variety of slabs from its Rock Creek mine in Montana. The Rock Creek operation is one of four active sapphire mines in Montana. Stones from this deposit tend to be flat, showing pastel colors, and many stones show bicolor or have an orange or yellow core called “yolk” by the local miners. Gem cutters and jewelry designers have been finding innovative ways to take advantage of these challenging attributes. Through careful design and cutting, some stones show attractive color combinations such as yellow/green, yellow/light blue, orange/blue, or simply different shades of yellow (figure 1). This type of bicolor is very characteristic of Rock Creek sapphires.

Figure 2. Flat rough sapphires from Rock Creek attract jewelry designers and cutters. The slabs are grouped and sold by their weight. Photo by Tao Hsu.
As for the flat rough, Potentate offers several categories based on color, pattern, and weight (figure 2). According to the company’s marketing director, Warren Boyd, both cutters and designers have shown strong interest in these slabs, especially those weighing half a gram and above. Designers seem to prefer slabs with patterns while cutters or carvers prefer slabs with solid colors to make special cuts.

Figure 3. This pair of blue sapphire thin slabs displays a very attractive color. They were sliced off a dark blue sapphire crystal from Inverell, Australia. Mr. Coldham also offered thin slabs of blue and parti-colored sapphires from Australia. Photo by Tao Hsu.
At the GJX show, Terry Coldham from Intogems showed the authors a pair of thin blue sapphire slabs with characteristic hexagonal growth patterns. The pair in figure 3 is from the Inverell sapphire field of New South Wales, Australia. Blue sapphires from this area tend to show a very saturated and dark inky blue color. Slicing them into thin slabs makes the blue color much lighter and more desirable. However, the size and quality of this pair are extremely rare to find. Mr. Coldham also carries many parti-colored and fancy-color Australian sapphires (see figure 4 in the Tucson Overview), which also sold well at the show.
Watch videos of the sapphire slabs from Montana and Australia:

	Sapphire slabs from Montana and Australia @chapter:21 @chapter:0 @chapter:21


# Publication Year: 1989
# Title: A Preliminary Gemological Study of Synthetic Diamond Thin Films
# Abstract: To evaluate possible problems in separating gem materials coated with a synthetic diamond thin film from their uncoated equivalents, we examined one sample of a free-standing, polycrystalline diamond film about one micron (0.001 mm) thick. This film could be easily recognized by standard microscopic examination, especially in surface-reflected and polarized light. The potential problems related to detecting thicker, monocrystolline, or colored synthetic diamond  thin films and coatings that might be encountered in the future on faceted stones are also briefly discussed. @chapter:36 @chapter:1 @chapter:36


# Publication Year: 2023
# Title: “Snail” in Diamond
# Abstract: This “snail” inclusion was viewed through the upper half facet of a 4.00 ct near-colorless diamond. The purple-red “shell” was identified as pyrope garnet, while the green “body” was determined to be diopside. Photomicrograph by Christopher Vendrell; field of view 1.99 mm.
While different types of inclusions often occur independently within diamond, it is quite rare to find more than one occurring simultaneously, let alone in contact with each other. In the figure above we have a unique example of a purple-red pyrope garnet crystal and green diopside crystal suspended together, having been captured within this natural 4.00 ct near-colorless diamond during formation. Such inclusions can be utilized to verify what environment a diamond may have formed in. In this case, the diamond’s genesis was likely in an ultramafic peridotite environment. The appearance of this unique inclusion series is playfully reminiscent of a snail. @chapter:43 @chapter:1 @chapter:43


# Publication Year: -
# Title: Fancy Color Diamond Description
# Abstract: Fancy color diamonds are among the rarest and most valuable gemstones.

                      Diamonds in the normal color range are colorless through light yellow and are described using the industry’s D-to-Z color-grading scale. Fancy color diamonds, on the other hand, are yellow and brown diamonds that exhibit color beyond the Z range, or diamonds that exhibit any other color face-up. These rare specimens come in every color of the spectrum, including, most importantly, blue, green, pink, and red.

	The colored diamonds in the Aurora Butterfly of Peace were assembled over a 12-year period by Alan Bronstein and Harry Rodman of Aurora Gems Inc., New York. The butterfly’s 240 stones show nearly the full spectrum of color and cut styles of naturally colored diamonds. - Courtesy Alan Bronstein
Gem diamonds in the D-to-Z range usually decrease in value as the color becomes more obvious. Just the opposite happens with fancy color diamonds: Their value generally increases with the strength and purity of the color. Large, vivid fancy color diamonds are extremely rare and very valuable. However, many fancy diamond colors are muted rather than pure and strong.

	The colors exhibited by natural fancy color diamonds are usually not very intense. - Courtesy T. Horovitz
Fancy color diamonds come in almost any color you can imagine. Red, green, purple, and orange are generally the most rare, followed by pink and blue. Yellows and browns are the most common fancy colors, but they’re generally less valuable than the rarer colors.

	While abundant compared to other colored diamonds, fancy color yellow diamonds represent a small portion of overall diamond production. Their beauty and the depths of color in which they occur offer a wide range of possibilities to the jeweler. - ©GIA and Harold & Erica Van Pelt, courtesy Harry Winston, Inc.; Jonathan Doppelt Inc.; N. Smid; Scarselli family

	The strength and purity of this 0.81-carat diamond’s color increases its value beyond that of a similar-size diamond in the normal color range.
Blacks, grays, and fancy whites are considered fancies, too. Some have been fashioned into gems. The 67.50-carat Black Orloff diamond, named after the Russian Princess Nadia Vyegin-Orloff, is the most well-known example.

	The cushion-cut Black Orloff diamond weighs 67.50 carats and was reportedly cut from 195-carat rough. It’s set in a diamond and platinum necklace.

	Fancy white diamonds can have an opalescent look. - Courtesy of collector, Dr. Pericles John Lentz
Spectacular prices in high-profile auctions are another factor in the increased awareness of fancy color diamonds. Not all fancy color diamonds command such high prices, however. Many people consider yellow and brown fancies less desirable than near-colorless stones of equal weight and clarity. And deeper yellows and browns are generally less valuable than other fancy colors. @chapter:44 @chapter:1 @chapter:44


# Publication Year: -
# Title: Exhibition Review: Treasures and Talismans: Rings from the Griffin Collection
# Abstract: Figure 1. The 17th century British memento mori ring shown here, made from gold, enamel, diamonds, and ruby, has a locket for holding secret messages.  From the Griffin Collection. Photograph by Richard Goodbody, courtesy of the Metropolitan Museum of Art.

                      Rings, traditionally the most popular style of jewelry, carried heavy cultural and spiritual significance throughout the Middle Ages. Available to all levels of society, both male and female, since they were purchased in the marketplace rather than custom designed, rings became connected to identity, romantic affection, social and ecclesiastical status, and even the nature of life and death (figure 1). Treasures and Talismans: Rings from the Griffin Collection, on exhibition at the Cloisters, the Metropolitan Museum of Art’s medieval art and architecture branch, spotlights the relevance of rings to the period. The exhibition, part of a private collection named for the mythical creature that guarded gold mines, focuses on the styles and techniques used in ring manufacture from the early 5th through 16th centuries, along with the wearers of the rings themselves. Themes such as love, death, and religious devotion are explored, not only through the jewelry displayed, but by accompanying media such as video demonstrations and artwork in which rings are prominently featured.

The dozens of rings on display are remarkable. Gold was usually recycled from other forms, and goldsmiths relied on coins and existing jewelry for the metal needed to forge new rings. Stones were also recycled, but as trade grew they could be obtained from the Middle East and Asia. Since faceting was not mastered until the late medieval period, gems were usually featured in their rough, uncut state, or in cabochon form. A gold ring from Byzantium (figure 2), dating from the 12th–13th centuries and set with aquamarine and pearls, exhibits such an uncut material.

Figure 2.  This aquamarine, pearl, and gold ring from Byzantium dates from the 12-13th centuries. From the Griffin Collection. Photograph by Richard Goodbody, courtesy of the Metropolitan Museum of Art.
Rings with romantic meaning are a familiar concept to today’s audience, but the medievals had a number of options for expressing their love. Since gems had to be recycled or sourced from distant locations, engravings were often used in their place, as in the Byzantine marriage ring in figure 3. Rather than using images, some Elizabethan-era couples chose to wear “posy” rings, with engravings on the outer and inner bands. Such inscriptions in the displayed rings include “Thinke Wel of Me,” “Providence Divine Hath Made Thee Mine,” and simply, “I Like My Choyse.” Gimmel rings, in which two bands form one complete ring, were also used to commemorate engagements and marriages.

Figure 3. This Byzantine gold marriage ring features an engraving of the couple. From the Griffin Collection. Photograph by Richard Goodbody, courtesy of the Metropolitan Museum of Art.
Both clergy and laity wore jewelry commemorating their religious devotion, with priests and bishops wearing oversized rings to denote their status. Additional rings were often needed to keep the largest one in place. Pieces of this nature can be seen in artwork within the gallery, such as “Scenes from the Life of Saint Augustine of Hippo” (1490), an oil, gold, and silver painting on a wood panel by the Netherlandish artist Master of Saint Augustine. A similar style is seen in the late 15th century carving entitled “Saint Germain and a Donor.” Medieval Christians would frequently wear jewelry such as rings or brooches engraved with religious iconography or passages in order to obtain divine intercession; wearing these pieces directly on the body was believed to be particularly persuasive. Of particular interest in this category are memento mori rings, intended to remind the wearer of the unimportance of earthly pleasures. From the Latin for “remember that you have to die,” the rings often featured symbols such as skulls or skeletons (as in the British ring seen in figure 1) indicating the fleeting nature of life. As with this locket ring, there were often secret compartments for hidden messages or reminders.

The idea of identity is examined in the collection’s signet and key rings. For people without a family coat-of-arms, signet rings were used as a signature to seal documents and communication. Key rings, a Roman tradition, were used to secure boxes, allowing the wearer exclusive access to the contents. The ring in figure 4 is one such ring, engraved with the owner’s name, Homonoea.

Figure 4. Key rings, such as this one from the early medieval period, allowed the wearer exclusive access to locked boxes. From the Griffin Collection. Photograph by Richard Goodbody, courtesy of the Metropolitan Museum of Art.
The prominence of the ring in the works of art on display reemphasizes its importance to European culture. Along with the previously mentioned pieces, objects complementing the rings include a piece from a 2nd century mummy’s shroud, with the deceased’s image (including hands with rings on every finger) painted on it. Tools of the trade such as scales, along with an ivory personal storage casket with scenes engraved (including a young man giving a ring to a woman) are also on view. Many of the techniques used by medieval goldsmiths have been lost to time, but visitors can view video of modern cutting, design, and setting creation. The relative ease with which this work is done by machine emphasizes the painstaking work of these goldsmiths. This is depicted in the Petrus Christus oil painting “A Goldsmith in His Shop,” wherein a well-to-do couple watches a craftsman weigh a wedding band, his tools and creations surrounding him.

Curated by the Met’s own C. Griffith Mann, Treasures and Talismans is an extraordinary look into the postclassical world of Europe as expressed through jewelry.

Treasures and Talismans: Rings from the Griffin Collection is on view in the Glass Gallery at the Cloisters until October 15, 2015. The recommended admission is $25 for adults, $17 for seniors 65 and over, and $12 for students; this also allows same-day entry in the Metropolitan Museum of Art’s Main Building on Fifth Avenue. The Cloisters is open seven days a week; hours from March through October are 10:00 a.m. to 5:15 p.m. The museum is closed for Thanksgiving, Christmas, and New Year’s Day. @chapter:25 @chapter:2 @chapter:25


# Publication Year: -
# Title: Spring 2010 Gem News International
# Abstract: 2010 Tucson
Colored Stones and Organic Materials
	            Update on Ametrine from the Yuruty Mine, Bolivia
	            Andradite from China
	            Barite from Brazil
	            Hanksite as a Gem Material
	            Lepidolite Beads from Mozambique
	            “Soufflé” Freshwater Cultured Pearls
	            “Churrasco Quartz” with Tourmaline and Chamosite Inclusions from Brazil
	            Cat’s-Eye Rhodonite
GNI Regular Features
Diamonds
	            A Large Hydrogen-Rich Diamond with a Cuboid Phantom Cloud
Colored Stones and Organic Materials
	            Diopside from Ihosy, Madagascar
	            Garnet and Zircon from the Solomon Islands
	            Tsavorite Mining at Namalulu, Northern Tanzania
Synthetics and Simulants
	            Treated CVD-Grown Pink Synthetic Diamond Melee
Treatments
	            A Be-Diffused Sapphire with Interesting Zoning Patterns
	            Dyed Conch Shell Beads
Miscellaneous
	            Unusual Gemstone Tapestry

To view the full section, download the PDF above.

	DATA DEPOSITORY

Electron Microprobe Data
	Submitted by Simona Mazziotti Tagliani
	May 5, 2010 @chapter:0 @chapter:0 @chapter:0


# Publication Year: 2013
# Title: Rock Buttons from the United States
# Abstract: Figure 1. These rock buttons were seen in Tucson. Bottom row, left to right: blue veil quartz from Washington, rhodonite from Colorado, amazonite from Virginia, serpentine from California, black jasper from Oregon, copper-infused brick from Michigan, jasper from Idaho, oligoclase from Nevada, fossilized coral from Alaska, polka-dot agate from Oregon, and lemon chrysoprase from Australia. Top row: glacier stone from Idaho, bertrandite from Utah, and black jasper from Oregon. Courtesy of Columbia Gem House. Photo by Eric Welch.

              At the AGTA show, Columbia Gem House (Vancouver, Washington) introduced its American rock button collection. The rocks were collected from about 25 different states, then processed and finished in the company’s own cutting facilities. The rocks are sliced and shaped into round buttons and drilled through along different directions. Each button is about 3–4 mm thick and 1–3 cm in diameter. Some are polished, while others have a dull finish. Natural gemstones are mounted in some of the rock buttons, bringing out the colors of both.

The collection features a wide variety of rocks (figure 1). Blue veil quartz, a combination of quartz matrix with blue azurite veins, was discovered in Washington state. Perhaps the most interesting item is copper-bearing brick from a Michigan copper smelter. For years, melted copper dropped on the floor and sealed the fractures in the bricks, giving them a unique look after polishing. Green serpentine, the California state rock, is a metamorphic rock composed of magnesium-rich silicate minerals. Amazonite from Virginia is the beautiful bluish green variety of microcline. With some minor albite stripes, it displays an alternating blue and white pattern. From Utah comes bertrandite, a beryllium source composed of many different minerals. Bertrandite is just one mineral component of the rock, which is quite rare; most are destroyed in ore crushers before they can reach the jewelry market. Other interesting specimens included rhodonite from Colorado, black jasper and polkadot agate from Oregon, oligoclase from Nevada, coral from Alaska, and glacier stone from Idaho.

These rock buttons are sold individually. Designers or consumers can use them in any combination to create their own custom looks. The buttons can be strung on metal, leather, or other materials to form individualized necklaces and bracelets. @chapter:4 @chapter:0 @chapter:4


# Publication Year: -
# Title: Fluid CH4 and H2 Trapped Around Metallic Inclusions in HPHT Synthetic Diamond
# Abstract: This article was published in Diamond and Related Materials, Volume 68, 2016, Pages 10–12.

	Abstract
Diamonds grown by the high-pressure, high-temperature (HPHT) method commonly contain solid inclusions from the metallic solvent-catalyst they are grown in. Such inclusions give rise to their familiar magnetism. Upon recent analysis of 4 commercial HPHT synthetic diamonds from different sources, several of these solid inclusions were found to have a thin, fluid film or jacket of methane (CH4) and hydrogen (H2) trapped at the interface between the solid inclusion and surrounding diamond. Raman spectroscopy reveals peaks near 2918 cm− 1 and 4156 cm− 1 that correspond to the main vibrations of CH4 and H2, respectively. In some cases the peak position is shifted down by a few wavenumbers due to elevated pressure within the inclusions.

The CH4 and H2 probably formed as the inclusion cooled, when dissolved hydrogen atoms were no longer soluble in the solidifying inclusion phases and were forced to exsolve as H2, as well as CH4 by combining with available carbon. Inclusions can provide an indirect means of studying the effective growth environment. These findings show that hydrogen is commonly present at the site of diamond growth in HPHT synthesis, even if it is not intentionally added among the starting materials. Hydrogen is known to influence diamond growth, based on doping experiments, suggesting that there could be unrealized benefits to gaining better control over hydrogen during routine HPHT diamond synthesis.

Purchase the full article. @chapter:9 @chapter:1 @chapter:9


# Publication Year: 2016
# Title: Shrinkage “Footprint” in Rose Quartz
# Abstract: This 0.98 mm yellowish brown footprint-shaped epigenetic deposit of iron hydroxide was discovered in a pale pink rose quartz from Madagascar. Photomicrograph by Nathan Renfro; field of view 2.38 mm.

	Rose quartz is a widely distributed gem material. The specimen shown in was mined from pegmatites near the village of Tsaramanga, located in the Antananarivo province of Madagascar, and fashioned into a 34.11 ct rectangular step cut. It featured decorative epigenetic iron-colored debris that had been deposited in an extensive surface-reaching fracture. One of these debris patterns vividly calls to mind a dinosaur footprint left behind in soft mud.

	It appears that the fine particulate debris was suspended in water and subsequently deposited in the crack as a wet solution. As the water dried, the resulting shrinkage pattern formed as only the particles were left behind, a mechanism very similar to the formation of water spots when raindrops dry on a smooth glassy surface. So now “footprints” joins “fingerprints” in our inclusion lexicon. @chapter:15 @chapter:0 @chapter:15


# Publication Year: 2017
# Title: Sapphires with Unusual Radial “Eye” Structure
# Abstract: Figure 1. This 6.38 ct sapphire from Luc Yen, Vietnam, shows a unique radiating aggregate habit. Photo by Robison McMurtry, courtesy of Lucas Fassari.

The Luc Yen district in northern Vietnam produces some remarkable stone varieties, including ruby and red and cobalt-blue spinel. Recently, Geir Atle Gussiås of BalderGems in Luc Yen procured some interesting sapphires from local gem traders. These stones exhibited a radial pattern often accompanied by concentric color zoning. This pattern is commonly seen in minerals that precipitate from fluids such as carbonates and cryptocrystalline silica varieties, but to our knowledge it has never been observed in corundum. All of Gussiås’s samples were opaque and cut as cabochons to display this strange growth pattern. Due to their distinctive appearance, these gems have been called “eye sapphires” in the trade (see figure 1).

The patterns exhibited different forms and sizes but were always a combination of blue and white, with a lower polish quality in the white areas. Raman spectroscopy confirmed that both the white and blue areas were corundum, but the presence of diaspore was detected only in the whiter areas. Some areas also showed a mottled texture and small unidentified black inclusions (figure 2). Laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) analysis of the sapphire in figure 1 revealed a low iron content, which excludes a basalt-related origin. Epigenetic yellow goethite was found in several fractures on the top of the cabochon. The presence of this mineral was evidence that the stone had not been heat treated (figure 3): Goethite, an iron hydroxide mineral, alters to rust-colored hematite at relatively low temperatures (J.I. Koivula, “Useful visual clue indicating corundum heat treatment,” Fall 2013 G&G, pp. 160–161). Corundum heat treatments have been performed for centuries and are widely accepted in the trade, but this stone needed no extra enhancement beyond cutting and polishing to reveal its anomalous beauty.

Figure 2. This area of the sapphire has a mottled blue and white appearance and hosts unidentified black inclusions. Photomicrograph by Victoria Raynaud; field of view 4.80 mm.

Figure 3. This fracture with epigenetic yellow goethite staining indicates that the sapphire has not been subjected to heat treatment. Photomicrograph by Hollie McBride; field of view 4.79 mm.
While the cause of this unusual radial aggregate structure remains unknown, it is certainly a welcome novelty in the collector gem market. @chapter:13 @chapter:0 @chapter:13


# Publication Year: -
# Title: D. Vincent Manson (1936–1999)
# Abstract: Gemologist and geologist Dr. Vincent Manson described himself as a dreamer, but he had the initiative to make his visions into reality. Born, raised, and educated in South Africa, Manson worked as a research assistant in the De Beers Diamond Research Laboratory in Johannesburg before earning his PhD in geology from Columbia University in 1969. His work as the curator of gems and minerals at the American Museum of Natural History in New York City led to several meetings with key GIA staff, including Richard Liddicoat, Eunice Miles, and Robert Crowningshield. Impressed by Manson’s abilities and respect for the Institute’s mission, Liddicoat offered him a position in Santa Monica.

Manson joined GIA as the director of research in 1976, setting up a new facility to generate original research and expand gemological knowledge. He remained with GIA until his death in 1999, becoming director of education in 1985 and ending his career as director of strategic planning. In this capacity, he was instrumental in moving GIA’s headquarters and home campus to its current location in Carlsbad, California.

During Manson’s tenure, GIA’s research facility used state-of-the-art analytical equipment and created a database where natural, treated, and synthetic gems could be documented and referenced. He continued to publish groundbreaking work on diamonds and colored stones and served as associate editor of Gems & Gemology for 19 years (1980–1999). He also served as a consultant to filmmakers who produced documentaries on geological formation. Building on his experience as a curator, he cultivated relationships with museums with notable gem collections. One such connection resulted in the celebrated “Nature of Diamonds” exhibit at the San Diego Museum of Natural History in 1999. In one of his most enduring contributions to the gemological world, he helped establish the International Gemological Symposium, which he chaired in 1982, 1991, and 1999. These contributions led to his posthumous receipt of the Richard T. Liddicoat Lifetime Achievement Award in 1999. @chapter:34 @chapter:0 @chapter:34


# Publication Year: 2002
# Title: Fall 2002 G&G Lab Notes
# Abstract: Bromellite
Charoite Inclusions in a Quartz-Feldspar Rock
Altered Vs. Natural Inclusions in Fancy-Color Diamonds
Diamond with “Compact Disc” Inclusion
Hemimorphite, a Rarely Encountered Gem Material
Bulk Diffusion or Lattice Diffusion Treated Sapphire
Bulk Diffusion–Treated Sapphire with Synthetic Overgrowth
Synthetic Sapphire Treated by “Traditional” Bulk Diffusion with Transition Elements
Sapphire with Surface Evidence of Heat Treatment

To view the full section, download the PDF above. @chapter:18 @chapter:1 @chapter:18


# Publication Year: 2004
# Title: Summer 2004 G&G Lab Notes
# Abstract: Notable Cat’s-Eye Alexandrite
Fracture Filled Diamond: To Alter Color and Enhance Clarity
Moon-Like Surface on a Crystal
Cat’s-Eye Demantoid Garnets
High R.I. Glass Sold as Peridot
Dyed Jadeite Resembling Nephrite
Green Quartz with Brazil-Law Twinning
Synthetic Sapphire with Unusual Yellowish Green Bodycolor
Spinel with Interesting Etch Tubes
Natural Spinel Identified with Photoluminescence

To view the full section, download the PDF above. @chapter:18 @chapter:1 @chapter:18


# Publication Year: -
# Title: An Inside Look at the 2016 Tucson Shows
# Abstract: Assorted goods in calibrated sizes sold very well at the shows. Photo by Tao Hsu.

	Every year in February, colored stone miners, dealers, cutters, and retailers from around the world converge at the several major gem and mineral shows in Tucson, Arizona. In 2016, GIA once again interviewed industry professionals who presented spectacular gems and provided revealing insights on the global market. Links to these interviews are listed below.

GILC 2016
	A report from the International Colored Gemstone Association’s Gemstone Industry & Laboratory Conference (GILC), held in Tucson, Arizona on February 1, 2016.
Read more

Wheel of Light’s Mesmerizing Optics
	A closer look at the Spectrum award-winning pendant from Nature’s Geometry.
Read more

Paula Crevoshay’s American Collection, Plus Jewelry with Nontraditional Gemstones
	Lesser-known gem materials are seen in pieces alongside a collection created as an artistic inheritance for future generations of jewelry fans.
Read more

Jewelry Television in Tucson
	A look at JTV’s history, current activities, and impact on the industry.
Read more

Update on the Scorpion Tsavorite Mine
	A look at the resumed operations and new production of Kenya’s Scorpion tsavorite mine.
Read more

Imperial Flame Topaz Sculpture
	An Imperial topaz rough crystal is carved into a stunning freeform gem.
Read more

Fordite from the Corvette Assembly Plant
	Freeform fordite accumulated from a now-defunct method of painting automobiles was on display at Tucson.
Read more

Rare Emerald from China and Pink Sapphire from Sri Lanka
	An emerald from a largely unexplored Chinese deposit is seen at Tucson, along with a pink sapphire recut after removal from a necklace.
Read more

Afghan Emerald, Tajik Ruby, and Clarity-Enhanced Tourmaline
	Updates on Afghan and Tajik materials, as well as treatment options to improve the clarity of various types of tourmaline.
Read more @chapter:38 @chapter:2 @chapter:38


# Publication Year: 2011
# Title: Brownish Red Zircon from Muling, China
# Abstract: Gem-quality brownish red zircon occurs in alluvium derived from Tertiary alkali basalt at Muling in the northeast Chinese province of Heilongjiang. Rough and cut samples were characterized using standard gemological methods, electron microprobe, LA-ICP-MS, and Raman and UV-Vis-NIR spectroscopy. Internal features consisted of melt inclusions, apatite, magnetite, fluid inclusions, and color zones. The samples contained abundant rare-earth elements, but showed only slight radiation damage and properties consistent with “high” zircon. Although it has yet to be mined commercially, the Muling deposit is a promising source of gem zircon. @chapter:10 @chapter:0 @chapter:10