# Publication Year: 2021
# Title: Faceted Demantoid Garnet with Spectacular “Horsetail” Inclusions
# Abstract: Figure 1. This demantoid was faceted to better reveal the “horsetail” inclusions. The sample is 8 mm in diameter. Photo by U. Hennebois.

The Laboratoire Français de Gemmologie (LFG) received for analysis an example of the yellowish green variety of andradite garnet known as demantoid. The gem was cut in such a way that spectacular “horsetail” inclusions are anchored at the center of the table (figure 1). These inclusions are actually fibers (figure 2), which are present in some demantoids from the Ural Mountains (Russia) but also from Val Malenco (Italy), Baluchistan (Pakistan), as well as from Kerman (Iran) (W.R. Phillips and A.S. Talantsev, “Russian demantoid, czar of the garnet family,” Summer 1996 G&G, pp. 100–111; Spring 2007 Gem News International, pp. 65–67; I. Adamo et al., “Demantoid from Val Malenco, Italy: Review and update,” Winter 2009 G&G, pp. 280–287; I. Adamo et al., “Demantoid from Balochistan, Pakistan: Gemmological and mineralogical characterization,” Journal of Gemmology, Vol. 34, No. 5, 2015, pp. 428–433).

Figure 2. Fibrous inclusions in a demantoid garnet. Photomicrograph by U. Hennebois; field of view 1 mm.
The exact origin and composition of the “horsetail” inclusions in demantoids are still under discussion. Those in demantoids from Russia, Italy, and Pakistan were reported to be chrysotile, and those from Iran calcite. On the other hand, a recent study of these inclusions in some demantoid garnets from the Ural Mountains showed that these might be hollow channels, sometimes containing minerals from the serpentine group, possibly the result of superficial weathering (A.Y. Kissin et al., “‘Horsetail’ inclusions in the Ural demantoids: Growth formations,” Minerals, Vol. 11, No. 8, 2021, article no. 825). Thus, the exact mechanism of formation of the “horsetail” inclusions in demantoid garnets is again open for discussion. @chapter:7 @chapter:0 @chapter:7


# Publication Year: 2015
# Title: Gem Artistry in Smaller Sizes
# Abstract: Sonja Kreis Unique Jewelry

In this video, Alexander Kreis displays his most recent designs: tourmalines in organic fluid shapes resembling the leaves in a tropical forest, citrines evoking the essence of sunrays, and icy blue topaz that mimic the cool brilliance of arctic ice.
At GJX, we caught up with gem artist Alexander Kreis (Sonja Kreis Unique Jewelry, Niederworresbach, Germany). It is a family business, with his father buying the rough, his mother designing the jewelry, and Alexander cutting the gems. Kreis had placed their best Oregon sunstone and their largest rutilated quartz pieces prominently in the booth to achieve a “wow” effect. Immediately beneath those signature pieces, Kreis had positioned more accessible gems that customers could use to make more affordable jewelry items. Although smaller than his trademark pieces, these were invested with the same precision and beauty. He produces pairs that would be ideal for earrings or even men’s cufflinks. Kreis spoke about three of these more accessible lines, involving tourmaline, citrine, and blue topaz.

For Kreis, green and pink tourmaline symbolize the colors of the rainforest, so their design evokes the vivid foliage and blooms of that environment. The curves provide a fluid elegance, and the cuts on the underside capture the veins and structure of tropical leaves.

Among Kreis’s new product designs for this year are citrines cut in a more angular style, with very detailed carvings on the back representing sunrays (figure 1). To Kreis, citrine’s color represents the heat of the sun, while the carvings channel its intense slanted rays.

Figure 1. Gemstone artist Alexander Kreis holds a sun carving, one of his new designs in citrine. Photo by Duncan Pay/GIA; courtesy of Sonja Kreis.
In striking contrast, another new design he called “frozen topaz” (figure 2) uses the icy hue of treated blue topaz to evoke arctic waters. The carving in the center is smoothly polished; the light rays, which are reflected from the polished carving, produce pinpoints of light on the gem’s frosted sides. The design and the material combine to produce an icy brilliance. As the wearer moves the gem, Kreis said, it produces “a harmony of light points dancing through the stone.”

Figure 2. In these examples of “frozen topaz,” the smooth carvings contrast with the frosted textures and lend an icy brilliance to the finished gems. Photo by Duncan Pay/GIA; courtesy of Sonja Kreis. @chapter:28 @chapter:2 @chapter:28


# Publication Year: -
# Title: Spring 2019 G&G: Tourmaline Classification, Provenance of Freshwater Pearls, and the Annual Tucson Report
# Abstract: Color is king in the new issue of Gems & Gemology. From the variety of colors found in the 33 known species of tourmaline to the diverse goods seen at the Tucson gem shows, our Spring 2019 issue is a testament to the trade popularity and scientific relevance of colored gemstones. The issue also includes an article on the gemological characteristics of the Talisman of Charlemagne; provenance studies on freshwater pearls from the U.S. and China using LA-ICP-MS and LDA; the impact of cut and orientation of table facets on the color-effect in alexandrite; and a field report from the sapphire, opal, and emerald deposits of Ethiopia.
A New Method for Determining Gem Tourmaline Species by LA-ICP-MS
Gem-grade tourmaline comes in a wide variety of colors and species, from elbaite to dravite to liddicoatite. In our lead article, Ziyin Sun, Aaron C. Palke, Christopher M. Breeding, and Barbara Dutrow present a classification scheme for tourmaline that uses laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) to collect quantitative measurements of major, minor, and trace elements. These measurements allow gemological laboratories to determine tourmaline species with good precision and accuracy.
U-Pb Ages of Zircon Inclusions in Sapphires from Ratnapura and Balangoda (Sri Lanka) and Implications for Geographic Origin
Zircon is able to withstand peak temperatures but also survive post-cooling conditions. Due to these properties, when found as inclusions in sapphire, zircon is able to provide geological insight into the secondary deposits from which the host sapphires formed. A team led by Emilie Elmaleh and Susanne Theodora Schmidt investigates zircon inclusions in sapphires from two Sri Lankan deposits. Through spectroscopic methods, trace-element chemistry, and U-Pb dating the authors establish a metamorphic/metasomatic, non-basalt-related origin for these sapphires.
The Talisman of Charlemagne: New Historical and Gemological Discoveries
Housed at the Palace of Tau Museum in Reims, France, the Talisman of Charlemagne is an opulent artifact from the Middle Ages that has been said at various times to contain both hair of the Virgin Mary and pieces of the True Cross. It has been linked with Charlemagne, Napoleon, and several other historical figures. The first gemological study of the piece was recently performed at the museum with portable equipment by Gerard Panczer and his coauthors. Based on their findings and comparison with other pieces from the period, the authors were able to propose origins for the sapphire, garnets, and emeralds used in the talisman.
Provenance Discrimination of Freshwater Pearls by LA-ICP-MS and Linear Discriminant Analysis (LDA)
Some non-bead-cultured (NBC) freshwater pearls can be challenging to identify, as their growth features may be similar to those found in some naturally occurring pearls. Using LA-ICP-MS and linear discriminant analysis (LDA), Artitaya Homkrajae, Ziyin Sun, Troy Blodgett, and Chunhui Zhou were able to pinpoint a method that identifies the growth environment of freshwater pearls with greater confidence.
Pleochroism and Color Change in Faceted Alexandrite: Influence of Cut and Sample Orientation
The color appearance of faceted alexandrites results in large part from the gem’s pleochroism, but it may also be influenced by trace-element content, cut, size, and other factors. Using samples cut from synthetic crystals, Karl Schmetzer investigates the color appearance of faceted alexandrite. He documents the impact of the inevitable multiple internal reflections on placement of this biaxial gem’s table facet, as well as its perceived color change and pleochroism.
Land of Origins: A Gemological Expedition to Ethiopia
In the past decade, Ethiopia has become known as a source of opal, sapphire, and emerald. In 2018, a field expedition led by Wim Vertriest explored the various gem deposits of Ethiopia. While there, the team visited mines and markets, documented methods of mining, and experienced the cultures of the different regions of this remarkable country.
Lab Notes
Notable examinations by GIA laboratory staff around the world include the largest diamond ever mined in North America, a color-change sapphire from Myanmar (formerly Burma), and the largest gahnospinel seen by GIA.
Diamonds from the Deep
In our newest section, Karen Smit and Steven Shirey explore the ages of natural diamonds and the impact they have on the world around us. They discuss how diamond formation is linked to plate tectonic processes, as well as how elements are recycled in the deep earth.
Micro-World
G&G’s section on inclusions and photomicrography highlights grandidierite inclusions in sapphires, a fossil insect in a free-form opal, and copper inclusions in a purple chalcedony from Indonesia.
Gem News International
Our annual Tucson report features colored stone market trends, the work of designers such as Derek Katzenbach and Paula Crevoshay, and trade involvement in the responsible sourcing of gemstones “Sourcing Stones with Columbia Gem House”. Non-Tucson Gem News entries focus on sapphires “Sapphires from Colombia” and trapiche emerald  “Trapiche emerald from Colombia”, both from Colombia, and CIBJO’s new responsible sourcing Blue Book.
The Spring issue also contains the 2017 Gems & Gemology Challenge. Score 75% or better and you’ll receive a certificate of completion (PDF file); earn a perfect score and your name will be listed in the Fall 2019 issue. Mail-in cards and online entries for the Challenge must be submitted by Monday, August 12, 2019. @chapter:6 @chapter:0 @chapter:6


# Publication Year: -
# Title: Cuprian Liddicoatite Tourmaline
# Abstract: Six of the 13 cuprian liddicoatite tourmalines from this study. The faceted stones weigh 1.59–9.63 ct (average 3.95 ct). They are transparent and have greenish blue, green-blue, and green colors. Photos by Masumi Saito.

	This peer-reviewed article by two GIA research scientists, Yusuke Katsurada and Ziyin Sun, reports on copper-bearing tourmaline that belongs to the liddicoatite species. It is provided here as a PDF download and will be part of Gems & Gemology’s print and online Spring 2017 issue.

	Cuprian tourmaline with vivid blue, green, and violet colors, known as “Paraíba” or “Paraíba-type” tourmaline in the trade, was first discovered in 1989. Until now, nearly all of this material has been classified as the elbaite species of tourmaline. In this article, Katsurada and Sun report on 13 samples that were submitted to GIA’s Tokyo lab by several different clients in 2016. The stones’ geographic origin is unknown.

	The samples’ gemological properties and copper and manganese concentrations were consistent with copper-bearing elbaite. Liddicoatite is separated from elbaite only by quantitative chemical analysis—in this case, laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS). When compared against 26 other cuprian tourmalines, the new material showed stronger fluorescence under long-wave UV light; this may be caused by a high concentration of rare earth elements. The 13 samples were further classified as calcic-group tourmaline, as opposed to the alkali-group classification of the 26 stones used for comparison.

	This material may have already entered the gem market as “Paraíba” or “Paraíba-type” tourmaline. Further analysis is required to identify geologic origin and growth conditions. @chapter:12 @chapter:0 @chapter:12


# Publication Year: 1996
# Title: Spring 1996 G&G Lab Notes
# Abstract: A Notable Yellow Synthetic Diamond from Russia
One Natural and One Imitation Emerald Earring
Grossular Garnet-Bearing Rock, Resembling Impregnated Jadeite
Jadeite Jade with Copper Inclusions
Jadeite Jade with "Reconstructed" Area
Abalone Pearls
Pearls Partially Coated to Conceal Old Drill Holes
Periclase Possibly Confused with Grossular Garnet
Dyed Quartz as Imitation Ruby
Ruby/Ruby Doublet
Synthetic Ruby with Fanciful Polishing Marks
Sapphire with Rounded Facet Junctions
Green Synthetic Sapphire

To view the full section, download the PDF above. @chapter:16 @chapter:0 @chapter:16


# Publication Year: 2017
# Title: Conversation with Gemfields
# Abstract: Figure 1. The massive open-pit Kagem emerald mine in Zambia is perhaps the largest colored gemstone mining operation in the world. Photo by Andrew Lucas, courtesy of Gemfields.

	UK-based Gemfields is widely considered the largest producer and distributor of responsibly sourced colored gemstones. This year in Tucson, we had an exclusive interview with CEO Ian Harebottle to get his insights on the company and the colored gemstone industry overall.

	Unlike the diamond industry, almost every segment of the colored stone trade has traditionally lacked scale and systematic practices. Gemfields has dramatically changed this dynamic in some of the most influential colored stone categories. The company is actively working on three mining operations: the Kagem emerald mine (figure 1) and the Kariba amethyst mine in Zambia, and the Montepuez ruby mine in Mozambique. Among the three, Kagem and Montepuez are world-class operations, supplying about one-third of the global emerald production and 70% of ruby production. Before, both stone types experienced fluctuating supply and chronic shortages. Gemfields is very optimistic about the expected supply from Kagem and Montepuez, based on scientific field surveys and detailed geophysical and geochemical studies.

	To stabilize supply for the global market, Gemfields requires the mines to reserve one year’s production in case yield declines significantly. Based on the authors’ research, many Gemfields clients appreciate the standards set by the company on emerald and ruby mining and distribution. The consistent supply and well-tuned rough grading systems grant buyers more time to focus on faceting, jewelry making, and sales. This practice also has a positive influence on other mining companies that aim to meet the same standards.

	In 2013, Gemfields purchased the iconic luxury brand Fabergé. Harebottle explained that the deal does not reflect an interest in vertical integration but in creativity and uniqueness in the market, an area where Fabergé has a rich heritage (figure 2). Therefore, he hopes that the brand can be a platform of magnificent jewelry designs, igniting the passion for colored gemstones in the younger generation. According to Gemfields, Fabergé’s sales orders jumped 95% during the second quarter of fiscal year 2017.

Figure 2. The merger of Gemfields and Fabergé should continue to inspire one-of-a-kind colored gemstone pieces. Photo courtesy of Fabergé.

	When it comes to corporate social responsibility, Gemfields sets a good example across its mining locations through successful joint ventures and community programs. The Kagem emerald mine is one of the only mining companies that has paid federal taxes in the past 15 years in Zambia. The Montepuez ruby mine was named Mozambique’s most transparent tax payer and the most important job generator in its province. Harebottle described the different challenges the company has faced and will be facing in the future. Since the sites are usually located in areas that lack robust mining regulations or laws and some countries have a very long mining history, the company often applies different strategies to localize itself. To champion responsibility and sustainability on location, a foreign company such as Gemfields needs to make the local people feel confident about their future, and this is fueled by job opportunities.

	Since its founding less than 10 years ago, Gemfields has always sought to rekindle the passion for colored gemstones. Harebottle likes to compare the company’s role in colored stones with that of De Beers in the diamond sector, especially when the latter heavily promoted diamonds. He also feels that colored gemstones should have a stronger position in the luxury goods market. With this mission under way, and active exploration for new production sites in Colombia and Ethiopia, more accomplishments are expected from this major colored gem supplier. @chapter:50 @chapter:3 @chapter:50


# Publication Year: -
# Title: Atypical Bead Cultured Pinctada maxima Pearls Nucleated with Freshwater Non-Bead Cultured Pearls
# Abstract: The 12 white and “golden” South Sea cultured pearls (Pinctada maxima) of various shapes and sizes examined in this study. Although their external appearances are similar to saltwater bead and non-bead cultured (NBC) pearls, 11 of them are atypical bead cultured (aBC) pearls formed by inserting freshwater non-bead cultured pearls as nuclei into saltwater hosts. Photo by Nuttapol Kitdee.

White and yellow “golden” South Sea cultured pearls are typically nucleated with freshwater shell beads. However, shell beads are not the only material used as nuclei. In this study, freshwater non-bead cultured pearls were inserted as nuclei in saltwater hosts. Researchers from GIA’s Bangkok laboratory performed spectroscopy (UV-Vis, PL, and Raman), LA-ICP-MS chemical analysis, and microradiography and X-ray luminescence examination on 12 samples. Two samples were cut in half to further analyze their internal structures.

The results are available in a study titled "Atypical Bead Cultured Pinctada maxima Pearls Nucleated with Freshwater Non-Bead Cultured Pearls." The authors concluded that standard pearl testing methods permit the straightforward identification of such aBC pearls, and the ability to obtain more data from the pearls cut in half is a very useful method for further scientific examination. @chapter:11 @chapter:4 @chapter:11


# Publication Year: -
# Title: Book Review: Arts of the Hellenized East: Precious Metalwork and Gems of the Pre-Islamic Era
# Abstract: By Martha L. Carter, Prudence O. Harper, and Pieter Meyers, 424 pp., hardcover, publ. by Thames and Hudson, London, 2015, $75.00.

	The Hellenistic period refers to the era between the death of Alexander the Great in 323 BC and the rise of ancient Rome circa 30 BC. The spread of Greek culture through Alexander’s invasion of eastern lands, from the Mediterranean basin to modern-day Pakistan, influenced many indigenous cultures of these regions and left a significant mark on the region’s history, arts, science, and literature.

	The al-Sabah Collection in Kuwait contains western and central Asian artifacts from the Bronze Age through late antiquity, including the Hellenistic period. Martha Carter concentrated her research on the Hellenistic silverwork and wrote Arts of the Hellenized East: Precious Metalwork and Gems of the Pre-Islamic Era, the sixth volume in the al-Sabah Collection series, with contributions from Prudence O. Harper and Pieter Meyers. The authors provide detailed descriptions for each item within the cultural and historical context of the era and the regions. The 400-page publication is further enhanced by 350 color images illustrating the objects. It is noteworthy that quite a few rare and important objects in the collection are documented for the first time.

	There are more than 400 objects of Hellenistic silverwork in the collection. These include bowls, drinking vessels, and dishes made out of precious metals, mainly gilded silver. Of the hundreds of objects in the catalogue, only nine items contain gemstones, four of which are royal seals and intaglios carved out of carnelian, chalcedony, and garnet. Two bowls and two small cups, both of gilded silver, are inlaid with red garnets. A Buddhist gold reliquary set with red garnets and a blue sapphire is created from sheets of gold. There are two garnets remaining in their original bezel setting along with another unidentified stone (recorded as coral or glass); however, the author indicates that the blue sapphire bead on the lid of the casket was a later addition. Nevertheless, the object stands out as unusual piece from a gemological point of view.

	This volume starts with a brief account of the ancient cultures of the region given within the context of their art traditions and perception of silverware at the time. Objects made from precious metals were favored for both their monetary value and their utility. The value of silverware was simply measured by its silver coin weight. Some researchers suggest that this was an important feature, as use of coinage was not extensive and silverware might have served as large denominational banknotes. The introduction concludes with a summary of the socio-political setting for eastern Hellenistic metalwork.

	The catalogue is followed by a chapter on technical examination of some of the silver objects in the catalogue by Dr. Meyer. In the acknowledgment, Dr. Carter conveys her efforts to authenticate the provenance of certain objects in the collection, as most are from politically unstable regions such as Afghanistan, where systematic excavations are almost impossible. She combines her stylistic expertise with Dr. Meyer’s metallographic analyses to verify the origin of objects found by individuals rather than experts. His scientific insight to the ancient silver sources, production, and the metal’s importance as a commodity is a wonderful source to the reader. The chapter gives a clear explanation on modern analytical techniques to determine method of manufacture, condition, ancient and modern repairs, and authenticity in the collection.

	The last chapter on ancient silver cleaning and conservation is an informative piece to the ancient art collectors, as it reveals the importance of stopping decay on ancient metalwork, especially while on display.

	Ancient art collectors, art historians, appraisers, and jewelers alike would highly benefit from this volume. Arts of the Hellenized East: Precious Metalwork and Gems of the Pre-Islamic Era is a masterfully written, rare catalogue full of informative chapters on Hellenistic art and metal work technology. @chapter:55 @chapter:2 @chapter:55


# Publication Year: 2016
# Title: Yellow Synthetic Diamond with Nickel-Related Green Fluorescence
# Abstract: Figure 1. Under darkfield illumination, the pinpoint flux cloud is seen throughout the diamond. Photo by Lisa Kennedy; field of view 3.57 mm.

Gem-quality yellow synthetic diamonds have been a part of the industry for some time now. The gemological properties used to identify these synthetics have been extensively documented (see J.E. Shigley et al., “A chart for the separation of natural and synthetic diamonds,” Winter 1995 G&G, pp. 256–264).

GIA’s New York laboratory recently tested a 0.99 ct synthetic diamond with Fancy Vivid yellow color, disclosed as a product of HPHT (high-pressure, high-temperature) growth, which showed some unusual gemological features. Its UV-Vis absorption spectra showed a smooth rise from 500 nm to higher energy. The mid-IR absorption spectra indicated a type I diamond with isolated nitrogen (C-center) responsible for the intense yellow color. The sample displayed a moderate greenish yellow fluorescence under long-wave UV and slightly stronger greenish yellow fluorescence under short-wave UV. It had a noticeable pinpoint flux cloud throughout (figure 1) and obvious yellow color zoning following the growth sectors—both characteristic gemological features of a yellow HPHT-grown synthetic diamond.

Unlike other yellow HPHT-grown synthetics, the DiamondView images showed an unusual green fluorescent crosshatched pattern within the hourglass structure (figure 2). This closely resembles the pattern seen in natural diamonds, which means the synthetic could have easily been mistaken for a natural diamond. Under cross-polarized light, it showed a mottled strain pattern with moderate birefringence colors (figure 3). Most yellow HPHT-grown synthetics do not show a clear strain pattern and have weak birefringence colors. Further examination with PL spectroscopy using blue (457 nm) laser excitation showed that the green fluorescence was caused by the S3 defect (496.7 nm, shown in figure 4), which is due to the presence of nickel—a very unusual feature for an HPHT-grown synthetic diamond.

Figure 2. This DiamondView image shows the unusual green crosshatched pattern in
the hourglass structure of the HPHT-grown synthetic. Image by Lisa Kennedy.

Figure 3. Under cross-polarized light, the HPHT synthetic exhibited a mottled strain pattern with moderate birefringence colors. Photo by Lisa Kennedy; field of view 4.79 mm.

Figure 4. PL spectroscopy with blue (457 nm) laser excitation shows the S3 emission
band (496.7 nm), which is responsible for the HPHT synthetic diamond’s green
fluorescence.
This yellow HPHT-grown sample with gemological features we had not seen before shows once again how synthetic diamonds can be mistaken for natural diamonds. Caution must be taken, and careful gemological and spectroscopic analysis is essential. @chapter:22 @chapter:1 @chapter:22


# Publication Year: -
# Title: Romancing the Source: Sri Lanka
# Abstract: Sri Lanka

	Join us in a gemstone treasure hunt by viewing this video. In true ‘Reality TV,” you will witness the perils and effort involved in mining colored gemstones and bringing them to the market.
This series of articles and videos follows a team of GIA Field Gemologists on their travels from the mountains of Afghanistan to the jungles of Sri Lanka in search of the sources of colored gemstones and the people who pursue them. This thrilling journey will take you to remote gemstone-mining areas, where you’ll witness the extreme effort required to wrestle nature’s treasures from the earth.

The romance of a colored gemstone arises from its beauty, the exotic qualities of its source’s location, the adventure leading to its discovery, and the stories of the people who seek it. These factors have united to create the allure of gemstones through the ages, and continue to do so even in modern times.

Sri Lanka is one of history’s most famous gem sources, providing gemstone lovers with numerous varieties for centuries. Sri Lanka is famous for sapphires of all colors, and large, fine examples grace the exhibits of museums and royal jewelry collections. Traders—from the ancient Romans, Arabian sailors, European colonial powers, to the new rising wealthy class in China—have always coveted gems from Sri Lanka.

Mining practices in use today have centuries of tradition behind them. Thousands of pits measuring 2x2 or 2x4 meters and between 5 and 25 meters deep are found in the common mining areas of Ratnapura (which literally means city of gems), Elahera, and Balangoda. The miners dig down until they reach the gem-bearing gravels, which they haul up for washing in hopes of finding gemstone treasure.

Sri Lanka’s gemstone and jewelry industry blends traditional practices and experience with the needs of the modern global market. Photo by Andrew Lucas/GIA.
These traditional mining methods have maintained gemstone supplies for centuries and provided opportunity for large numbers of miners. Methods are also environmentally sound, as Sri Lanka requires that the pits and environment be restored after mining. This philosophy allows mining and agriculture to coexist, with miners sometimes working in rice paddies.

Experienced Sri Lankan traders also travel the world in search of sapphire and other gems, stopping in places like Madagascar, Tanzania, and Mozambique. They return with gemstones to be cut and processed in their own country and sold to the world markets. The Sri Lankans are also masters at heat-treating sapphire to improve color and transparency.

The new generation of Sri Lanka gem traders comes from a long tradition, building upon the wealth of experience inherited from their fathers and grandfathers and adding new practices for the modern global market. @chapter:31 @chapter:2 @chapter:31


# Publication Year: -
# Title: Super Bowl Rings: A Gallery of NFL Championship Rings
# Abstract: Photo courtesy NFL

                      The Super Bowl is the most popular sporting event in the United States – almost 110 million Americans watched the New England Patriots win a thrilling last-second victory against the Seattle Seahawks in February 2015. So it’s not surprising that the Super Bowl ring is a matter of serious interest.
Super Bowl Rings Through the Years
As the game has grown in popularity, the rings have become fancier: more diamonds and gemstones, more complex designs, and a lot more “wow” factor. Consider the first ring made in 1966 that sported a single one-carat diamond.

The New England Patriots, winners of Super Bowl XLIV, celebrated their victory with a Super Bowl ring that broke all records. Some 205 diamonds weighing 4.85 carats glittered in the NFL championship dazzler (the Patriot’s 2003 Super Bowl ring had 104 diamonds; the 2004 Super Bowl ring had 124 diamonds). Team owner Robert Kraft said he wanted this ring to outdo ones his earlier teams had received, and team officials proclaimed it was the “largest ring ever made.”

A bit more about the Patriot’s XLIV Super Bowl ring: Four marquise-cut diamonds on the ring’s table symbolize the Lombardi Trophy (the team has won four Super Bowls). Some 44 pavé-set round diamonds frame the team’s logo. The phrase “Do Your Job” is engraved on the side, along with the final score of the game (28 - 24).

Jostens, a leading designer and producer of championship rings, has created 32 of the 49 Super Bowl rings, all four of the Patriots’ Super Bowl rings, and dozens of football championship rings. GIA asked Chris Poitras, director, sports marketing and development, to share how Super Bowl rings are designed.
Super Bowl Rings Gallery

View Gallery

Poitras explained that leaders of the winning team collaborate with Jostens’ master jewelers to design and produce custom championship rings for players and members of their organization.

Poitras described the process: “Our goal is to collaborate with the team. The thing that takes the most time when it comes to creating the rings is designing a piece that tells the story of the team, their great win, and the special season. Depending on their design, it can take anywhere from weeks to months to manufacture the rings from start to finish.”

Jostens uses CAD and rapid prototyping to design the rings. In addition, each ring goes through a lost wax process (a wax model of the ring is made, encased in material, the model burned away, and molten metal poured into the cavity), casting, finishing and polishing, and finally, stone-setting, where diamonds and other stones are hand set.

The New Orleans Saints won its first Super Bowl in 2010. The team’s colors are black and gold, and so is the championship ring. Photo courtesy Tiffany & Co.
Tiffany & Co. has created seven Super Bowl rings, and works with team leaders so that they reflect the championship season and the spirit and history of the franchise. For example, engraved inside the New York Giants ring in 2012 are the words “Finish” and “All In”– two inspirational phrases that rallied the team for the season.

The 2008 New York Giants got to the Super Bowl by winning eleven games on the road – a fact emblazoned on the side of the ring. The victory was the team’s third Super Bowl win. Photo courtesy Tiffany & Co.
Fun Facts About Super Bowl Rings

The NFL gives each team an allowance of $5,000 for 150 rings. Teams typically spend far more than the allotted money.
Lawrence Taylor’s 1991 Super Bowl Ring sold at auction in May 2011 for $230,401 – but most Super Bowl rings sell for far less. Fred “Fuzzy” Thurston’s ring from Super Bowl II sold for $50,788 in 2011.
The Pittsburgh Steelers and Oakland Raiders were such bitter rivals in the 1970s that the competition extended to their rings. The Raiders Super Bowl XI ring had 27 diamonds; the Steelers one-upped them by putting 30 diamonds in their Super Bowl XIII rings. The Raiders retaliated by putting 33 diamonds in their Super Bowl XV rings (see below).

Photo courtesy NFL
The average male professional sports player’s ring size is 12 or 13. For comparison, the average male non-professional athlete’s ring size is 10½. The largest size Super Bowl Ring ever produced was size 25 for William “Refrigerator” Perry, who played for the Chicago Bears in Super Bowl XX. To put it in perspective, a half-dollar coin (30.61mm dia.) could pass through Perry’s ring.
Lore of the Super Bowl Rings
Since Super Bowl rings are the stuff of legend, some incredible stories come with them. John Schmitt, the starting center for the New York Jets, lost his Super Bowl III ring in 1971, while surfing about a quarter mile off Hawaii’s shore. Schmitt grabbed a pair of flippers and a snorkel and dove for three hours, stopping when he was too exhausted to continue.

Photo courtesy Brenda K. Reichel
Some two decades later, Waikiki lifeguard John Ernstberg found the ring. Thinking it was a trinket, he stored it in a box. When Ernstberg passed away, Samuel and Cindy Saffrey (Ernstberg’s great niece) discovered the ring and took it to appraiser Brenda K. Reichel, GIA GG. Reichel saw it had a trademark by LG Balfour (a ring maker), 42 grams of gold and diamonds, as well as a score and a jersey number.

With permission from the Saffreys, Reichel started hunting down the owner. Three days later, she and the Saffrey’s called John Schmitt. Reichel recounts the conversation:

John asked if the Saffreys wanted any money. I told him they only wanted to give him back his ring. John broke down into tears. All of us were deeply moved. As for the ring, if I hadn’t attended GIA, I wouldn’t have known the diamonds were real.

Super Bowl rings have even sparked international incidents. Vladimir Putin, president of Russia, ended up with Patriots owner Robert Kraft’s 4.94-carat Super Bowl ring during a visiting business delegation in 2005. In June 2013, Kraft said Putin “just put it in his pocket.” Putin said he “didn’t remember Kraft or the ring,” but has now promised a replacement. Kraft’s ring, valued at $25,000, remains in the Kremlin’s library. @chapter:47 @chapter:2 @chapter:47


# Publication Year: 2022
# Title: Bicolor Cuprian Tourmaline
# Abstract: Figure 1. The 1.62 ct bicolor copper-bearing tourmaline. Photo by Shunsuke Nagai.
A bicolor gem has two colors in one stone. Ametrine is a well-known bicolor gem, a purple and yellow quartz combining amethyst and citrine. In addition to the ametrine variety of quartz, other colored gemstones such as corundum and tourmaline can be naturally bicolor, although most of them do not have a specific variety name. Most bicolor gem materials are cut to show different colors that are obvious when viewed in face-up orientation.
The Tokyo laboratory recently examined a bicolor rectangular step cut weighing 1.62 ct and measuring 9.14 × 5.47 × 3.71 mm (figure 1). The color was gradually distributed from bluish green to dark yellowish green along the length. This stone was doubly refractive with a refractive index of 1.620–1.640 and a specific gravity of 3.10. Microscopic observation revealed networked fluid inclusions and strong doubling. The stone was identified as tourmaline by these gemological features.
Paraíba tourmaline, a certain type of copper-bearing tourmaline, has been one of the most sought-after gemstones in the trade over the last three decades. In 2012, the Laboratory Manual Harmonisation Committee (LMHC) updated the definition of Paraíba tourmaline as “a blue (electric blue, neon blue, violet blue), bluish green to greenish blue, green (or yellowish green) tourmaline of medium-light to high saturation and tone (relative to this variety of tourmaline), mainly due to the presence of copper and manganese.” Visible/near-infrared (Vis-NIR) absorption was collected with GIA’s custom-made UV-Vis spectrometer to determine the chromophore. To be considered Paraíba tourmaline, the copper-related absorption needs to be dominant and the color appearance should be within the defined range.

Figure 2. Vis-NIR absorbance of the whole tourmaline (top), the bluish green portion (middle), and the dark yellowish green portion (bottom). Copper absorption is in the red (approximately 730 nm) and near-infrared regions (approximately 980 nm). Iron absorption is only in the red region (approximately 730 nm). Spectra are stacked for clarity.
Non-polarized absorption spectra of the whole stone showed two bands in the red and near-infrared regions (figure 2, black line). To measure the spectra of each color separately, one half of the gem was covered with opaque black cardboard to allow light to pass through only one color at a time. The results indicated that the dominant chromophore was different (figure 2; bluish green and dark green lines at the middle and bottom, respectively)—the bluish green part is colored by copper, whereas the dark yellowish green part is colored by iron (P.B. Merkel and C.M. Breeding, “Spectral differentiation between copper and iron colorants in gem tourmalines,” Summer 2009 G&G, pp. 112–119).

The trace element composition of each differently colored region was analyzed by laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS). As shown in table 1, the bluish green side shows lower iron (566 ppmw) and higher copper (7850 ppmw), and the dark yellowish green side shows higher iron (11287 ppmw) and lower copper (4953 ppmw). Comparing the different Vis-NIR absorption patterns of these portions (figure 27), the association of copper and iron for each color portion is in agreement with Merkel and Breeding (2009). By virtue of its color and its chromophore, only the bluish green portion is consistent with the definition of Paraíba tourmaline.
Sometimes we encounter cuprian tourmaline with chemical zoning, which has varying trace element concentrations within. A drastic difference, as in the case of this bicolor tourmaline with a non-Paraíba iron-colored portion, is not typical. The dark yellowish green part could have been polished off to make this a typical Paraíba tourmaline. @chapter:3 @chapter:0 @chapter:3


# Publication Year: 1987
# Title: "Modern" Jewelry: Retro to Abstract
# Abstract: The period between the onset of World War II and the mid-1960s saw the development of several styles in fine jewelry. During the 1940s, Retro jewelry retained Art Deco's bold lines but gradually softened its colors and curved its sharp geometric shapes. These heavy settings were eventually replaced by fine, hand-made wire settings which produced flexible, three-dimensional jewelry shaped by the gemstones themselves. The designers and neo-Renaissance artists of the 1950s created colorful jewels overflowing with faceted gems as well as beads, cabochons, or rough-tumbled stones. In the late 1950s and early 1960s, gemstones became subordinate to the flow and shape of the overall design during a revival in individual craftsmanship that is still evident in contemporary jewelry. @chapter:25 @chapter:2 @chapter:25


# Publication Year: 2016
# Title: Tourmaline Termination
# Abstract: Figure 1. Highlighted by blue and pink color accents, trigonal growth features are clearly visible on the surface of this 42.78 ct polished tourmaline termination. Photo by Kevin Schumacher.

	Depending on their size, large tourmaline crystals are known as “hand” or “cabinet” mineral specimens. To be used in jewelry, specimens of sufficient quality must be cut to a suitable size. This generally results in all of the natural surfaces being ground off and polished away. On occasion, however, a natural surface on a crystal is so interesting that it is preserved and used as a gem in its own right. Such was the case with a blue cap elbaite tourmaline (figure 1) from Fianarantsoa, Madagascar.

	During the cutting of this tourmaline, gem artist Falk Burger (Hard Works, Tucson, Arizona) saved the blue cap termination by sawing it off into a thin plate and mirror-polishing the sawn surface, thereby accentuating its remarkable trigonal growth features and pink and blue color zoning (figure 2, left). This resulted in the beautiful and unique designer gem seen in figure 1, which weighed 42.78 ct and measured 37.23 × 31.97 × 3.60 mm.

	Figure 2. Left: Using diffused transmitted light, contrasting pink and blue color zoning is seen. Right: Viewing the tourmaline through crossed polarizers and looking perpendicular to the polished plate, interference colors were clearly visible. Photomicrographs by Nathan Renfro; field of view 23.95 mm.

	This gem was also very interesting when examined through a microscope (figure 2, right). In crossed polarizers, while looking perpendicular to the polished plate, interference colors were clearly visible, accentuating the growth of the tourmaline. @chapter:6 @chapter:0 @chapter:6


# Publication Year: -
# Title: 2018 GIA Symposium: The Future Belongs to Those Who Adapt
# Abstract: The “Futurescape Forum” closed GIA’s sixth International Gemological Symposium with a lively discussion on the future of the gem and jewelry industry, including challenges and opportunities. From left: David Ager, managing director of executive development, Harvard Business School; Kent Wong, managing director, Chow Tai Fook; Rahul Kadakia, international head of jewelry, Christie’s; Andy Johnson, CEO, Diamond Cellar Holdings; Jason Goldberger, CEO, Blue Nile; Gina Drosos, CEO, Signet Jewelers; and Bruce Cleaver, CEO, De Beers Group. Photo by Denise Conrad/GIA

The future will be robust for businesses and individuals in the diamond and gemstone industry who can adapt quickly to change in both consumer preferences and technology. This was the message from various presenters to the nearly 800 attendees of the sixth GIA Symposium held Oct. 7-9 in Carlsbad, California.

The event featured a gemological research track that brought together scientists and experts from around the world and a business track, conducted by Harvard Business School (HBS) professors, who focused on ways business have responded to disruptive innovations and changing consumer behavior.

Tom Moses, executive vice president and chief lab and research officer at GIA, speaks to attendees at the Richard T. Liddicoat Centennial Gala, which also featured musical performances, hot air balloon rides and networking opportunities. Susan Jacques, CEO and president of GIA, standing left, presided over the event. Photo by Richard Deomampo/GIA
The Symposium’s finale – the “Futurescape Forum” – brought six industry leaders together in a panel discussion moderated by Harvard Business School Managing Director of Executive Development Dr. David Ager: Bruce Cleaver, CEO of the De Beers Group; Gina Drosos, CEO of Signet Jewelers; Jason Goldberger, CEO of Blue Nile; Andy Johnson, CEO of Diamond Cellar Holdings; Rahul Kadakia, international head of jewelry at Christie’s; and Kent Wong, managing director of Chow Tai Fook.

Both the business track and the "Futurescape Forum," which began with an industry forecast via a video from Scott Galloway of the NYU Stern School of Business, centered around several key points:

Technologically driven changes in retailing and trading, and continued consolidation across the value chain, including challenges from giants such as Amazon and an increase in manufacturers selling direct to consumers, bypassing traditional retail channels
Evolving consumer tastes and desires
The need to appeal to a rapidly changing workforce
Disruption caused by laboratory-grown diamonds, both in the marketplace and identification in the labs
Gem sources and sustainable production

Krishna Palepu, professor of business administration at the Harvard Business School, spoke about customer centricity using a case study on Amazon. Photo by Denise Conrad/GIA

Technical Challenges
There was broad agreement that retailers must adapt to technology, not just in sales channels, but in ways it can help individualize each customer.

In one discussion led by HBS Professor Dr. Krishna Palepu, attendees heard a case study detailing the benefits and risks of selling on Amazon. While the company can offer manufacturers and retailers a new sales platform, there is constant pressure to reduce prices, and in one significant instance, the risk of Amazon sourcing products from the same supplier and selling them at a lower price.

In the “Futurescape Forum,” Drosos explained that omni-channel retailing is a necessity because customers routinely cross channels in their shopping experience; starting online and ending in the store. Online channels can enhance the in-store experience by making it possible for customers to make appointments online – 90% of such appointments result in a sale, she noted.

Wong said that 15% of Chow Tai Fook’s sales by volume are done online, but mainly in small gold items and in charms, such as Hello Kitty and Disney characters. At the high end, Kadakia said that 90% of Christie’s auction business is still done by traditional bidding, but the remainder is online, mainly from younger clients buying pieces under $10,000.

“This is how we target younger customers,” he said.

David Ager, managing director of executive development at the Harvard Business School, spoke about authentic leadership using the case of Swiss watch executive Jean-Claude Biver as an example. Photo by Denise Conrad/GIA

Adapting to Consumers
Connecting with consumers in new ways with new messages is necessary today. And, trying to be all things to all people makes everything average, which consumers do not want. In addition, business must adapt to a millennial workforce comprised of people who switch careers often because they value diverse experiences and often do not want to stay for a company over the long term.

The business program, led by Dr. David Ager, managing director of executive development at HBS, analyzed the case of Swiss watch executive Jean-Claude Biver, who helped revitalize an industry beset by competitive challenges from Japanese quartz watches and a lack of new thinking.

Biver managed to communicate his vision of Swiss watches as art and craftsmanship to consumers who valued connoisseurship, and almost singlehandedly revived the industry. The risk was alienating some customers by moving upscale, but Biver, in a video, said he wanted to communicate his passion for excellence in his products to consumers.

Another Harvard session led by Palepu described how Apple’s success was driven by making consumers love technology and equate it as a luxury brand.

“It delivered a difference that the customer wanted,” Palepu said.

The changing workforce was a key discussion point in the “Futurescape Forum.” Goldberger told the audience that organizations should not become too insular and that people with diverse backgrounds bring new thinking. Also, he said, “the reality of today is that tech people move every two or three years, so we have a choice: do we lose them entirely or benefit from their talent while they are here.”

Cleaver noted that there are excellent opportunities to diversify the diamond industry because it traditionally has not been so, while Wong said his company brings in talented designers by offering them a platform to create and sell their designer pieces.

“Talented people need that freedom,” he pointed out.

Johnson added that not everyone wants to switch careers, but businesses must adapt to workers who cannot be on hand full-time.

GIA research scientist Dr. Evan M. Smith presenting his most recent discoveries on “The Formation of Natural Type IIa and IIb Diamonds” during the research track. Photo by Eric Welch/GIA

Natural and Laboratory Grown Gems
Laboratory grown consumed a great deal of discussion in the gemological research sessions and in the “Futurescape Forum,” where panelists agreed they have a place in the market, but that natural diamonds will still be the choice to mark life’s landmark occasions.

Dr. David Fisher, of De Beers’ Technologies, described the evolving technology in detecting synthetic diamond, noting “the key to any detection technique for synthetic diamonds is a fundamental understanding of the differences between them and natural diamonds.” Dr. Sally Eaton Magana, of GIA, offered a summary of CVD grown synthetics seen in the Institute’s labs.

Presenters also detailed methods and challenges of synthetics detection.

The discussion in the “Futurescape Forum” focused mainly on the market for man-made diamonds.

Kadakia said he was confident that natural diamonds will remain the consumer choice because they will always have value, while synthetics will not hold value over time.

Goldberger noted that, while engagement ring buyers invariably prefer natural diamonds now, we cannot take this for granted for the future. He cited the examples of consumers who in the 1990s said they loved browsing bookstores, and then deserted them for online channels.

Cleaver said that synthetic diamonds’ place in the market was firmly in the fun and fashion side.

Research track keynote speaker Dr. Saleem Ali, a Blue and Gold Distinguished Professor of energy and the environment at the University of Delaware, presented "Gemstones and Sustainable Livelihood: From Mines to Markets." Photo by Emily Lane/GIA

Gemstone Sourcing and Production
Dr. D. Graham Pearson, professor at the University of Alberta, Canada, described advances in understanding of how diamonds were formed through geothermal analysis, and Dr. Steven B. Shirey, of the Carnegie Institution for Science, talked about how to interpret diamond ages by studying mineral inclusions within the stones.

Sustainable gem production and trading was also an important topic at the Symposium.

Dr. Saleem Ali, of the University of Delaware, said gemstones had a good story to tell: they are passed down through generations; they are an important source of wealth transfer from rich nations to poorer ones; and gem origins often determine value, which provides a base for consumer assurance.

In the “Futurescape Forum,” Cleaver related the economic and political success of Botswana, once one of the world’s poorest nations. Diamond revenues, he said, coupled with good governance, helped transform the country into one of Africa’s most prosperous nations.

Echoing Ali, he said “it’s a story not always told – the good that diamonds can do in employing people and development.”

Drosos said customers are interested in knowing the origins of their diamonds and that Signet is working to acquaint all of its employees with its corporate social policies regarding sourcing.

Wrapping up the Symposium, GIA President and CEO Susan Jacques said, “The future of our industry is incredibly bright. Disruption is not unique to gems and jewelry, and these challenges are great opportunities.”

“Embrace innovation and embrace change, for those most able to adapt to changes survive and thrive.”

The Symposium proceedings will be published in the Fall 2018 issue of Gems & Gemology, GIA’s quarterly journal, which will be available at no cost on GIA.edu in November. @chapter:42 @chapter:3 @chapter:42


# Publication Year: -
# Title: Iolite Care and Cleaning
# Abstract: With proper care, iolite jewelry will provide a lifetime of beautiful adornment. – Robert Weldon

Hardness and Toughness
Gem and mineral hardness is measured on the Mohs scale. The numbers are based on the relative ease or difficulty with which one mineral can be scratched by another. But the Mohs scale is deceptive. The steps between the minerals are not evenly spaced. For example, diamond is only one number away, but it’s many times harder than gems in the corundum family.

	Iolite rates 7 to 7.5 on the Mohs hardness scale.
Because it has perfect cleavage in one direction, iolite requires special care during cutting, polishing, and mounting. It’s not very tough, so a hard blow might split it, and extreme pressure or sharp temperature changes might cause it to break. To reduce the risk of breakage, jewelers prefer to set iolite gems in protective mountings or use them in pieces that aren’t exposed to too much wear, like pendants and earrings.

Stability
High heat or sudden temperature changes can cause breaks in iolite. The gem’s color is stable.

Cleaning
It’s important to avoid steam or ultrasound for cleaning iolite: Warm, soapy water works best.

	A safe way to clean iolite jewelry is to use lukewarm water with mild soap and a toothbrush. - Eric Welch
Treatment and Durability Considerations
Iolite is not typically treated so coatings and dyes are not generally a concern with this gem.

Iolite should be protected as much as possible from sharp blows that can cause breakage along cleavage planes. @chapter:27 @chapter:1 @chapter:27


# Publication Year: 2014
# Title: CVD Synthetic Diamond with Unusual Inclusions
# Abstract: A 0.34 ct square modified brilliant was submitted to GIA’s Carlsbad lab as a synthetic diamond. The specimen, which exhibited good polish and symmetry, received a color grade of K and a clarity grade of SI2. During advanced testing, the photoluminescence spectra displayed a large 737 nm doublet, a silicon vacancy peak seen in CVD synthetic diamonds. A DiamondView image showed subtle growth dislocations on the pavilion and almost no growth layer structure on the crown (figure 1). A mid-IR spectrum did not show the 3123 cm–1 peak, once considered characteristic of CVD synthetics (P.M. Martineau et al., “Identification of synthetic diamond grown using chemical vapor deposition [CVD],” Spring 2004 G&G, pp. 2–25).

Figure 1. This DiamondView image of the 0.34 ct CVD synthetic shows a pattern of growth dislocations. Image by Troy Ardon.
The most unusual features were the inclusions. As seen in figure 2, this item is deserving of its SI2 clarity grade. In addition to several fractures, there were numerous indented crystal surfaces and included growth remnants. A close-up of the indented crystal surfaces revealed an irregular shape and surface texture (figure 3). The fully included growth remnants lacked any discernible pattern or regularity. Inclusions have been reported in CVD synthetic diamonds, but they have been confined to growth planes (Spring 2013 Lab Notes, pp. 47–49). This specimen’s inclusions, which were scattered in a random way, showed no uniformity in size, shape, color, or placement. They were whitish or black, pinpoint-sized and larger structures (as seen in figure 3, lower right). Some were flat and pointed, while others were more rounded in shape. Furthermore, some were grouped together, similar to cloud-like inclusions, while others were freestanding, mimicking the inclusion distribution in natural diamond. The strain was mottled around the inclusions and crosshatched in cleaner areas.

Figure 2. The pavilion displayed a wide variety of inclusions. Photomicrograph by Troy Ardon; field of view 3.6 mm.

Figure 3. A close-up of some of the indented crystal structures showed etch-like patterns. Photomicrograph by Troy Ardon; field of view approximately 1.4 mm.
The chemical structure and composition of these inclusions is unknown, and why they formed this way is a mystery. It is possible that this material is from a new growth method that yields heavily included product. Synthetic diamond research is a rapidly growing field; as it expands, many new and different types of samples find their way into the trade. The inclusions in this specimen could pass for natural inclusions if observed with a standard 10× loupe or a quick glance in the microscope. The DiamondView image is also difficult to interpret if one is not accustomed to the many fluorescent patterns CVD synthetic diamonds can display. This case is an important reminder to exercise caution when determining natural or synthetic origin, because some synthetic diamonds in the market look very natural. @chapter:9 @chapter:1 @chapter:9


# Publication Year: 1999
# Title: The Identification of Zachery-Treated Turquoise
# Abstract: Over the last 10 years, millions of carats of turquoise have been enhanced by a proprietary process called the Zachery treatment. Tests show that this process effectively improves a stone’s ability to take a good polish and may or may not improve a stone’s color. It also decreases the material’s porosity, limiting its tendency to absorb discoloring agents such as skin oils. Examination of numerous samples known to be treated by this process revealed that Zachery-treated turquoise has gemological properties that are similar to those of untreated natural turquoise, and that the treatment does not involve impregnation with a polymer. Most Zachery-treated turquoise can be identified only through chemical analysis—most efficiently, by EDXRF spectroscopy—as it contains significantly more potassium than its untreated counterpart. @chapter:2 @chapter:0 @chapter:2


# Publication Year: 2002
# Title: Diamonds in Canada
# Abstract: A newcomer (since 1998) as a supplier of rough diamonds to the world market, Canada is currently the seventh most important diamond producer by weight and fifth by value. This article chronicles the history of the exploration for, and discovery of, primary diamond deposits throughout Canada (538 kimberlites are currently reported), with particular emphasis on the important kimberlite pipes in the Northwest Territories. Typically, these pipes are small but have high diamond grades. Sales of the rough diamonds, and the fledgling cutting and polishing industry in Canada, are described, along with branding initiatives and the marketing strategies of the producers. Canada will become an increasingly significant supplier of rough diamonds as prolific new mines start production, and this will have a growing impact on the world diamond industry.

Read more

	DATA DEPOSITORY

Discredited, Unsubstantiated, and Doubtful Reports of Diamond Discoveries in Canada Before 1963
	Submitted by B. A. Kjarsgaard and A. A. Levinson
	October 30, 2002 @chapter:50 @chapter:3 @chapter:50


# Publication Year: 2022
# Title: Unusual Purple Fluid in Quartz
# Abstract: Figure 1. This 27.76 ct pear-shaped double cabochon contained several fluid inclusions with a vibrant purple component. Photo by Annie Haynes; courtesy of Mike Bowers.
Recently the authors examined a 28.93 mm long, 27.76 ct transparent pear-shaped double cabochon rock crystal quartz that contained numerous fluid-filled negative crystals (figure 1). Oddly, some of the negative crystals also hosted a brightly colored purple liquid in addition to what appeared to be a colorless liquid, the two liquid phases being immiscible (figure 2).

Figure 2. Several fluid-filled negative crystals were present in this rock crystal quartz cabochon, a few of which contained a highly unusual brightly colored purple liquid. Photomicrograph by Nathan Renfro; field of view 14.50 mm. Courtesy of Mike Bowers.
Not all of the fluid inclusions within this quartz contained the purple component. However, all of the purple liquid–hosting negative crystals did contain partially healed, limonite-stained fractures intersecting them. This suggests that the purple fluid may have entered the negative crystal cavities through a post-growth or secondary process rather than homogeneous entrapment during growth.
While colored fluid inclusions have been previously reported in quartz—colors that include blue, yellow, and orange (see e.g., Spring 2004 Gem News International, pp. 79–81; Spring 2006 Gem News International, p. 71)—this is the authors’ first observation of a purple fluid trapped within quartz. Unfortunately, Raman spectroscopy to identify the fluid was unsuccessful, as the fluid was too deep in the crystal. While the composition of the fluid is unknown, as well as the conditions under which the fluid entered the quartz, there is no obvious indication that it resulted from an artificial process. However, the possibility of such artificial tampering cannot be ruled out entirely. This fascinating purple fluid inclusion is one of the strangest and most interesting the authors have examined. @chapter:26 @chapter:0 @chapter:26


# Publication Year: -
# Title: Seeking the Legacy of Australian Sapphire
# Abstract: Terry Coldham (left) and Jack Wilson (right) each have more than 50 years of experience in Australian sapphire mining and trading. They shared their in-depth understanding of the Australian sapphire industry with the GIA team. Photo by Andrew Lucas/GIA.

		The moment I held that stone up to the sun and saw a deep vibrant royal blue color throughout the sapphire…I knew I was hooked.

		—Peter Brown, Sapphire Miner and Mine-to-Market Entrepreneur

Some of these sapphire crystals still have host rock attached, which is fairly rare in Australia. Photo by Vincent Pardieu/GIA.

	INTRODUCTION

	Sapphire was discovered in Australia during the 1850s gold rushes and 1870s tin mining. One of the earliest written records is from 1851, when sapphire was found in New South Wales. Though the long history of sapphire mining and commercial production spans at least the past half century, Australian sapphire has not received the recognition it warrants from either the global gem and jewelry industry or the consumer market. The top-quality Australian stones were sold as being from other sources, such as “Pailin” from Cambodia. Australia’s sizable commercial-quality sapphire production and its contribution to the rest of the world, especially the current corundum trading center of Thailand, are under-recognized. The trade between the Aussies and the Thais led to the global sapphire industry’s current dynamics.

	Australia’s Sapphire Legacy

	Australia’s sapphire industry has spurred expertise, innovation, and equipment for colored stone mining throughout the world. Along with having been a major supplier of sapphire for the global market, the legacy of Australia’s contributions to the industry worldwide continues today.

	To enrich GIA’s global corundum research and learn the full story of the Australian sapphire industry, the Institute sent a group of field gemologists to explore the most important sapphire gem fields in eastern Australia. The group was led by GIA senior field gemology manager Vincent Pardieu and composed of field gemologist Andrew Lucas, Gems & Gemology technical editor Tao Hsu, assistant field gemologist Victoria Raynaud, and field cameramen Didier Gruel and Didier Barriere Doleac. The Institute’s field gemologists have covered all important sapphire fields in Australia—earlier this year another team led by Vincent Pardieu visited Tasmania’s sapphire fields (http://www.gia.edu/gia-news-research/searching-sapphire-tasmanian-wilderness).

GIA field gemologists Andrew Lucas (left) and Vincent Pardieu (right) and Gems & Gemology technical editor Tao Hsu (middle) visited an underground sapphire mine in Rubyvale, Queensland. Photo by Victoria Raynaud/GIA.

AUSTRALIAN SAPPHIRE GEM FIELDS

	Of the areas on Australia’s east coast that have reported sapphire deposits throughout history, three regions are widely known as the main sapphire mining districts. From south to north, they are the Inverell–Glen Innes region on the New England Plateau in New South Wales, the Rubyvale-Anakie district in Queensland, and Lava Plains in northern Queensland. All Australian sapphire deposits are alkali basalt–related. Stones are recovered from both secondary deposits along current or previous watercourses and primary or reworked pyroclastic flows or volcanic mudflows (lahars). Taking off from Sydney, the GIA team visited Inverell, Rubyvale, and Lava Plains. Sapphire samples were collected at all three locations.

	On Australia’s east coast are three well-known sapphire mining fields, all closely related
	to Cenozoic basalts. From south to north, they are the Inverell field, the Anakie field, and
	the Lava Plains field.

	The Inverell–Glen Innes region is one of the world’s main suppliers of sapphires. The sapphire deposits are found in both the volcaniclastic rocks and their reworked alluvial placers but not in the lava flows. Due to weathering and vegetation cover, basaltic lava flows can barely be seen as ridges or terraces of different levels. The original volcanic edifice is not visible. Sapphire was reported in northern New South Wales for the first time in 1854, but the first commercial mining began in 1919. The 1960s and 1970s saw the heyday of mechanized sapphire mining in this area due to high demand from Thai buyers (leading to a price increase) and the introduction of new mining techniques.

The sapphire deposits in Kings Plains, New South Wales, are about 45 kilometers northeast of Inverell. Photo by Vincent Pardieu/GIA.

	At the Kings Plains deposits, our team visited a mine under the operation of Wilson Gems & Investment, about 45 kilometers northeast of the town of Inverell. The Wilson family is among the first miners who began working on the deposits in the sixties. The Kings Plains deposits are considered some of the richest sapphire deposits ever mined. According to owner Jack Wilson, there could be more than one sapphire-bearing layer, which might reflect multiple volcanic eruptions. During our visit we saw the miners extracting the clay-like sapphire-bearing layer below the topsoil. The washed material would eventually be handpicked to separate the rough sapphire crystals for further sorting. The majority of the production is cut in Thailand and exported to Russia.

An excavator works on an open pit in the Kings Plains deposits. The grayish layer being scooped up contains sapphire. Photo by Vincent Pardieu/GIA.

	During our visit to Inverell, we had the opportunity to see the Billabong Blue sapphire mine. In contrast to the Kings Plains open-pit operation, this mine is an alluvial deposit along old stream channels. The sapphire-bearing gravel layer is quite shallow on the currently exposed profile. Although there was no active mining when we were there, our team was able to find some stones in leftover washed gravel from the jig from the last production day.

Team members search for sapphire samples from the jig at the Billabong Blue mine. Photo by Andrew Lucas/GIA.

View Gallery

	Inverell Fields Gallery

	After crossing the state border into Queensland, we visited a second sapphire field: the Rubyvale-Anakie area in central Queensland. Government surveyor Archibald John Richardson discovered the first sapphire in the region while surveying the railway in 1875. Soon he quit his job and moved to Anakie, filed a claim, and started digging for sapphire. Based on the numerous well-preserved basaltic plugs in this area, many people believe that the basaltic volcanism brought the sapphire to the surface, just as in the other sapphire fields.

	With over a hundred years of sapphire mining history, the locals in the Rubyvale-Anakie
	region are very proud of their sapphire culture. Photo by Andrew Lucas/GIA.

	Sapphire is recovered mainly from current and previous river channels in this region, and no one is reported to be working a primary deposit yet. The sapphire-bearing sediments are above the granitic basement rocks, show large variation in thickness, and reflect a very high-energy local sedimentary environment.

View Gallery

	Anakie Fields (Open Pit) Gallery

	The sapphire mining boom that began in the early 1970s with the introduction of mechanized operations faded later that decade. Since then tourism and fossicking (hobbyist mining) have grown considerably. Today a good number of mechanized miners and hand tool miners still work on the field, generating a commercially viable amount of stones every year.

View Gallery

	Anakie Fields (underground) Gallery

	The team was hosted by local sapphire miner Peter Brown, who is also an experienced sapphire cutter. Peter’s small-scale operation is very efficient and can even be handled by one person. The team also visited a large-scale machinery operation in Rubyvale, the Capricorn open-pit operation run by Richland, and a small-scale underground mine in Willows Gemfields west of Anakie.

	Fossicking refers to tourists who work the sapphire fields with simple but very effective
	hand-mining tools. Their screening and washing methods require little water and could be
	adopted in artisanal mining areas around the world. Photo by Andrew Lucas/GIA.

	After a short break in Brisbane, the group flew to Cairns, a city in the far north of Queensland. There we met our local contact, Michael McCann, president of the Mt Rosey Mining Company, who would guide us to visit the Lava Plains sapphire field. The Mt Rosey mine is about 250 kilometers southwest of Cairns, right outside the southern border of Undara Volcanic National Park. Compared to the other two field areas, the volcanic landforms in the Lava Plains field are much easier to see because they represent the most recent volcanic activities on this continent. The sapphire-associated McBride Basalt has an age range of 8–0.1 Ma. Cinder cones, craters, partially collapsed crater walls, and lava flows can all be easily mapped. Sapphires are found in placers and sediment accumulations along linear depressions either within the lava flow surfaces or associated with fissures or faults.

View Gallery

	Lava Plains Gallery

	The Mt Rosey mine camp is at a historical mining operation called the Thai Sapphire Mine. Old mining facilities and multiple human-built water dams are still at the site. Since there is no available written record of this mine, the reason the Thai miners left is unknown. We also visited another historical mining site named The Scot’s Mine. Based on the discarded mining and processing machines, the mine was likely quite large. There is no available record of this mine either.

	THE STONES

	Australian sapphires are associated with volcanic activity and are often referred to as basalt hosted. The sapphire deposits in Thailand, Cambodia, China, Vietnam, and Nigeria are also basalt hosted. The iron content of these types of deposits is usually higher than that of sapphires that form in marble, like in Myanmar, so the blue color is often darker. There is also often a stronger green pleochroic color element.

Victoria Raynaud shows the strong pleochroism of a large rough sapphire from the Kings Plains deposits. Both the blue and green are quite strong at this angle. Photo by Andrew Lucas/GIA.

	While known for its large production of darker blue basalt-hosted sapphires, Australia can
	also produce bright blue material. Photo by © GIA and Tino Hammid.

Other than blue, sapphires are found in all different colors in Australia. This is a collection of Peter Brown, who mined all these sapphires from his central Queensland mine. They are all natural. There are two parti-colored sapphire in this suite, They are very characteristic of Australian stones. Courtesy of Rubyvale Gem Gallery.

	This dark blue material makes up the vast majority of Australian sapphires, with some almost black. However, some brighter blues can also be found, as well as yellows, greens, and parti-colored stones that show a combination of colors, like green and yellow or blue and yellow. The parti-colored stones are highly prized by the miners and often given to their wives, while foreign wholesale buyers are not as interested. Pink sapphires are rare and orange sapphires extremely rare. Australia is also known to produce black star sapphires and rare green star, yellow star, and blue star sapphires.

View Gallery

	Australian Sapphires Gallery

	THE PEOPLE

	Our team was privileged to interact with members of the Australian sapphire industry who had decades of experience and had seen the market go through many changes. Our expedition guide, Terry Coldham, with 50 years of experience in mining, cutting, marketing, and wholesale, is one of the leading authorities in the industry and has also been extensively involved in the global sapphire industry.

With 50 years of experience in the industry, Terry Coldham was able to put not only the Australian industry but also the global industry into perspective for us. Photo by Vincent Pardieu/GIA.

	Some of the miners we met had seen the dramatic changes as the industry moved from small-scale to larger operations during the boom years of 1967 to 1979, and now to fewer mining operations with often more vertically integrated small-scale business models. To be competitive all the operations had to be extremely efficient and innovative.

	Peter Brown arrived in the Rubyvale, Queensland, sapphire gem fields in 1974, driving an old VW Beetle, and set up camp. He grew his own vegetables and shot wild game for meat. Contemporaries remember him as a penniless hippie.

Peter Brown was an extremely innovative sapphire miner who thought outside the box. He demonstrated how diggers designed for opal mining could be used in an underground sapphire mine. Photo by Andrew Lucas/GIA.

	Since then Peter and his wife, Eileen, and sons have owned and operated successful sapphire mining operations. The family cuts a percentage of its own stones, manufactures jewelry, and owns a retail store called Rubyvale Gem Gallery. They also converted a miner’s cottage into an inn for tourists and started a restaurant adjacent to their store. The Brown family operates a complete mine-to-market enterprise.

	Peter Brown’s wife, Eileen, proudly holds a trophy awarded to Rubyvale Gem Gallery by
	the Queensland Tourism Industry Council. Photo by Andrew Lucas/GIA.

	Jack Wilson has also seen the changes over the years and currently operates an open-pit mining operation with his son. His father started mining sapphire in the New South Wales fields in 1964. Jack now mines and runs the business with his wife and two sons and a small crew at Kings Plains. He adapted a magnetic separator to separate the magnetic ore from the sapphire for greater efficiency in processing. Australian sapphire miners have learned to be very efficient, to do more with less so they can be competitive globally.

	With satisfaction Jack Wilson holds a box of sapphire rough from his mine. Photo by
	Vincent Pardieu/GIA.

	Jack Wilson has found that to be competitive globally, he must cut the stones in a factory in Thailand and sell the finished stones as opposed to selling only rough on the wholesale market. He and his family also operate a retail store in Inverell, where they sell finished sapphires and jewelry to tourists.

Mr. and Mrs. Wilson make a mine-to-market team, with Mrs. Wilson designing jewelry for some of the sapphire they mine. Photo by Photo by Andrew Lucas/GIA.

	We interacted with sapphire miners including Daryl Mosly, who runs a very efficient mechanized open-pit mine; small-scale miners working underground with jackhammers; a new large-scale open-pit modern operation called the Capricorn mine (due to its proximity to the Tropic of Capricorn) operated by Richland, the former mining company at TanzaniteOne; and another new operation at the Lava Plains fields, managed by Michael McCann. All in all we met a fascinating mixture of innovative and efficient independent miners, small-scale miners and hobbyists called fossickers, and new larger-scale operations.

View Gallery

	Australian Sapphire Miners Gallery

	AUSTRALIA’S CONTRIBUTION TO THE GLOBAL SAPPHIRE INDUSTRY

	Over the decades Australia has made major contributions to the global sapphire and colored gemstone industries. In the late 1950s to early 1960s, Australian sapphire miners converted jigs used by tin miners near Inverell for use in sapphire mining. As time went by, simple sluices used for sapphire recovery now incorporated pulsating jigs and trommels in a more sophisticated system. Sapphire miners also discovered that spinel and some of the iron oxide materials could be separated using a magnetic separator, greatly reducing the amount of material that had to be handpicked. Variations of these jigs are used in many colored gemstone mining areas, including Southeast Asia and Africa.

The innovation and ingenuity of sapphire mining and processing expanded from Australia to Southeast Asia and on to Africa for colored gemstones. The mining and processing of colored gemstones around the world would not be where it is today if not for the Australian miners. Photo by Andrew Lucas/GIA.

	The connection between Australia and Thailand has helped shaped the modern sapphire market. The demand from Thailand led to the boom years of production from 1967 to 1979. This fueled more mining operations and larger mechanized operations. In turn the influx of large quantities of Australian sapphire greatly helped to expand the Thai sapphire cutting, treatment, and trading market, helping to push Thailand to the forefront of the global sapphire industry. A leading factor was Thai dealers implementing heat treatment to clarify the Australian stones—previously unusable sapphires from Australia could then be faceted and sold in jewelry around the world in large quantities. The rough from Australia was used to cut large quantities of calibrated blue sapphire to supply mass jewelry manufacturers and then large retailers.

We saw evidence of the past huge production of Australian sapphires as well as potential for future production. Photo by Andrew Lucas/GIA.

Beginning in the 1960s, Thai sapphire buyers came to Australia to purchase raw material for processing in cutting and treatment centers in Bangkok and Chantaburi. Photo by Terry Coldham.

	This not only provided the fuel and capital to expand the Thai industry but also influenced consumers around the world to see dark blue sapphires from Australia as the norm. Later other volcanic-associated sapphires from Thailand, China, Cambodia, Vietnam, and Nigeria would come to consumers. Thailand would become the center for cutting and treating sapphires from all sources, including the geuda sapphires from Sri Lanka in the late 1970s, when they treated the translucent grayish material to create a very attractive blue color.

	Peter Brown and his son represent years of experience and the passion of Australian
	sapphire miners. Photo by Vincent Pardieu/GIA.

	In the last few years, demand has increased, but it is still not nearly as high as in the boom years. Thai buyers are coming to the Australian sapphire fields again, looking for larger dark blue-black stones they did not want before. Beryllium treatment can give these stones an attractive golden color. A newer treatment has helped to create a demand again. @chapter:4 @chapter:0 @chapter:4


# Publication Year: -
# Title: Summer 2012 Gem News International
# Abstract: Colored Stones and Organic Materials
            Burmese Amber Update
            Aquamarine from San Bernardino County, California
            Trapiche Aquamarine from Namibia
            Champagne/Imperial Garnet from Lindi Province, Tanzania
            Rainbow Moonstone from Zambia
            Morganite from Ethiopia
            Large Natural-Color Freshwater Cultured Pearls with Drilled Beads
            Ruby and Sapphire Rush Near Didy, Madagascar
            Beryllium-Bearing Nano-Inclusions Identified in Untreated Madagascar Sapphire
            Blue Sapphire Discovery near Kataragama, Sri Lanka
            Sapphire and Ruby Carvings from Vietnam
            Color Suites of Zoisite from Tanzania
Synthetics and Simulants
            Partially Devitrified Glass Imitation of Hemimorphite
            Coated Quartz Imitation of Rubellite Tourmaline
Conference Reports
            10th Annual Sinkankas Symposium—Topaz
Miscellaneous
            Myanmar Gem Emporium and GEO Myanmar 2012

To view the full section, download the PDF above. @chapter:6 @chapter:0 @chapter:6


# Publication Year: -
# Title: Summer 2010 G&G Book Reviews
# Abstract: “American Luxury: Jewels from the House of Tiffany”
Edited by Jeannine Falino and Yvonne J. Markowitz, 207 pp., illus., publ. by Antique Collectors Club [www.antique-acc.com], Woodbridge, Suffolk, UK, 2009. US$65.00

“Gemstones”
By Karen Hurrell and Mary L. Johnson, 319 pp., illus., publ. by Metro Books [www.barnesandnoble.com], New York, 2008. US$12.98

“Diamonds: The Quest from Solid Rock to the Magic of Diamonds”
By Christine Gordon, 430 pp., illus., publ. by Tectum Publishers, Antwerp, 2008. US$135

“Schiffer Earth Science Monographs”
Publ. by Schiffer Publishing [www.schifferbooks.com], Atglen, PA, 2008–2009. US$19.90 each

“Minéraux Remarquables”
By Jean-Claude Boulliar with photography by Orso Martinelli, 252 pp., illus., publ. by Plage [plage2@wanaadoo.fr], Paris, 2009, €69 [in French and English]

To view the full section, download the PDF above. @chapter:28 @chapter:2 @chapter:28


# Publication Year: 2015
# Title: Bold Color Combinations
# Abstract: Top: This vibrant 2.08 ct oval pink sapphire flanked by a pair of warm-hued spessartine garnets totaling 3.41 carats strikes a tropical note. Bottom: This bold pendant and earring suite features three marquise-shaped tanzanites totaling 6.73 carats, with modified brilliant rubellite tourmalines of 14.20 carats total. Photos courtesy of Stephen M. Avery.

For retailers and designers overwhelmed by the endless rows of gemstones lined up in trays, inspiration could be found at the booth of Stephen M. Avery (Lakewood, Colorado). Avery presented “statement”-sized gemstones in suites of bold color combinations, as seen above. His company has mainly sourced African stones but is now traveling to Asia to add brightly colored sapphire and spinel to its design palette. Avery, an expert cutter as well as buyer, fashioned all the gemstones in his inventory. The combination of craftsmanship and creative inspiration appeared to have paid off, as he reported the company’s best show ever. @chapter:28 @chapter:2 @chapter:28


# Publication Year: -
# Title: Books: Fashion Jewellery: Made In Italy
# Abstract: By Deanna Farneti Cera, 392 pp., hardcover, illus., publ. by the Antique Collectors Club, Woodbridge, UK, 2013. US$85.00

                      This hefty tome’s frontispiece, a nearly foot-long image of an early 1970s Gianfranco Ferré silvery metal brooch hand-fashioned in the shape of Italy, alerts readers that they are in for a wild ride.

Written by Deanna Farneti Cera, a curator for international jewelry exhibits and formerly of the Municipal Museum of Modern Art in Bologna, the book chronicles the rise of Italian fashion jewelry from traditional roots to the most raucous of catwalks.

Italian fashion jewelry from the first half of the 20th century left little in the way of artistic footprinting, as years of war, a Fascist regime, and economic hardship all took a toll. Nonetheless, pieces by Edoardo Saronni from the early part of the century display the ingenuity and craftsmanship that would mark the work of later Italian artisans and artists. After World War II, Giuliano Fratti achieved fame using materials that were allowed during Fascist rule such as raffia, wood, berries, and nuts.

Despite a pervasive Francophilia among fashionistas, Italian fashion jewelry began to take flight in earnest during the 1950s, with the rise of an industrial bourgeoisie and the birth of organized fashion consortia in Milan, Florence, and Rome. Moving beyond roots in theatre, opera, and fine jewelry, Italian designers not only embraced mid-century trends but also forged ahead with bold, inventive designs that stood apart from the staid and two-dimensional.

By the 1970s, “Made in Italy” had become the de rigueur fashion statement, as illustrated by Ugo Correani’s designs for Valentino and the architectural accessories of Gianfranco Ferré, whose celebrated fashion career began with non-precious jewelry. Farneti Cera continues the visually stunning romp through the over-the-top ’80s the colorful supermodel years of the ’90s, and into the millennium’s rock-inspired catwalks and fashion show happenings.

The author offers a few pages of introductory text to each era, followed by a barrage of captivating images of the pieces themselves and as worn by fashion models. Some pieces are shown in advertisements or featured on magazine covers of the time. A few sketches, images from private collections, and photographs from fashion house archives round out the book’s colorful, eye-popping appeal.

The text cites many cultural and historical touchstones that help set the tone for the period, which helps explain the artistic expressions that flowed from these trends. American readers may not be aware of the fear of terrorism that loomed over Italy during the 1970s and 1980s. Some of these passages make for difficult reading in a book focused on beauty and art, yet such events help frame the brazen fashion fringe, typified by Moschino, that emerged once those fears had been exorcised.

Toward the end of the book, Farneti Cera devotes 17 pages to profiles of the jewelry manufacturers whose works graced the preceding pages. These individuals and houses are listed alphabetically, which may strike some readers as being at odds with the book’s chronological focus. The narrative sometimes lacks the flow to deliver such an engaging subject.  Readers may find it easier to navigate some of the book’s occasionally impenetrable and stilted text by referring back to these manufacturers’ profiles as they peruse the images of their works, instead of waiting to reach the back pages.

The book concludes with two “Will They Be Famous?” sections—one with the work of up-and-coming artists, and the other comprising their biographies. The author uses these pages to express her own wish lists for these and future artists, with a reasoned proposal for a craftsman/artist cooperative to help aspiring talents overcome some of the difficulties associated with the business side of their art. Farneti Cera also bemoans the dearth of jewelry galleries or museums in Italy that serve to engage and educate the public about the rich history of ornamentation.

In piecing together this treasure trove of signature Italian style, the book brings readers closer to understanding the appeal and artistry of jewelry making beyond that which is traditionally associated with fine jewelry. Here, fashion jewelry reigns as contextual art. Jewelry designers, illustrators, manufacturers, historians, and curators will enjoy this book, as will readers who long for an Italian holiday or those who are merely intrigued by fashion’s sublime and at times allegorical roots. @chapter:20 @chapter:2 @chapter:20


# Publication Year: 1985
# Title: Gem Pegmatites of Minas Gerais, Brazil: The Tourmalines of the Governador Valadares District
# Abstract: The previous article in this series focused on tourmaline production around the city of Araçuaí, in northeastern Minas Gerais, and discussed 20 important mines in that area. The present article turns to the major tourmaline mines in southeast Minas Gerais, in the broad area surrounding the gemstone capital, Governador Valadares. Specifically, the Cruzeiro, Golconda, Santa Rosa, and Jonas mines — all of which count among the most famous tourmaline mines in the world — are described. @chapter:6 @chapter:0 @chapter:6


# Publication Year: -
# Title: Books: Smithsonian Nature Guide on Gems
# Abstract: By Ronald Louis Bonewitz, 224 pp., illus., DK Publishing, New York, 2013. $14.95.

                      As part of the Smithsonian Nature Guide series, Gems has the look and feel of a field guide or a lab manual. The book is durable enough to serve these purposes, and the technical information contained within lends itself to such use on a limited basis. Although licensed by the Smithsonian Institution and featuring some images from its collection, this book is largely a British product, using terms that are more common among gemologists from the United Kingdom and Europe.

The 34-page introduction serves as an overview of gemology, including such topics as gem formation, classification, cutting, enhancements, synthetics, and history and folklore. The book’s only other section, “Gemstones,” includes segments on precious metals and organics and a glossary, but the largest entry is “Cut Stones.” Here, the various gems are arranged much in the style of a mineralogical text, divided by chemical composition. Sections cover the native elements, sulfides, silicates, and tungstates; based on that system, the cut gems are sometimes are presented out of the order anticipated by someone with a working knowledge of Dana’s System of Mineralogy and Dana’s Textbook of Mineralogy. It should also be noted that the book does not further divide the silicates into categories such as soro-silicates or tekto-silicates. For each featured cut gem, precious metal, and organic gem, there is a profile box detailing its basic properties and, where appropriate, the typical cutting styles. The basic chemical formula is given, along with the name origin, formation and source information, and color images, including examples of rough material.

One of the book’s merits is ease of use, with its portable format and easily located vital information. It contains far more gem materials than most comparable books, opening up a whole new world of gems to the consumer. Another virtue is the profusion of color images used to illustrate various aspects of the gemstones. I applaud the “Gem Enhancement” section: To make an informed purchase, the consumer needs to be aware of methods to improve the appearance, durability, and value of a gem material.

Some areas could use revision. The reader is given no sense of the author’s qualifications to write about gemstones. Another issue concerns the use of the outdated terms “precious” and “semi-precious.” Why should the negative connotation of “semi-precious” be applied to such wonderful gems as alexandrite or red spinel, which often sell for at least as much as those traditionally labeled “precious?” I was surprised that beryl, rather than topaz, was used to illustrate a hardness of 8 on the Mohs scale, and disagreed with the assertion that soft stones are cut only for collectors. This may have been true in the past, but with the recent boom in at-home shopping, softer stones such as fluorite are being purchased by a great many consumers. It is important to inform consumers of the care required for softer gems without chasing them away. The color images, while numerous, do not always convey the actual color of the gem. In many of the photos, lines are used to point out a particular aspect of the gem, such as fire or doubling, yet in some instances you can’t see that feature.

Finally, I found some faulty information. The most conspicuous inaccuracy is the statement that flux-melt gemstones, including some synthetic emeralds, leave curved growth zones. The reality is that curved growth zones are mostly associated with flame-fusion synthetics, which do not include synthetic emerald. Flux-melt synthetic emeralds are known for showing angular growth features. There are other inaccuracies of various degrees that could be addressed, but I do not wish to create too negative an impression.

Despite some outmoded terminology and factual errors, this attractive book’s numerous gemstones, helpful illustrations, portability, and low price make it worth purchasing, especially for the general consumer. @chapter:0 @chapter:0 @chapter:0


# Publication Year: 2018
# Title: Gerd Dreher (1939-2018)
# Abstract: The gem world mourns the loss of master carver Gerd Dreher of Idar-Oberstein, Germany. Dreher was legendary for his lifelike and meticulously detailed carvings of flora and fauna. Dreher and his family, which has worked with gem materials for 13 generations, were profiled in the Winter 2017 issue (pp. 404–422). @chapter:33 @chapter:2 @chapter:33


# Publication Year: -
# Title: Glenn Nord (1928–2019)
# Abstract: Glenn Nord was captivated by gems since childhood, and this formed the foundation of his education and career. This fascination long benefited GIA, which flourished thanks to the accomplishments of this self-described “GIA man.” His work, first as an instructor, then as president, and finally as a member of the Board of Governors, secured the Institute’s place as the world leader in gemological education and research.

After completing military service, Nord enrolled at GIA using his GI Bill benefits, earning his Graduate Gemologist (GG) diploma in 1959. He was invited by then-president Richard Liddicoat to join the faculty in 1961. He became a tireless advocate for GIA’s traveling classes, introducing the Institute’s first corporate training courses with the Zale Corp. in the 1960s. In 1970, Nord taught GIA’s first international gemology courses, in Ramat Gan, Israel. He resigned in 1974 for health-related reasons, but returned nine years later to serve as GIA president.

Nord’s term as president (1983–1986) restored financial stability in the wake of a global recession. It also brought an era of increased student enrollment, revitalized curriculum, and expanded global development. His lasting contributions to the Institute include the establishment of student financial aid services and the founding of the highly successful Gemfest, free educational seminars now held regularly in Asia and Europe.

A longtime member of the Board of Governors, Nord was named Governor Emeritus, and received the Richard T. Liddicoat Distinguished Achievement Award, the Institute’s highest honor. More than five decades after his graduation, GIA and the public it serves continue to reap the benefits of Glenn Nord’s leadership and dedication.

Glenn Nord passed away on June 9, 2019. @chapter:38 @chapter:3 @chapter:38


# Publication Year: 2022
# Title: Stephen M. Avery: Celebrating Half a Century in Gem Cutting
# Abstract: Figure 1. With names like “Flaming Comet” and “It’s a Zoisite Party,” Avery’s gem sets have enchanted for decades. This three-piece set consists of a 6.22 ct golden tourmaline flanked by two aquamarines, 5.14 carats total. Photo by Sara Rey; courtesy of Stephen M. Avery.
Approaching his 50th anniversary in the business, Stephen M. Avery (Lakewood, Colorado) reflected on his journey to becoming an award-winning lapidary artist, detailing his signature cuts and gem sets and offering advice to up-and-coming gemstone cutters. Since starting his career at the age of 17, Avery has accumulated a remarkable amount of cutting experience. But even after all this time, the part he enjoys most is continuing to find new challenges.
Avery was not born into the business and began his career by enrolling in the American School of Diamond Cutting. He learned the foundations of diamond cutting from the prestigious diamond cutter Leonard Ludel. A few years later, he found himself working for Stradley Lapidary in Colorado, where he made the instinctual move from diamonds to colored stones. He describes this as a moment of clarity, as he was bored with the lack of creativity in cutting standard round brilliant diamonds. Avery noted that at the beginning of his career in the late 1970s, he was “bringing something unknown to the colored stones business: diamond cutting quality to colored gemstones.”
Avery started to create gem sets—suites of intricately cut gemstones that fit perfectly together (figure 1)—about 40 years ago. He describes them as something that started experimentally and has exploded in popularity. When it comes to creating his gem sets and sourcing the right stones, he has learned that patience pays off. He explained that some colors will negatively impact other colors, and some colors when paired will read neutral. The most gratifying outcome occurs when all the gemstones used look better when they’re together.
Throughout his career, Avery has fashioned numerous signature cuts. His very first signature cut was a Portuguese-cut trilliant, which took three years to design. Another early signature cut was the Triopp cut (figure 2), a triangular cut born out of anger when the perfect trillion preform had an inclusion in the corner. He ground it out, only to discover a completely new concept in faceting. He then went on to create the OVOB cut, an oval opposed bar cut, and most recently the Diamondback, a recreation of the checkerboard cut to fit elongated pieces of gem rough (figure 3).

Figure 2. When skill and experimentation combine, something as brilliant as Avery’s signature Triopp cut is born. This stunning example is a 9.79 ct chrome tourmaline measuring 14.5 mm. Photo by Sara Rey; courtesy of Stephen M. Avery.

Figure 3. Avery’s Diamondback cut is a blessing to stones longer than 50 mm. This 73.22 ct tourmaline measures 11.1 × 79.3 mm. Photo by Sara Rey; courtesy of Stephen M. Avery.
His exquisite attention to detail and understanding of color and light enable Avery to cut award-winning, one-of-a-kind faceted gemstones. The majority of his pieces require designers to create custom settings. He has relationships with several skillful designers who allow him to share his vision for the piece and then take it from there. His talent, in combination with the talent of these designers, has earned him many “Best Of” titles in the AGTA Spectrum Awards. Avery cut a matching pair of Afghanistan indicolite tourmalines that were 2018 AGTA Cutting Edge Awards first-place winners in Pairs and Suites. The following year, those same tourmalines won yet again in the Spectrum Awards, in earrings designed by Adam Neeley (figure 4).

Figure 4. 2019 AGTA Spectrum Award–winning earrings designed by Adam Neeley with a pair of indicolite tourmalines cut by Stephen Avery, weighing 41.45 carats total. Other stones are tsavorite garnets (3.34 carats total) and diamonds (2.42 carats total) set in purple titanium, 14K white gold, and green VeraGold. Photo by Sara Rey; courtesy of Stephen M. Avery.
Avery shared his advice for emerging gem cutters: “Learn all the techniques, then challenge the rules. If you want to do something and you don’t have the technique, you’re going to have to invent it. And that’s okay—it just hasn’t been done because you didn’t do it yet.”

	Stephen M. Avery: Master Gem Cutter @chapter:38 @chapter:2 @chapter:38


# Publication Year: 2007
# Title: Polymer-Impregnated Turquoise
# Abstract: A large “Persian” turquoise cabochon was impregnated with a material that was also present in cavities on its base. Raman spectroscopy identified the filler as a UV-hardened polymer. Although such polymers have been seen as fillers in other gems, especially emerald, this is the first time the GIA Laboratory has seen turquoise treated with this material. @chapter:5 @chapter:0 @chapter:5