Publication Year: 2005 Title: A Review of the Political and Economic Forces Shaping Today’s Diamond Industry Abstract: During the past 15 years, political and economic forces have converged to radically transform the structure of the diamond industry worldwide. This article examines how upheavals in the former Soviet Union and several African nations—as well as the arrival of new sources such as Australia and Canada—led to the restructuring of the rough diamond market. This in turn created new competitive pressure at the wholesale and retail levels, including the movement to establish new diamond cuts and diamonds as branded items. At the same time, technological advances have enabled the faster, more efficient manufacturing of rough diamonds, created new treatments, and fostered the introduction of economically viable gem-quality synthetics. While demand for diamond jewelry remains strong in the U.S., which accounts for nearly 50% of world consumption, new markets such as India and China are likely to spearhead continued growth. In addition, new social and governmental initiatives have affected how the entire industry conducts business. @chapter:38


Publication Year: 2023 Title: The history of gemstones in Chanthaburi_16 Abstract: Returning to the early days of Bangkok, Chanthaburi Province had not yet seen serious commercial gemstone well mining. According to records from John Crawfurd, a British diplomat or Jean-Baptiste Pallegoix, he had previously reported that the gems found during that era were largely discovered incidentally during agricultural activities and sold to middlemen or exported. There was no commercial gemstone mining at that time. @chapter:25


Publication Year: 2024 Title: Radial Limonite in Sapphire Abstract: Radial limonite within a surface-reaching fracture of a violet sapphire shows bright interference colors when viewed under diffused reflected light. Photomicrograph by Nathan Renfro; field of view 1.44 mm.
Limonite, a composite of hydrated iron oxide minerals, is an inclusion commonly seen in corundum, usually as a thin yellow veil of epigenetic deposits within surface-reaching fractures. A unique example of this material is shown in the figure above, where limonite precipitated into a small fracture and formed in a radial fashion. When viewed under diffused reflected light, the inclusion displayed bright interference colors. The inclusion stands in sharp contrast to the violet sapphire host. As a composite of hydrated iron oxide minerals, the limonite’s yellow color is a strong indication that the stone has not been heat treated, as this would cause the yellow limonite to alter into red hematite (J.I. Koivula, “Useful visual clue indicating corundum heat treatment,” Fall 2013 G&G, pp. 160–161). This example demonstrates that even the most common of inclusions can occasionally materialize as something remarkable. @chapter:19


Publication Year: 2024 Title: Blue Opal from Chile Abstract: Figure 1. Left: A polished Chilean blue opal pear-shaped cabochon displaying a uniform and strongly saturated medium blue color and a greasy luster. Right: An oval cabochon representative of the typical color palette and banding, varying from bluish green to slightly greenish blue and pure white, which produces a “seascape” image. Photos by Cristiano Brigida; courtesy of Chilean Rocks and Minerals.
Opal is an extremely popular stone in its many phenomenal varieties. However, the market also offers countless types of nonphenomenal opal, whose selling point is their combination of color, pattern, and degree of transparency.
At the 22nd Street show, the author came across an enchanting ocean blue variety of opal from Chile, exhibited by Chilean Rocks and Minerals. The material on view was opaque to semitranslucent with an overall color banding and greasy luster, tumbled or cut as cabochons. The most prized pieces contained slightly greenish and vivid blue colors (figure 1, left). Less valuable polished stones showed alternating blue and solid white layers or the presence of green material and sometimes brown matrix in their bands. The cutters used the natural banding to their advantage, resulting in attractive colors and patterns that often evoke pleasant seascapes (figure 1, right). After cutting, the material is polymer impregnated to create a tough and durable finished product.

Figure 2. Rough sample of Chilean blue opal, about 18 cm wide, displaying a dull conchoidal fracture, alternating green and blue bands, some white lenses (milky quartz), and a light brown matrix. Photo by Cristiano Brigida; courtesy of Chilean Rocks and Minerals.
A selection of various grades of rough material was also available, displaying a dull conchoidal fracture with the dominant textural feature being the intricate interplay of blue and green, the two main colors (figure 2).
According to the dealer, this was the debut of cut Chilean blue opal at the Tucson gem shows. This type of opal is reportedly from the Atacama region, the only known occurrence to date in Chile, where a few mining operations are actively extracting the material. Presently known to the trade is a blue opal from Peru referred to as “Andean opal,” but that material is generally translucent and lower in saturation than the Chilean blue opal.
No detailed mineralogical analyses on the samples exhibited at 22nd Street have been reported. The blue color could be due to internal light scattering and dispersed chrysocolla, a mineral known for its vivid blue hue. Chrysocolla is commonly found in copper-rich deposits such as the porphyry copper deposits in the Atacama region. The analogy with Peruvian blue opal, which comes from a similar chrysocolla-rich geological setting, supports this hypothesis.
Given its vibrant color saturation, ability to take a high polish, and the desirable texture and alternating color patterns of the cut stones, this Chilean blue opal was a pleasant new addition to the gem offerings from Tucson 2024. @chapter:39


Publication Year: 1992 Title: Winter 1992 Gem News International Abstract: Diamonds
            Indicators of Additional Diamond Pipes in Australia
            "Presidential" Diamond Cavity
            An Update on Diamond Research
            More Exploration in Tanzania
            Zimbabwe Diamond Find
Colored Stones
            Agate and Amethyst from Uruguay
            Amber from the Dominican Republic and the Baltic Region
            Unusual Aragonite
            Color-Change Burbankite-Related Mineral from Mont St. Hilaire, Quebec
            Dumortierite-in-Quartz Beads
            Feldspar-and-Amphibole Gem from Egypt
            Update on Golden Cultured Pearls
            Sri Lanka: Current Mining in Elahera
            Sri Lanka: Update on Gem Production
            Large Taaffeite
            New Joint Venture in Vietnam
            Update on Vietnam Gems
            Green Zoisite from Pakistan
Enhancements
            Filled Diamonds Marketed Under New Name
            Fracture Filling of Rough Diamonds Reported
            More on Irradiated "Black" Diamonds
            Interesting Treated Ornamental Sandstone
Synthetics and Simulants
            Update on Crystal Growth
            Attractive "Gem Construct"
            Extremely Small Synthetic Melee
            Synthetics Preset in Findings by "Automation"
            Large Hydrothermal Synthetic Ruby
            Assembled Imitation Watermelon Tourmaline

To view the full section, download the PDF above. @chapter:20


Publication Year: 2011 Title: Identification of Extraterrestrial Peridot by Trace Elements Abstract: Twenty-six peridot samples from the Esquel pallasite meteorite and 27 samples from 10 terrestrial sources were studied by laser ablation–inductively coupled plasma–mass spectrometry (LAICP- MS). Among the 32 elements analyzed, six of them—Li, V, Mn, Co, Ni, and Zn—provided an excellent separation between pallasitic and terrestrial peridot. @chapter:3


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

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

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

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

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

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

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

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

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

		Nancy Hornback

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

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

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

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

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

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

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

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

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

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

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

	“I can’t stress enough how important it is to continue to educate yourself … Keep your knowledge fresh,” she says. “You can accomplish your studies within your own timeframe. Stay focused, and move through your classes consistently. If you are passionate about gems and jewelry – just go for it!” @chapter:34


Publication Year: 1982 Title: Fall 1982 Gem News International Abstract: Diamonds
            Belgium/Sri Lanka: Governments Join Forces for Cutting and Polishing Operation
Colored Stones
            Brazil: Cat's-Eye Emeralds in Minas Gerais
            Pakistan: Dr. Gubelin Updates Notes
            Ruby: New Mine in Kenya

To view the full section, download the PDF above. @chapter:24


Publication Year: 2021 Title: Zircon with Unusual Color-Change Behavior Abstract: Figure 1. The color of the 4.60 ct zircon is shown in standard cool fluorescent illumination (left) and in warm (2700 K) LED illumination (right). There was little difference in bodycolor when viewed under the two light sources. Photos by Robert Weldon.
The Carlsbad laboratory recently had the chance to examine a 4.60 ct cushion-cut zircon with truly unusual color behavior. Standard gemological testing confirmed that the stone’s properties were consistent with zircon: an over-the-limit RI, an SG of 4.72, weak yellow fluorescence in short-wave UV and no fluorescence in long-wave UV, and a typical uranium-related pattern in the spectroscope with a prominent sharp peak at 653 nm. The zircon’s color was green using a standard white light fluorescent illuminant with a color temperature of 5500 K (figure 1).

Figure 2. The color of the 4.60 ct zircon is shown in LED illumination with cool white light at 6500 K (left) and in warm white light at 2700 K (right). Photos by Robert Weldon.
The stone’s color was also checked using a standard incandescent illuminant, but there was no discernible difference from the cool fluorescent illuminant (table 1). However, the color of the zircon was markedly different using white light LEDs with variable color temperature from 2700 K (warm) to 6500 K (cool), where the color went from grayish purple in cool LED light to green in warm LED light (figure 2). Notably, the color observed in the cool LED light was quite similar to the color seen when the stone was taken outside and observed in diffused daylight.

Figure 3. The visible absorption spectrum of the color-change zircon (top) compared to the emission spectrum of a standard cool (6500 K) fluorescent illuminant showing the overlap of sharp emission bands from the fluorescent light and sharp absorption bands in the absorption spectrum (dashed line). Also shown is the emission spectrum of the cool (6500 K) LED used in the lab for color grading at GIA.
The discrepancy between the colors seen using the cool fluorescent illuminant (green) and either daylight or the cool LED illuminant (grayish purple) can be understood by studying the absorption spectrum of the zircon compared to the emission spectrum of the cool fluorescent bulb (figure 3). The perception of cool white light output from the fluorescent bulb is achieved with two relatively sharp emission bands at about 435 nm and 545 nm, which is in contrast to the much smoother broad-band emission pattern of true daylight. One of the sharp emission bands in the fluorescent illuminant overlaps significantly with sharp absorption bands in the zircon at 424 and 433 nm. The fact that a significant portion of the blue emission from the fluorescent bulb is selectively absorbed by the zircon skews its color away from the blue color that ought to be observed in true daylight. This blue can also be observed using cool LEDs, which tend to have smoother broad emission patterns more closely resembling black-body radiation patterns of true daylight and incandescent light. This unusual color-change behavior is only expected in gems with sharp absorption bands, likely related to either rare earth or actinide elements. Of particular note, these color-change zircons are occasionally recovered from the gem mining areas around Mogok, Myanmar. For these gems, LEDs should provide a more reliable color grading illumination environment than fluorescent light sources. @chapter:17


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

Abstracted by Keith A. Mychaluk @chapter:0


Publication Year: - Title: Good Luck Charms Abstract: Gems and jewelry are often used as good luck charms because they can evoke power and positivity. Check out these lucky charms used around the world. Courtesy: De Agostini Picture Library, A. Dagli Orti, The Bridgeman Art Library

	Wishing for good luck probably started with the arrival of our species. For millennia, we’ve been wooing the kinder fates to grant us our most cherished wishes. Our quest for ensuring a happy tomorrow has included wearing good luck charms.

	Gems have long been enlisted as good luck charms because they have often symbolized power and positivity. Wearing a gem set in jewelry became a talisman – a shield of protection that warded off troubles and brought happiness. By putting on such jewelry, wearers were constantly reminded of a bright future, and found inspiration to be confident, have hope, and think positively.

	Good luck charms are found around the world. They transcend time and place. We share some of the more famous ones.

	The Luck of the Irish: Lore of the Four-Leaf Clover

	Four-leaf clovers may be the best-known good luck charm in the West, and an icon of St. Patrick’s Day. St. Patrick supposedly used a three-leaf clover to teach the faithful about the Holy Trinity – the Father, the Son and the Holy Ghost – and this is where clovers may have gotten their reputation. Four-leaf clovers are far rarer than three-leaf clovers, and finding such a treasure is practically proof of one’s good luck. They also come with delightful lore: carrying one revealed fairies hiding behind flowers.

Artful use of negative space gives this 14K gold four-leaf clover necklace extra charm. For more good luck, there’s a diamond accent on the bottom. Courtesy of Jane Basch Jewelry Designs

	Warding Off the Evil Eye: The Hamsa Hand

	Meaning “the Hand of God,” the Hamsa is a symbol the ancient Jews used to ward off the “evil eye” and dark spiritual forces. It also was thought to bring the wearer strength and blessings. The Hamsa was woven into jewelry and placed near the doorways of one’s home – and it’s still a popular adornment.

Hewn out of diamond rough, this 11.4 carats (cts) diamond Hamsa is a symbol of raw power.

	Elephants Are Auspicious

	The cultures of Asia have long thought the elephant to be a symbol of good luck. The largest of land animals, they are revered as the embodiment of dignity, goodness, strength, loyalty, and longevity. Ganesha – the elephant God of India – is called the “Remover of Obstacles,” and is a richly symbolic figure that represents among other things, wisdom, knowledge, protection, and the letting go of the things of the world in order to attain the Divine. Elephants and Ganesha make regular appearances in jewelry and sculpture in the East and West.

The majesty of the elephant is on full display in this 18K yellow gold pendant/brooch strung with lapis lazuli and diamond rondelles. Rubies and sapphires adorn the head and shoulder plates. Designed and gifted by Joanne Stacher, GIA GG

	China’s Mythical Dragon

	The dragon is an ancient symbol of good luck in China. The mythical beast could stop floods, bring rains, control the seas, escort humans to higher realms after death, and protect them from harm while on earth. They were also the personification of valor, nobility, dignity, perseverance, intelligence, and more. Dragons grace temples, bells, bridges, swords, and of course, jewelry.

Ricardo Basta’s contemporary dragon brooch has an engraved golden head with ivory horns and trailing whiskers of elephant hair. Its pointed crest is pavé-set with diamonds and its scaly green sapphire neck has a soft mother of pearl underside. The dragon's reptilian eye glitters with a tsavorite inlaid with black onyx; its fiery breath pours out in a cloud of Mexican fire opal. Courtesy of Ricardo Basta

	Lucky Ladybugs

	Ladybugs are universally thought to be bringers of good luck. They were a symbol of protection in the Middle Ages, and a sign that unwed women would find their true love. And if a ladybug landed on you, something wonderful was sure to happen.

This Tiffany & Co. ladybug pendant necklace with enamel, diamond, and platinum should bring a smile to the wearer – and perhaps a happy tomorrow. Courtesy of 1stdibs.com

	Good Luck Gems

	Some believe gems are imbued with good luck. Peridot prevented night terrors, according to Ancient Egyptians.

This richly colored Peridot should bring sweet dreams and a good night’s sleep.

	Price per carat, ruby is one of the most expensive gemstones. Ancients thought they brought good luck and Burmese warriors wore rubies to make them invincible in battle.

Maria-José (1906-2001), the last queen of Italy, owned this exceptional ruby and diamond. The center stone, an exquisite Burmese ruby weighing 8.48 cts, has one of the most sought-after hues. Courtesy of Sotheby's

	Fears of sorcerers and spells are a thing of the past. But if you were ever cornered by a wicked witch, you’d probably want a little help. An emerald will do in such a jam: they were believed to offer protection against evil spells. Just ask Dorothy who found safety and a way home in Oz’s mythical Emerald City.

Sapphires have long been associated with royalty and romance, nobility and truth, and sincerity and faithfulness. They also were good luck charms: the kings and queens of ancient Greece and Rome were convinced that blue sapphires protected them from envy and harm.

A 1.02 cts marquis-shaped untreated sapphire surrounded by diamonds – how could something so beautiful not bring good luck?  Courtesy of 1stdibs.com

	Revered for milleninia, Jade is another token of good luck. Stone Age workers in Europe, China and the Americas shaped this tough gem into tools and weapons, as well as objects of rituals and adornment. For Mayans and Aztecs jade meant relief from aches and pains and symbolized prosperity, success and good luck. In China, jade is associated with clarity of mind and spirit, and some believe that as the gem takes on the bad chi (energy) of the wearer, it changes color.

Amber is held to be a good luck stone for love and marriage. As an added bonus, it’s believed to bring protection to the wearer and make desires come true. That’s a proposition enticing enough to make one want to own a piece.

A cricket is forever immortalized in this 93.87 cts amber bead.

	Gems with “cat’s eye” (called “chatoyancy”) display a marvelous phenomenon: they have a single band of light that glows down the middle of the gem. It does resemble a feline sizing up its surroundings. Nothing slips past a cat, and perhaps this is why they were thought to protect against evil spirits.

The hand of a skilled gem cutter gave this 20.65 cts bi-colored tourmaline a chatoyant band. Courtesy of Ralph Mueller & Associates

	There just might be something to the power of good luck charms. In 2010, a team of psychologists from the University of Cologne in Germany found that belief in good luck charms improved performance. Those who used a good luck golf ball sunk 35% more putts than those without good luck charms.

	So jewelry lovers take note: Deck yourself out in your favorite lucky charms and gems for an extra dose of magic. There’s no shortage of bejeweled good luck charms you can wear to encourage a little extra luck in your life. @chapter:21


Publication Year: 1987 Title: Winter 1987 G&G Book Reviews Abstract: “Quartz”
By Michael O'Donaghue, 110 pp., illus., publ. by Butterworths, London, 1987. US$29.95

“Le Monde Mineral Vu Par Les Timbres: The World of Minerals through Postage Stamps”
By Jean-Michel Autissier, photographs by Nelly Barland, 128 pp., publ. by Atelier JMA, Saint-Amand-Montrond, France, 1987. 120 FF

“A Guide to Fossicking in the Northern Territory, 2nd Edition”
Revised and updated by Dick Thompson, 74 pp., illus., publ. by the Northern Territory Department of Mines and Energy, Darwin, Northern Territory, Australia, 1986. A$9.00

“The Collector/Investor Handbook of Gems”
By John L. Ramsey and Laura J. Ramsey, 300 pp., illus., Boa Vista Press, San Diego, CA,
1985. US$16.95

“Minerals of Mexico”
By William D. Panczner, 459 pp., publ. by Van Nostrand Reinhold Co., New York, 1987. US$44.95

“The Dow Jones-Irwin Guide to Fine Gems and Jewelry”
By David Marcum, 213 pp., illus., publ. by Dow Jones-Irwin, Homewood, IL, 1986. US$25.00

“Guide des Pierres de Reve (Guide to Dream Stones)”
In French, by Anne de Tugny, 239 pp., illus., publ. by Editions Flammarion, Paris. 1987. 130 FF

To view the full section, download the PDF above. @chapter:24


Publication Year: 2022 Title: Ahmadjan Abduriyim Receives JAMS Award for Applied Mineralogy Abstract: Figure 1. Dr. Ahmadjan Abduriyim (left) receives the 2021 Japan Association of Mineralogical Sciences (JAMS) award for applied mineralogy.
The Japan Association of Mineralogical Sciences (JAMS) has named Dr. Ahmadjan Abduriyim as the recipient of its 2021 award for applied mineralogy (figure 1). As president of Tokyo Gem Science and director of GSTV Gemological Laboratory in Tokyo, Abduriyim was recognized for his contributions to applied mineralogy.
Abduriyim holds a PhD in mineralogy and geology from Kyoto University and is a former senior manager and senior scientist at GIA’s Tokyo laboratory. A longtime G&G contributor and editorial review board member, Abduriyim has published numerous articles on topics related to diamonds, colored stones, and organic gem materials in various journals, including G&G, Journal of Gemmology, and Australian Gemmologist.
Abduriyim’s research has covered geographic origin determination of major gemstones, advanced testing of colored stones, and the application of laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) in the gemological field. Most recently, Abduriyim has worked to integrate information obtained from the following three areas of research: the collection of geological data and gem samples from field surveys of mines worldwide, the application of high-precision analytical methods, and the construction of a database for the latest geographic origin determination and individual identification. He and his team are currently researching the usefulness of LA-ICP-MS in measuring trace elements and U-Pb isotope dating for geographic origin determination.

Figure 2. A view of the GSTV Gem Museum in Tokyo, exhibiting the extensive gem and mineral collection of the late Akira Chikayama. Photo by Ahmadjan Abduriyim.

Figure 3. A portion of Chikayama’s crystal specimens featured in the GSTV Gem Museum. Photo by Ahmadjan Abduriyim.
Meanwhile, Abduriyim recently honored Akira Chikayama, Japan’s “Father of Gemology,” by opening a museum featuring Chikayama’s collection of rocks, minerals, and gemstones at GSTV Gemological Laboratory (figure 2). Chikayama, an esteemed gemology instructor, collected rock, mineral, and gemstone samples from international mines and trade shows for use in his courses, eventually amassing a collection of more than 30,000 specimens. After his passing in 2007, the collection went unused until Abduriyim had the opportunity to view it in 2016 and envisioned creating a museum to share the collection with the world. In May 2022, the GSTV Gem Museum opened, displaying Chikayama’s vast collection as well as several hundred books and magazines. On display are more than 600 rock specimens, 2,000 mineral specimens, 25,000 rough gemstones/gemstones in matrix (figure 3), 500 transparent crystals, 2,500 faceted stones, and 300 synthetic and imitation stones. The museum is not only an exhibition of Chikayama’s collection, but also a place for visitors to learn about the fascinating world of gemology. @chapter:20


Publication Year: 2021 Title: Hematite “Rose” Inclusion in Aquamarine Abstract: The aquamarine cabochon showed a fractal-like hematite inclusion with the beautiful outline of a rose. Photomicrograph by Shu-Hong Lin; field of view 0.64 mm.
Recently, a 23.67 ct pear cabochon aquamarine with light greenish blue color and poor clarity was sent to the Taiwan Union Lab of Gem Research (TULAB) for identification. Microscopic observation of this aquamarine from the basal direction showed a number of negative crystals and black to brown hematite, confirmed by Raman spectroscopy. Hematite inclusions in gems usually appear in shapes such as flaky, striped, dendritic, or filamentous. Yet the hematite inclusions in this aquamarine seem to resemble a rose blossom composed of mathematical fractals (see above). It is worth mentioning that the rose form of hematite is common in hand specimens but rarely seen as inclusions. Photomicrography with brightfield illumination reveals this unique inclusion that shares a dash of science and romance. @chapter:10


Publication Year: - Title: A ‘Game-Changing’ Quality Assurance System for Jewelry Workmanship Abstract: JMA Instructor Michael Turinetti inspects the roundness and size of a student-made ring as part of his Quality Assurance Benchmarks (QAB) evaluation for finished and semi-finished jewelry. The system, which aims to improve workmanship and minimize jewelry failure, debuted in GIA classrooms before the Institute began publishing the QABs for platinum jewelry online in 2016. Photo by Kevin Schumacher/GIA

A woman walks out of a big-city, high-end jewelry store. She and her husband have just made a remarkable purchase: a platinum ring featuring a 22-carat (ct), GIA-graded diamond center stone.
She proceeds across town, often admiring the sparkle on her finger, as she continues with her day.
A few hours later, she claps along with fellow patrons at a charity auction and her gaze falls again to the ring. She is shocked to see that the beautiful diamond is gone.
“One minor blow pushed that huge diamond out,” says Mark Mann, GIA’s senior director of global Jewelry Manufacturing Arts (JMA).
Mann served as an expert witness when this scenario – unfortunately, a real case – unfolded and went to court more than three decades ago. He says the ring made it to the sales floor despite “serious errors in design, engineering and workmanship” that left it primed for failure.
Cases of jewelry failure – lost stones, broken prongs, inconsistent sizing and distorted shapes – have been “an ongoing issue for the trade,” Mann says. The cringe-inducing “real-life consequences” include inconsistent quality, lost sales and damaged reputations, and can affect everyone from the largest jewelry manufacturers to the smallest brick-and-mortar retail shop.
Mann stresses that, for consumers, it doesn’t matter whether the missing stone is 22 carats or .02 carat – the emotional and mental effects are devastating.
“It’s disappointing at any price point,” he says. “And though jewelry failure is sometimes out of our hands, it’s often preventable.”

The Quality Assurance Benchmarks used in our JMA programs have proven to be powerful electronic, written and visual criterion that our QA team uses to provide students with real-time, appropriate industry feedback. It helps hone their knowledge on how to design, engineer and make quality jewelry.
Elizabeth Brehmer, GIA director of operations for Jewelry Manufacturing Arts

Mann points to a couple of overriding factors that perpetuate the problem of jewelry failure.
“Consumers are trusting and have some preconceived notions about quality assurance,” he says. “When we go out and buy an automobile, the industry is so highly regulated that things are assumed. But even within a highly regulated industry, where quality absolutely has to be ensured, there are problems. There is no overarching, governing body that guides our industry as there is with other trades like automobile or equipment manufacturing, so of course issues come up.”
In addition to the lack of regulation, jewelers, manufacturers and retailers are rarely able to communicate clearly and consistently about workmanship.
“Quality assurance is not a new concept, but it’s carried out in a variety of company-specific methods, and terminology is different with every organization,” he says. “There is no common ‘language’ that ensures we can talk to each other and figure out how to rectify these problems or prevent them from happening in the first place.”
Identifying a Need
In the early 1950s, industry demand for more thorough diamond evaluation and education brought attention to the lack of a common “diamond language,” as GIA biographer William George Shuster describes in his 2003 book, “Legacy of Leadership: A History of the Gemological Institute of America.”
“At that time … diamond grading was chaotic and inconsistent because there were so many systems in use – and misuse,” Shuster says. “This left industry dialogue about a diamond’s features, and therefore its relative value, open to interpretation.”
The need for “terms and concepts acceptable and understandable to all” led GIA to develop the 4Cs of diamond quality and, eventually, the International Diamond Grading System™.
Today’s need for objective, consistent evaluation of jewelry workmanship and for a clear system of communication likewise catalyzed a GIA team, led by Mann and members of the JMA team, to create one.
Their systemized method of quality assurance for jewelry workmanship is called GIA Quality Assurance Benchmarks™, or GIA QABs™. In short, QABs are independently stated points of quality that Mann says are taken together to “provide an objective method for evaluating the quality of semi- or fully finished jewelry by comparing it against acknowledged criteria.”
While there are inherent differences in the way one grades a gemstone created by nature and the way one analyzes the “manmade” workmanship in a finished article of jewelry, Mann says, the concept of holding an item against objective criteria is the same.
And, just as GIA’s diamond grading system was “intended as a teaching mechanism, not a commercial system,” according to Shuster, GIA QAB concepts were taught in GIA classrooms well before their public release.

Elizabeth Brehmer, GIA’s director of operations for Jewelry Manufacturing Arts, has called the QAB evaluation system a “powerful” and “game-changing” system that makes it possible for her team to provide “consistent, objective feedback” to students and instructors. Brehmer, standing, is pictured with Quality Assurance team members Brendan Donovan and Joanna Joy Seetoo as they review Jewelry Design & Technology student submissions. “The key is valuing, and knowing, how to make quality jewelry that will last,” she says. Photo by Kevin Schumacher/GIA
Developed for the Classroom, Refined at the Bench
Mann, whose 45 year career includes working within jewelry manufacturing, design and engineering in addition to GIA, knew when he was appointed to his current position that he and his team would want to rethink and improve the analysis of student workmanship.
“There was little or no information, visual or written, about defects in workmanship,” he says. “Instructors were doing their best to communicate certain details verbally, but they had no visual aids to support what they were trying to communicate.”
The JMA instructional and research and development teams, considering feedback from industry members, set about revising the review system for the daily work and bench tests of Graduate Jeweler (GJ) and Jewelry Design & Technology (JDT) students. They developed the QAB evaluation process and instituted it in 2013 for GJ students and in 2014 for JDT students.
“The Quality Assurance Benchmarks used in our JMA programs have proven to be powerful electronic, written and visual criterion that our QA team uses to provide students with real-time, appropriate industry feedback,” says Elizabeth Brehmer, GIA’s director of operations for Jewelry Manufacturing Arts. “It helps hone their knowledge on how to design, engineer and make quality jewelry.”
Students follow along with illustrated QAB analysis forms, which are broken into tasks and subtasks in each category, as they create and review their own jewelry pieces. Their work then moves on to the QA team, which reviews the piece of jewelry and checks a simple “Achieved” or “Not Achieved” box for each point of quality.
“It has been game-changing,” Brehmer says. “The methodology has made it possible for us to provide consistent, objective feedback to our students in an organized and structured manner. Our team can efficiently apply the criteria to multiple projects, in both the Jewelry Design & Technology and Graduate Jeweler programs, and instructors can coach students using these criteria to continually improve their understanding and application. Both students and instructors can immediately see areas that need improvement – and act on it.”
Mann agrees that instituting the QABs has worked “extremely well,” and alumni say it improved their classroom work.
“As a student, it was a way of keeping a focus on quality,” says Kenny Ray, director of gemstones for Fairfield, Ohio’s Quality Gold, Inc. and a graduate of GIA’s GJ and Graduate Gemologist programs. “It’s basically a checklist – follow it step by step, and when you’re finished with your project you can be pretty confident that your finished piece is complete.”
For Niki Grandics, an award-winning designer and bench jeweler from Southern California, utilizing GIA’s QAB system helped her plan her work.
“It encouraged me to be more proactive in problem-solving, because I already had those key criteria for that piece in mind as I was working on it,” she says.
And Amanda Chodosh, a GJ and JDT graduate who works as an apprentice jeweler for Shane Company in Colorado, felt relief – QABs meant there was no room for interpretation.
“After being an art major in my undergrad program, where everything was subjective and hyper-criticized, GIA’s QAB system was nice to adapt to because there was no guessing involved and everyone was assessed by the same standards,” she says. “I knew exactly what was expected of me. There were no hidden secrets or reading between the lines – it was very cut and dry, and you couldn’t cut corners. It’s either, ‘it achieved this,’ or ‘it did not achieve this.’”
In addition to improved efficiency, objectivity and thoroughness for students, classroom administrators found the QAB analysis sheets – permanent records of student work – to be helpful tools for data collection and tracking.
“I can look at forms and bring up student histories and formulate an opinion based on that data,” says Mann. “We can also use it on a bench test. If I look at data from the student sheets and discover that everyone is making the same mistakes or there are tool marks left all over the pieces, I can say, ‘It’s too late in the program for this stuff, what’s the discrepancy?’”
That makes it possible for administrators and instructors to see where improvements can be made – whether instruction should be adjusted, or whether there are areas of curriculum or hands-on training that need more work.

GIA alumni have found that the QAB system used to analyze their student work by Quality Assurance team members like Kevin Diep (pictured) is more relevant than ever in their professional lives. “I think it’s a healthy way to eliminate subjective opinions and creates structure and consistency throughout a company, brand or product,” says Amanda Chodosh, a GIA GJ and JDT grad who works as an apprentice jeweler for Shane Company in Colorado. Photo by Kevin Schumacher/GIA
Real-Life Quality Analysis That’s Thorough, Efficient, Repeatable
Graduates have found GIA QABs indispensable for professional work.
Grandics, who is the owner, designer and bench jeweler of ENJI Studio Jewelry, is building an ethically focused brand using the QAB system she learned as a GJ student.
“For me, it means fewer surprises and fewer instances of taking things back for reworking or cleaning before a piece of jewelry goes out the door,” she says. “The working mindset that comes with these objective criteria helps me work more efficiently, but I see even more use for this as my business grows. When we expand our manufacturing in the future and hire more jewelers, using this system can help ensure a consistent quality standard, and that everyone is on the same page.”
“It can also help track performance and training. If some things are consistently an issue,” she adds, “you can respond to it much faster if you know about it before pieces go to the customer – rather than when they’re getting returned. It even makes training new hires easier when they know ahead of time what your standards are.”
Chodosh finds that the bench work she performs – stone setting and polishing, resizing rings, making repairs – on behalf of a national retailer is enhanced by her experience with systemized quality analysis.
“My position is not about my personal opinion; my job is to critically analyze a piece of jewelry for the company’s expectations and standards,” she says. “GIA’s QAB system is a practical, technical way to review a piece of jewelry so that it meets company requirements. I think it’s a healthy way to eliminate subjective opinions and creates structure and consistency throughout a company, brand or product.”
Ray says that employing the QABs helps him stay focused when the technicalities of quality assurance run up against the realities of busy, fragmented days.
“I’m able to follow the same routine any time I’m performing quality assurance, or training someone in it,” he says. “Days can become hectic, and the QABs can get me back on track after I’ve been sidetracked. I can pick up where I left off and be confident that nothing was left undone.”

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Going ‘Beyond the Classroom’
Mann says that as the QABs were developed, the GIA team quickly recognized the ways the system could “go beyond the classroom” and benefit the industry.
“The same thing that the QABs bring to a classroom would help with quality assurance in a factory,” he explains. “Take the largest factory in Hong Kong, for example – the QAB data would allow you to track an individual’s workmanship. If you’re seeing the same department making the same error, you have it there in black and white. You can take preemptive measures to improve the supervisory situation, or hire someone to come in and train the skill where the problem lies.”
As the team began to understand the potential industry-wide benefits of the QABs, they decided to create a home for them on GIA’s website, where they would be accessible to the public. They began publishing the QABs periodically in 2016, and while they are currently available exclusively for platinum jewelry, QABs for other metals are planned for the future.
The QABs are presented online as interactive learning modules organized into one of four categories: Ring Sizing; Finishing and Polishing; Assembling and Setting; and Tools and Metal Identification. Each category features details on several topics, such as setting a princess-cut center stone in a platinum mounting, refinishing techniques for worn platinum jewelry and identifying/characterizing platinum alloys.
Each module includes benchmarks for specific situations, descriptions of possible problem areas or engineering features, and detailed artist renderings and photos of real jewelry. Many feature brief videos with demonstrations of manufacturing techniques, and red and blue beacons enable users to move through each module and track their progress.
In the year since GIA began publishing the QAB modules online, the pages have drawn nearly 30,000 views. For Bev Hori, GIA’s senior vice president of education and chief learning officer, those numbers signal high interest among trade members to embrace methods that can improve jewelry manufacturing and workmanship, and the industry as a whole.
“We felt that it was important to share what was working so well in GIA classrooms,” Hori says. “GIA’s Quality Assurance Benchmarks have been an effective tool for our students and instructors, and providing them as a resource is a way to share that knowledge and experience with the trade. It is also a meaningful way we can help fulfill the Institute’s mission of ensuring the public trust in gems and jewelry.”
Brehmer believes that the impact of systemizing quality assurance will be far-reaching.
“Everyone benefits from a well-made piece of jewelry: the manufacturer, the retailer, the jeweler and the consumer,” she says. “It takes no more time to make a well-engineered jewelry item than it does a poorly engineered one. The key is valuing – and knowing – how to make quality jewelry that will last.” @chapter:33


Publication Year: 1996 Title: Some Gemological Challenges in Identifying Black Opaque Gem Materials Abstract: Among the most difficult gems to identify are those that are black and opaque (or nearly so). In general, any gem material can be opaque because of inclusions, any black opaque material can be fashioned, and any porous material can be dyed. Thus, to identify a black opaque material, every possible mineral, and many rocks and manufactured substances, must be considered. Microscopic appearance, refractive index, specific gravity, and other properties (such as magnetism or radioactivity) provide useful clues, but in most cases advanced identification techniques (X-ray diffraction, EDXRF spectroscopy) are necessary, and even these may not be conclusive. Black opaque pyroxenes, amphiboles, and spinel-group minerals are especially challenging to identify. @chapter:6


Publication Year: 2013 Title: Book Review: Jewellery Drawing Abstract: This book is a long-awaited English translation of “Schmuckzeichnen mit GZ,” by the same author. The book is a self-study manual intended for goldsmiths who are interested in acquiring techniques of design illustration in terms of its function. The slim volume includes exercises on crayon illustration, the effects of light and shadow, illustration of jewelry pieces made of several different materials, illustration of opaque and transparent stones, interplay of shape and color, and illustration of pearls, among others. There is also a small section on drawing materials and tools required for the tasks.

Reviewed by GIA Library Staff
Carlsbad, California @chapter:16


Publication Year: - Title: Engagement Rings through the Ages Abstract: The engagement ring’s romantic traditions resonate throughout time. The Romans first introduced the betrothal ring as a plain, iron hoop. Among the gentry, the iron ring was worn while indoors and replaced with the more valuable gold band when outdoors. As early as the 4th century AD, inscriptions, elaborate or as simple as “honey,” embellished the inside of the band. According to Macrobius, a 5th century Roman writer, the betrothal ring was worn on the fourth finger of the left hand. It was believed that from that finger a special vein ran directly to the heart. To this day, the centuries-old custom of wearing an engagement ring in this way has endured.

During the Middle Ages, sapphires and rubies initially adorned the engagement ring, while diamonds were incorporated in the 15th century. The earliest written record of the use of a diamond in an engagement ring was in 1477 by a Dr. Moroltinger, who was advising the future Holy Roman Emperor Maximillian to have a ring set with a diamond for his betrothal to Mary of Burgundy. Resisting fire and steel, diamonds stood for the fortitude of a lifelong partnership. Early cutting techniques caused gems to look dull and even black, according to GIA (Gemological Institute of America), the world’s foremost authority in the grading and identification of diamonds and other gems. Compensating for these lackluster stones, goldsmiths designed elaborate settings, composed of such romantic notions as rosettes and fleur-de-lis, symbolizing the bride’s purity.

More ephemeral than the diamond ring, the rush ring was hastily made from leaves or grass and lasted in many cases as long as the short-lived engagement. A more enduring and popular 16th century ring, the fede (Italian for faith) betrothal ring signified a marriage’s immutability in its central image of two clasped hands.

With the discovery of diamonds in Brazil in the 18th century, diamond jewelry became more readily available, and diamond cluster engagements rings were in vogue. A common cluster design consisted of small rose-cut diamonds arranged around a larger center stone.

Widespread wealth, initiated by the 19th century’s Industrial Revolution and the rich supply of newly discovered African diamond mines, made diamonds available to a greater public. Diamond experts at GIA also note that this period was marked by revolutionary developments in cutting and polishing, resulting in diamonds revealing a brilliance greater than any other gem. The diamond now could stand alone, and thus, the solitaire engagement ring became fashionable.

The simple elegance of the classic Tiffany mounting, introduced in 1886 by Charles L. Tiffany, offered an ideal complement to the beauty of the diamond. With the diamond set high in an open, six-prong mounting, the design permitted greater amounts of light to enter the gem, allowing it to exhibit maximum brilliance. Given all the choices that are available to couples today, not only can they choose an engagement ring that represents a centuries-old symbol of love and tradition, but more importantly, a ring that is a personal expression of themselves. @chapter:21


Publication Year: 2013 Title: Turquoise-Rock Crystal Composite Abstract: This 21.58 ct composite was found to have a top section of natural rock crystal and a base of natural turquoise. Photos by Gagan Choudhary.

Recently examined was a faceted rock crystal backed by a slice of turquoise—an obvious but unusual combination of gem materials. The 21.58 ct oval measured 20.02 × 15.03 × 9.05 mm and was easily identified as a composite due to its color and appearance. From the top, it appeared light greenish blue (see photo, left); from the sides, it exhibited a colorless top and bluish green slice at the base (right).
Further tests confirmed the specimen was made of rock crystal and turquoise, based on its colorless and greenish blue components. The colorless portion displayed an RI of 1.543–1.552, with birefringence of 0.009, while the greenish blue layer displayed a vague shadow edge at around 1.61. Under magnification, the colorless portion was clean and free of inclusions, while the greenish blue base showed some whitish cloudy patches, consistent with those in turquoise and similar materials. As expected, the junction plane contained numerous trapped, flattened gas bubbles without color. Under long- and short-wave UV light, a white to light yellowish glow was visible only along the junction plane, indicative of glue. Under a desk-model spectroscope, the specimen showed a weak absorption at about 430 nm.
FTIR spectra taken by orienting the colorless portion displayed peaks at approximately 3595, 3480, 3380, 3305, and 3198 cm–1—a pattern typically associated with natural rock crystal (e.g., Summer 2011 GNI, pp. 146–147). Raman analysis of the greenish blue base using a 532 nm laser in the 200–2000 cm–1 region revealed a strong peak at about 1040 cm–1, with a number of weaker peaks at approximately 238, 334, 427, 482, 554, 596, 645, and 810 cm–1. These peaks are consistent with those of turquoise in both the lab’s database and the RRUFF database of Raman spectra. No polymer-related peaks were present. In addition, qualitative energy-dispersive X-ray fluorescence (EDXRF) analysis revealed the presence of Al, P, Fe, and Cu, consistent with turquoise. As mentioned, a desk-model spectroscope revealed a weak absorption at around 430 nm, and the same was confirmed using UV-Vis spectroscopy, which displayed a sharp peak at approximately 429 nm (Fe3+) and a broad absorption at about 680 nm (Cu2+), suggesting natural rather than dyed color.
While analysis using both classical and spectroscopic techniques identified this as a composite of natural rock crystal and turquoise, the reason for its creation is still unclear. @chapter:19


Publication Year: 2014 Title: A Large Baroque Tridacna Gigas (Giant Clam) Pearl Abstract: Figure 1. This giant clam pearl was recovered from a huge Tridacna gigas mollusk in Papua New Guinea. Photo by Lai Tai-An Gem Lab.

              Natural pearls from various clam species are not as rare as many believe, and plenty of samples are available in the market. But with the exception of a few very large specimens, they tend to occur in sizes under 20 carats. A client of the Lai Tai-An Gem Lab in Taipei recently requested a report on what he claimed was a natural clam pearl (figure 1) recovered from a huge Tridacna gigas mollusk from a fishery in Papua New Guinea in 1981.

The pearl exhibited an elongated baroque shape with uneven brown and white coloration, lacking the lustrous and shimmering iridescent colors of a nacreous pearl. It weighed 360.59 ct and measured 76.7 × 28.0 × 25.8 mm. We also recorded an SG of 2.88, which fell within the range of other Tridacna pearls examined in our laboratory. Long-wave UV produced a moderate chalky blue reaction. FTIR, Raman, and UV-visible spectra were collected. The Raman spectrum clearly showed that the pearl was composed of aragonite, given the peaks at approximately 142, 199, 701, and 1082 cm–1. FTIR reflectance spectra also revealed calcium carbonate in the form of aragonite, with peaks at approximately 873 and 1483 cm–1.

Figure 2. The natural Tridacna pearl showed a characteristic sugary surface texture. Photo by Lai Tai-An Gem Lab; magnified 60×.
While microradiography is usually applied to the identification of pearls, it is considered especially beneficial when various types of nacreous pearls need to be separated from one another. It is usually less helpful with non-nacreous or non-porcelaneous pearls such as this one, since many reveal little in the way of helpful structure. Observed through the loupe and microscope, the pearl showed the grainy or sugary surface texture (figure 2) typical of some natural Tridacna pearls. This example was noteworthy for its size and interesting coloration, and its pronounced banding when viewed with transmitted light (figure 3), a feature that is often considered indicative of shell fashioned into imitation pearls. This Tridacna pearl was clearly no imitation.

Figure 3. The Tridacna pearl exhibited pronounced banding when viewed with transmitted light. Photo by Lai Tai-An Gem Lab. @chapter:14


Publication Year: 2023 Title: Treated Freshwater Non-Bead Cultured Pearls with an Antique Appearance Abstract: Figure 1. A group of 12 pearls ranging from 7.38 × 6.49 × 6.05 mm to 10.61 × 9.05 × 8.05 mm and weighing 44.37 carats total. Photo by Jayesh Surve.
GIA’s Mumbai laboratory recently received for identification a group of nine drilled and three undrilled pearls weighing 44.37 carats total and ranging in size from 7.38 × 6.49 × 6.05 mm to 10.61 × 9.05 × 8.05 mm. The nine drilled pearls appeared to be old, while the three undrilled pearls looked whiter and much newer overall (figure 1). The shape of the samples varied, and the nine drilled pearls possessed a notable “aged” yellow coloration, which was also evident on some areas of the three undrilled whiter pearls.
The older-looking pearls possessed a dull luster, but the nacre condition was good. Microscopic examination at 70× magnification soon revealed that the color was concentrated on the outer layers and within surface-reaching features, proving that the color was not natural and a treatment had been used to alter their appearance (Summer 2017 Gem News International, pp. 255–256).
Although the color of pearls can change over time due to various causes (e.g., care factors such as storage conditions and contact with chemicals), these changes tend to be very gradual and develop over many years. This is partly due to their biogenic composition, which mainly consists of calcium carbonate with traces of organic substances, residual substances, and water. Dry environments are generally not advisable as they may result in surface alterations and, in rare cases, weight loss. The color can also change over time through wear and tear and the accumulation of external contaminants, so further analysis was required to prove whether these pearls naturally discolored over time or were treated to look antique, thereby inflating their value (M.S. Krzemnicki, “Fake historic provenance: ‘Aged’ cultured pearls,” Facette, No. 25, 2019, p. 28).

Figure 2. Two of the samples showing uneven surface coloration and color concentrations around the large drill holes. The worked surfaces around the drill holes are also clearly visible. Photos by Jayesh Surve; field of view 6.00 mm.

Figure 3. An area of underlying white color below the treated surface of one of the samples. Photomicrograph by Jayesh Surve; field of view 5.00 mm.
Visually, it was readily apparent that the drill holes were very large in relation to the size of the pearls. When viewed with a 10× lens or under a gemological microscope at 70×, color concentrations were observed around the drill holes of all nine drilled pearls. The surfaces were also heavily worked around the drill holes and did not resemble the wear and tear that might be expected on antique pearls. The surfaces of the nine drilled samples (2–4 and 7–12) were also slightly etched, indicating possible exposure to a mild acidic solution to create an “aging” effect. Strikingly, the color was not typical of natural-color pearls (Summer 2017 Gem News International, pp. 255–256) and appeared to be restricted to the surface and around the drill holes (figure 2). Areas on some pearls also revealed the original underlying white color, further proof of treatment (figure 3).

Figure 4. The internal structures of four of the pearls showed twisted void-like features surrounded by fine growth arcs characteristic of non-bead cultured freshwater pearls. The two wide vertical gray features seen in pearls 3 and 4 are the drill holes.
Next, we needed to determine whether the pearls originated from a saltwater or freshwater environment, and whether they were natural or cultured. Real-time microradiography revealed small central twisting void-like features surrounded by fine growth lines typical of freshwater non-bead cultured pearls (figure 4), consistent with those produced by Chinese farms (K. Scarratt et al., “Characteristics of nuclei in Chinese freshwater cultured pearls,” Spring 2000 G&G, pp. 98–109). The freshwater origin was confirmed when the pearls fluoresced a strong yellowish green color upon exposure to X-ray fluorescence, and further substantiated by manganese values ranging from 500 to 1700 ppm and strontium values from 800 to 1000 ppm, obtained by energy-dispersive X-ray fluorescence spectroscopy.
Since Raman spectroscopy is also a valuable analytical tool for differentiating natural versus treated color in pearls, 514 nm ion-argon laser excitation was used on the surfaces. The results revealed a doublet at 702 and 705 cm–1, as well as a peak at 1085 cm–1 indicative of aragonite, which is seen in the majority of pearls. High background fluorescence, often characteristic of treated-color pearls, was also noted in the drilled pearls. The photoluminescence spectra obtained displayed high fluorescence more typical of treated pearls, as well as the expected aragonite peaks. Other than the suspiciously high fluorescence, no other peaks characteristic of dyeing were observed.
All observations and results indicated that the nine drilled pearls had been treated to make them look antique. Pearls 1, 5, and 6 were predominantly white and showed only minimal evidence of any artificial aging attempts. These three showed a reaction to long-wave UV fluorescence more indicative of routine processing carried out on freshwater pearls. We concluded that these freshwater non-bead cultured pearls were also treated to make them appear aged. Hence, the report stated that these were freshwater non-bead cultured pearls from the Unionidae family and that pearls 2–4 and 7–12 had been color modified. Since the majority of the surfaces of pearls 1, 5, and 6 remained white and only showed insignificant areas of discoloration, the modified color description was not applied. @chapter:14


Publication Year: 2021 Title: The Chinese Gem and Jewelry Industry Reacts to COVID-19 Abstract: Figure 1. Local business owner Jianying Ma in China’s Hebei Province is shown livestreaming to connect with clients while stores were shut down. Courtesy of Han Dan Zhao Du Gold and Jewelry Co. Ltd.

              When COVID-19 struck at the end of January 2020, the Chinese jewelry industry was caught off guard. The whole country was locked down—travel halted and businesses closed.

As the country gradually reopened at the end of March 2020, business remained very slow. But China has one of the most advanced digital ecosystems in the world. Mobile technology leapfrogged laptops and credit cards, while cheap, reliable, and efficient delivery companies made it easier for consumers to spend. Local businesses turned to the internet to reach old and new clients during the pandemic (figure 1). With fewer clients visiting stores, sales often started by livestreaming products, followed by sending photos and videos through WeChat, and then utilizing WeChat Pay or Alipay to complete the transaction. Chinese digital infrastructure made a big difference in helping the jewelry business bounce back so quickly.

During these difficult times, relationships with suppliers and clients are the key to keeping business moving. Trust built over years is extremely important when buying or selling valuable gemstones and jewelry online without actually seeing the items in person. Major jewelry chain stores, which rely more on foot traffic, experienced a dramatic double-digit decline in business in the first half of 2020, while small jewelry stores that rely more on personal contact and relationships felt little to no impact.

Due to travel restrictions, we did see certain product shortages on the market, as it was initially difficult for some goods to enter China. Some Chinese dealers took a risk and broke quarantine to visit Sri Lanka or India to source products. On the other hand, some international businesses even came to China for products and services when jewelry and diamond cutting factories closed in the U.S. and India.

In general, jewelry sales had negative growth for the first half of the year. Sales started to pick up in July. Sales from October, November, and December were up 16.70%, 24.80%, and 11.60%, respectively, compared to the same months in 2019. International jewelry brands such as Cartier, Tiffany, and Van Cleef & Arpels (figure 2) did exceptionally well in 2020 since Chinese consumers could not travel for overseas shopping trips.

Figure 2. To maintain social distance, Van Cleef & Arpels limited the number of clients in stores. Here, clients wait outside the store in the Shanghai IFC Mall. Photo by Chen Shen.
With social distancing and a mandatory mask policy in stores, these luxury brands saw an immediate business jump in China by April 2020. Plaza 66 Shanghai, owned by Hang Lung Properties, is the country’s top luxury shopping mall. Its reported retail sales were up 60% in a year with COVID-19, demonstrating an amazing year for luxury brands in China. @chapter:27


Publication Year: 2023 Title: Unique Colombian Emerald and Matrix Suite Abstract: Figure 1. Emerald and matrix suite, 112.25 carats total. Photo by Jessa Rizzo.
The author recently examined a unique suite of cabochon stones consisting of emeralds with brown matrix weighing 112.25 carats total (figure 1). This spectacular set is reportedly from the Muzo mine in Colombia. Similar material with matrix has been found in Chivor, but never of comparable quality. The miners decided to cut a matching set of cabochons that could be made into a necklace and a pair of earrings. In 2021, Misael Angel Rodriguez of Colombia brought this unique set to the Tucson gem shows, where it received considerable attention. It was later purchased by Desmond Chan and Davey Thomas of Gem Arts International and submitted to the AGTA Spectrum Awards, receiving honorable mention in 2022. To this day, the author has yet to encounter such a remarkable set of matching emerald with matrix cabochons.

Figure 2. Cluster of pyrite crystals in emerald and matrix. Photomicrograph by Jessa Rizzo; field of view 1.99 mm.
Under the microscope, the matrix has a coarse, sand-like texture. Raman spectroscopy identified the matrix as primarily consisting of an aggregate of feldspar grains displaying a banded pattern. Under magnification, the green gem area showed jagged multiphase inclusions along with euhedral pyrite crystal inclusions (figure 2). Laser ablation–inductively coupled plasma–mass spectrometry and inclusion observation were consistent with a Colombian origin. It is remarkable to see such a well-matched suite of unusual emeralds with matrix in the gem trade. @chapter:0


Publication Year: - Title: Is the Swan Song for Argyle Pink Diamonds Close at Hand? Abstract: The 2.11 ct Argyle Everglow is the largest Fancy red diamond ever sold by Argyle at its tender sales. The Everglow was the cornerstone of Arglye’s 2017 Pink Diamond Tender that consisted of 58 stones totaling 49.39 carats. Photo courtesy of Rio Tinto/Argyle

The flow of those distinctive Argyle fancy pink diamonds may end in 2020 if prices of the more commercial stones the mine produces do not improve.

Argyle mined 17.1 million carats of diamonds last year, a 23% increase over 2016. The vast majority of its production comprises lower quality diamonds under 0.15 carats that are used in promotional jewelry – those $299 diamond studded bracelets and pendants, for example. Prices for these have declined slightly in the five years since the mining company completed its estimated $1 billion underground redevelopment.

In planning the redevelopment, the company had targeted 2020 as its closing date. However, in its original plan, Argyle had been scheduled to close in 2002 but rising diamond prices allowed Rio Tinto, its owner, to keep the mine open and, ultimately, redevelop it into an underground operation.

Closing the mine could cause economic difficulty in several cities in India that specialize in cutting Argyle goods and possibly create shortages in the very low end goods that sustain the commercial jewelry market, especially in the U.S.

The mine, however, is famous for the 100 carats or so of the fancy pink, red and other strongly colored diamonds it offers each year. Argyle selects the best of these colored diamonds for its highly publicized tender auctions. While the company does not reveal prices, they often fetch well in excess of $1 million per carat.

Last year’s October tender included some of the most spectacular fancy colored diamonds the company has offered since its first sale in 1984: a 2.11 ct Fancy red, which it named the Argyle Everglow; a 1.14 ct Fancy red; a 2.42 ct Fancy purple-pink; a 1.50 ct Fancy deep pink; and a 0.91 ct Fancy deep gray-violet. All were graded by GIA.

De Beers’ second cycle (Feb. 29-March 1) sales of $555 million reflects the company’s optimistic statements about the market. The total, which includes sight sales and individual sales to clients, is 17% below January’s total – traditionally the year’s largest – and slightly above its February 2017 sales totals. The company held the line on prices.

De Beers reported that the two largest consumer markets, the U.S. and China, both appeared strong.

Alrosa, the world’s largest producer by volume, nearly equaled De Beers’ rough sales in February with an allocation of $533 million, equaling its January sale.

Demand at the recent Hong Kong International Diamond, Gem & Pearl Show was slightly below expectations, because traffic was down from last year, even after a successful New Year’s selling season.

Despite the obvious pick-up in consumer demand, banks will certainly continue their tight rein on industry financing in the wake of the nearly $2 billion alleged fraud by Indian retailer Nirav Modi and a related diamond manufacturing and retailing company, Gitanjali. Some of Modi and Gitanjali’s issues stem from alleged defrauding of banks and Indian consumers, as well an ongoing investigation that has made international headlines. In addition, the companies are accused of involvement in “roundtripping” practices – exporting and importing the same parcels of diamonds to inflate a company’s balance sheet to obtain additional bank credit and better credit terms.

Gitanjali and Nirav Modi deny the accusations and neither company has filed for bankruptcy. Three U.S. affiliates, bridal jewelry manufacturer A. Jaffe, and jewelry manufacturers Firestar Diamond Inc. and Fantasy Inc., have filed Chapter 11 proceedings, but all expect to remain in business.

The banks are already further tightening credit, according to Indian gem dealers. Bidding at the Feb. 26 Gemfields auction of commercial and low-quality emeralds in Jaipur had fewer bidders because the investigations reduced their credit availability, the company said. Gemfields sold $10.8 million worth of emerald rough for an average of $3.08 per carat. The company said the results were satisfactory, despite the diminished bidder base. @chapter:38


Publication Year: 1991 Title: Winter 1991 G&G Book Reviews Abstract: “Gemmology”
By Peter G. Read, 358 pp., illus., publ. by Butterworth-Heinemann, Oxford, England, 1991. US$65.00

“Gemstones and Their Origins”
By Peter C. Keller, 144 pp., illus., publ. by Von Nostrand Reinhold, New York, 1990. US$49.95

“Professional Goldsmithing”
By Alan Revere, 226 pp., illus., publ. by Van Nostrand Reinhold, New York, 1991. US$59.95

To view the full section, download the PDF above. @chapter:22


Publication Year: - Title: Bauble Basics: 10 Jewels Every Woman Should Own Abstract: Jewelry is more than the finishing touch to an outfit; in some cultures, it’s the entire outfit. How do you start to build the perfect jewelry wardrobe—for yourself or for someone special? GIA (Gemological Institute of America) has created a guide to the “bauble basics.” Fine jewelry is meant to be worn, enjoyed and treasured forever.

Earrings, Earrings, Earrings
1) Diamond studs. Beautiful, quality stones are available for any price range and size; from discreet little pin dots to three carat headlights.

2) Gold hoops. From curvaceous huggies to three-inch loops... high polish or hammered satin... white, yellow or rose gold... hoops are always attractive and almost always appropriate.

3) Pearls on a wire. Pearl studs are a great option, but by adding the slightly dangerous dangle from a wire, you can highlight the hollow of your cheek.

4) Long drops. Nothing shorter than two inches from your lobe will make a more fluid and flirty movement in every gem from white topaz briolettes to black onyx beads and a rainbow of gems in between.

5) Chandeliers. Tumbled and carved emeralds, rubies and mogul-cut diamonds, all intricately twined with burnished gold wires dripping from concentric crescents, will draw the attention back to you.

Necklaces
6) Pendants are the foundation of your necklace collection. It can be a single stone on a delicate 16-inch chain or a 4-inch Gothic-inspired cross set with agate and carnelian on a 30-inch rope. Express yourself with a lopsided heart or spiritual charm, or showcase your collection of vintage lapis lazuli good luck talismans.

7) Pearls. With a white shirt and jeans, a tailored business suit or a willowy wedding gown, you can’t find another investment that will take you through the moments of your life with such elegance, ease and warmth. Add one at a time or pile on an abundant rope. Or both.

Bracelets
8) Bangles stacked or alone, skinny or wide, have been around forever. Try tiny micropave pink sapphires in pink gold or oxidized brown-gold tubes studded with cognac diamonds.

9) Charms. A wrist full of clinking, clanging doodads is always a good choice, but perhaps try choosing just one remarkable medallion to hang from an open link?

A Signature Ring
10) This one you choose for yourself. Be bold. Make a statement. Flash a cushion-shaped citrine or cabochon green tourmaline the size of a quail’s egg. While you’re at it—wear it on your index finger. @chapter:16


Publication Year: 2018 Title: Mushroom in Copal Abstract: This copal from Mexico contained a remarkably well-preserved eye-visible mushroom inclusion. Photomicrograph by Nathan Renfro; field of view 9.59 mm.

Copal is widely popular among gem collectors due to its eclectic inclusion scenes. As a fossilized tree resin, copal can contain a wide range of flora, fauna, and inorganic materials. It is not uncommon to find spiders, termites, leaves, and petals inside this resinous gem. In a 19.83 ct brownish orangy yellow copal, the author recently observed a remarkably well-preserved mushroom (see above) that was easily seen with the naked eye and had a cap that was just over 5.5 mm in diameter. Stalks of broken mushrooms, miscellaneous plant materials, and gas bubbles were also found in this specimen. Interestingly, copal was also used for many years by some indigenous peoples in Mexico and Central America as incense for ceremonial purposes such as the sacred mushroom ceremony. The mushroom inclusion in this copal, reportedly from Mexico, may have a more significant meaning for the people of Mesoamerica that goes beyond a gemological standpoint. @chapter:3


Publication Year: - Title: Alumni Activities Advance the Legacy of the Gem and Jewelry Trade Abstract: Attendees in London are crowned with jewels created by famed celebrity designer, Andrew Prince, second from right. Photo courtesy of the London chapter

Alumni across the globe participate in events hosted by our chapters, including social meet-ups and networking opportunities at industry trade shows and education opportunities provided by GIA. They are out in full force to support the trade by participating as panelists, recruiters, career coaches and attendees at GIA’s Career Fair in New York and at the annual GIA Global Leadership Program for gem and jewelry industry leaders at the Harvard Business School.
Here is a glimpse of some of the worldwide activities the GIA Alumni Association is pleased to share:

Chapters hosted more than 30 field trips, education and social gatherings in just three months.
GIA participated in 15 trade shows in China, Japan, India, the U.K. and U.S. This is a great opportunity for alums and students to connect with GIA.
Alumni participation was strong at GIA’s Jewelry Career Fair in New York, from veteran alumni giving back to the trade as program participants to alumni attendees looking to start or enhance their careers by gaining knowledge of the industry and connections. Please Note: GIA’s next Career Fair will be held Oct. 10 at GIA’s World Headquarters in Carlsbad, California.

Participation from our alums has been remarkable and we thank you!

Speaker Brian Cook shares the “Thrill of Brazil” with this colorful image of Paraiba tourmaline gem rough at a London event. Photo courtesy of the London chapter

Chapter Activities
GIA speakers – Dr. James Shigley, distinguished research fellow, provided an update on synthetic diamonds at chapters in Greater Cincinnati and Michigan; Dr. Wuyi Wang, director of research and development and identification services, shared an overview on synthetic diamond growth methods, predominant manufacturers and identifying characteristics of both natural and synthetic diamonds in Malaysia; GIA provided a synthetic diamond update for alumni in Botswana; and members gathered in Seattle for a presentation by GIA’s Robert Weldon on "Rediscovering Colombia's Chivor Emerald Mine." To read more on the topic, see Weldon's 2016 Gems & Gemology article.
Meet-ups of global alumni and chapter leadership – Many attendees at the Las Vegas jewelry shows in June were able to enjoy multiple events to reunite with past classmates and network with and meet new alumni connections.
Second annual CalTech Gemology Lecture – The Los Angeles chapter hosted a sellout-event for more than 100 participants from southern California and beyond. The “Ametrine Adventure” was presented by Dr. George R. Rossman, a renowned educator and professor of mineralogy in the division of the geological and planetary sciences at the California Institute of Technology. Rossman has authored or co-authored more than 320 articles on mineralogical and chemical sciences and is a former GIA Board of Governor.
Fine Watchmaking – Alice Leung, GIA GG and certified trainer of Foundation de la Haute Horlogerie (FHH), shared her expertise with chapter members in Hong Kong.
Gold Mining in Colorado – The Mile High-Colorado chapter organized a two-part education event, including a talk by Tina Flemming, president of the Foothills chapter of the Gold Panning Association of America. This was followed with a day trip of gold panning two weeks later.
FBI: Security for the Jewelry Industry – An agent of the U.S. Federal Bureau of Investigation (FBI) shared security tips with members in St. Louis.
Somewhere In The Rainbow – Curator Shelley Sergent shared a collection of outstanding gems and jewelry with members of the Middle Tennessee chapter.
Appraisal Methodology and Evaluation – Edward Lewand, GIA GG, ASA, AAA, a professional appraiser and noted expert, discussed this topic with members of the Washington, D.C. chapter.
Diamond Cutting Evolution and Demonstration – Scott Sucher talked about the evolution of diamond cut in St. Louis and Phillip Van Emmenis presented a diamond cutting demonstration and talk in Georgia.
Jewelry Design and Inspiration – Famed jewelry designers Fei Liu and Andrew Prince gave presentations to the London chapter. Liu, recognized for challenging the preconceptions of traditional jewelry design, shared his love for art and gemstones and described his transition from a student to an internationally acclaimed and award-winning designer. Prince – who has an impressive and  loyal clientele ranging from stars of stage and screen, royalty, couture houses and institutions, including the Victoria and Albert Museum (V&A) in London – shared his professional journey as a creator known for the finest traditionally designed crystal jewelry in the world, including wedding tiaras, combs and bands, earrings, bracelets and more.
Jewelry History – Marie E. Betteley, GIA GG, head of Christie’s Russian Department in America and a leading expert on Russian jewelry, works of art and Fabergé, shared an engaging look at her life, career and experiences with the Golden Gate-California chapter. Lauren Abramowitz, GIA GG and jewelry expert, shared the history of Tiffany & Co. with the Golden Gate-California. Elyse Zorn Karlin discussed the Association for the Study of Jewelry and Related Arts (ASJRA) with members of the Manhattan chapter.
Fascinating World of Jewelry Auctions – Noted auction and jewelry historian veterans Monsieur Côme REMY (in Switzerland) and Joe DuMouchelle, GIA GG (in Michigan), provided attendees with an inside look at the exclusive world of jewelry auctions. (Alums who have attended GIA’s annual “Party at the GIA Gem Mine” in Tucson, know DuMouchelle and his wife Lindy as our live auctioneers.)

Taiwan members share pride in their chapter at a recent trade fair. Photo courtesy of the Taiwan chapter
Social Gatherings – Alumni, students and industry friends gathered together to celebrate with the Malaysia, Monterrey-Mexico, Ontario-Canada and Switzerland chapters.
“Hands-On” Gemology Study Groups and Industry Report – These events remain popular among all chapters, including a summer barbeque and “Beryl Study Session: Part II,” hosted by Minnesota-Twin Cities; and a colored stone marketplace report by Kusam Malhotra, GIA GG and chapter president in Washington, D.C.
Adventures in Mining, Localities and Gemstone Production – Gem expert Brian Cook captivated a London audience with a talk on Paraiba tourmaline and the “Thrill of Brazil.” Dacques Nini, GIA GG and president of the Houston-Texas chapter, shared experiences of personal travels to mining regions in Brazil, Burma and South Africa with San Diego chapter members.
Special Exhibition and a Museum Field Trip – Washington, D.C. members viewed the personal jewelry treasures of socialite Marjorie Merriweather-Post in the “Spectacular Gems and Jewelry” exhibit at the Hillwood Museum.
Five Things to Know about the Jewelry Industry Right Now – Michelle Graff, editor-in-chief of National Jeweler magazine, spoke to alumni and visitors attending July’s jewelry shows and events in New York.

Alumni News – Take Note
Mark your calendars! We hope to see you at these global education and experience opportunities:
A Gemological Discovery Journey to Sri Lanka
The Taiwan chapter has organized a “Gem Discovery Journey to Sri Lanka III” tour to coincide with the annual FACETS Gem and Jewelry show in Columbo, Sri Lanka in late August. All interested parties should reach out to Taiwan chapter representatives for more information.
World of Gems Conference V

The World of Gems Conference V, which will be held on Sept. 23-24 in Rosemont, Illinois, will include an impressive lineup of international gemological experts and attendees. GIA speakers include Nicholas Sturman, from the GIA laboratory in Thailand and Al Gilbertson, a recent Antonio Bonnano Award recipient from GIA’s Carlsbad laboratory in California. The last conference hosted more than 200 attendees from 15 countries, including seven GIA Alumni chapter presidents in attendance.
Gemworld is offering a limited number of student scholarships to attend the conference. Visit their scholarship page to learn more.
Alumni Party Tucson 2018 – Save the Date!
We will celebrate Richard T. Liddicoat, the Father of Modern Gemology, at next year’s “Party at the GIA Gem Mine” in recognition of the centennial year of his birth. All GIA alumni around the world have a connection to Mr. Liddicoat – thanks to him and the efforts of GIA’s Bob Earnest, the “official” GIA Alumni Association was launched in 1982. Mark your calendars to attend the Art Deco-themed “Party at the GIA Gem Mine” on Friday, Feb. 2, 2018. This annual reunion, dinner dance and auction is organized by the GIA Alumni Association and is held during the gem and mineral fairs in Tucson, Arizona each year.
You can help us make the celebration even better:

Share Your Photo or Story: Please share your personal photo or story with Mr. Liddicoat for potential use at the event or in additional celebrations.
Auction Donations: The alumni office is encouraging early donations for the “Party at the GIA Gem Mine’s” silent or live auctions. All auction proceeds support the alumni endowment fund and provide scholarships and education opportunities across the globe.

The outstanding legacy of service and contributions of Richard T. Liddicoat and many others who have positively influenced our industry makes me ponder how each positive action made by any individual – either by making the effort to stay educated and up-to-date on gemology; sharing their success and experience or providing mentorship; or so many other examples of paying it forward – helps ensure that current and future generations continue to respect the time-honored careers in the gem and jewelry trade.
Though historically driven by nature’s beauty and design, the jewelry industry prides itself on a foundation of integrity, creativity and expanding global culturalism.
So I leave you with thoughts to consider as a GIA Alum: What personal actions have you made recently to pay it forward or advance your personal journey or knowledge? What will you do next? @chapter:33


Publication Year: 2002 Title: Spring 2002 G&G Book Reviews Abstract: “Christie’s Guide to Jewellery”
By Sarah Hue-Williams, 160 pp., illus., publ. by Assouline Publishing, New York, 2002. US$18.95

“The Theory & Practice of Goldsmithing”
By Erhard Brepohl, 536 pp., illus., publ. by Brynmorgen Press, St. Portland, ME, 2001. US$70.00

“Fabergé Eggs: A Retrospective Encyclopedia”
By Will Lowes and Christel McCanless, 286 pp., illus., publ. by Scarecrow Press Inc., Lanham, MD, 2001. US$65.00

“Colored Gemstones: The Antoinette Matlins Buying Guide”
By Antoinette Matlins, 180 pp., illus., publ. by Gemstone Press, Woodstock, VT, 2001. US$16.95

“Diamonds: The Antoinette Matlins Buying Guide”
By Antoinette Matlins, 184 pp., illus., publ. by Gemstone Press, Woodstock, VT, 2001. US$16.95

“The Gem Hunter in Afghanistan”
An Epo-film production, Bristol, England, 2002. 52 minutes, available in VHS and DVD formats. US$29.95

To view the full section, download the PDF above. @chapter:26


Publication Year: 2016 Title: Wheel of Light’s Mesmerizing Optics Abstract: The “Wheel of Light” Numinous pendant contains an 825 ct carved quartz centerpiece. Different rough gems have been placed into a channel drilled into the quartz by the lapidary artist, which was then set in 24K gold. Photo by Robert Weldon/GIA; courtesy of Nature’s Geometry.

Lapidary artist Brian Cook, of Tucson-based Nature’s Geometry, is astonished that the optical designs he has experimented with and refined for more than 25 years have finally come of age. Appreciation for his work culminated with a first-place award in this year’s AGTA Spectrum’s Fashion Forward category for his “Wheel of Light” Numinous pendant, which graces the cover of this issue.

The 825 ct quartz center stone of this piece was carved to resemble a rounded disk with a softly contoured apex, or dome. After drilling the apex, Mr. Cook carefully inserted rough crystals of Paraíba tourmaline, haüyne, ruby, and spessartine garnet. The channel was then filled with jojoba wax and hermetically sealed with a quartz plug. The trapped “inclusions” are visible if the disk is observed from the side. As the disk is turned, with the viewer gazing down the apex, an interesting optical effect is noted: The colors corresponding to the included gem rough are revealed as concentric rings. To the eye, the ringed colors appear as painterly brushstrokes. Mr. Cook explained that the quartz vessel becomes both a frame and a mirror for what the eye sees. “The colors are amplified by the quartz, reflected off its inside surface. The jojoba wax, with a refractive index close to that of quartz, causes the channel to virtually disappear. This is how the luminosity and color of the included crystals is accentuated.”

Goldsmith Paula Brent, a longtime collaborator, brings the pieces to completion. The wheels are crafted using 24K gold, which accentuates the strength and purity of the finished object.

Mr. Cook says that the work of Nature’s Geometry is futuristic and imaginative, but at the root of it is a mystical, ancient attraction to the mineral world. The company is connecting with innovative young designers and is appreciative that the “millennial” generation is affected by the beauty and power of gems and hungry for a nontraditional approach to jewelry. Mr. Cook has been involved with the exploration for and marketing of copper-bearing tourmaline from Paraíba, Brazil, since 1988, shortly after its discovery. “The rough I saw were often too small for cutting, and the material was always extremely rare. But the color was so vibrant that I kept looking for a way to bring that ‘electrifying’ color to a greater audience.”

With the Wheel of Light Numinous pendant, Brian Cook has done just that. @chapter:25


Publication Year: 2013 Title: China Market: The New Frontier Abstract: China, the world’s second-largest jewelry consumer after the United States, is also the second-largest jewelry manufacturing center after India. There is enormous potential for diamond jewelry in China, where the government has supported the industry through major policy decisions: reducing the VAT (value-added tax) on diamonds, abolishing import duties, and setting up the Shanghai Diamonds Exchange for trading in rough and polished diamonds. The government has signed multibillion dollar resources-for-infrastructure deals with various African governments, securing its supply of rough diamonds. These efforts have drawn a huge flow of capital investment from diamond companies in Tel Aviv and Antwerp. Skilled diamond craftspeople have been brought in from Surat, India, to train Chinese workers.

Overall, China has cheaper labor costs than India, and its workforce provides better finishing of jewelry. Much of the work in Chinese jewelry factories is automated, and the level of technology and infrastructure is higher than in India. India produces every size and type of rough, while China mostly manufactures sawables. While India holds the advantage in manufacturing, China is a major consumer of polished diamonds. China is also better at jewelry manufacturing. But there is no original Chinese brand of international jewelry, and country needs better communication with the outside world.

Abstracted by Guy Lalous @chapter:27


Publication Year: 1985 Title: Fall 1985 G&G Lab Notes Abstract: Black Star Sapphire Doublet
Surface-Induced Stars in Corundum
Diamond for High Rollers
Diamond Simulants, Damage during Jewelry Repair
Synthetic Emerald
Plagioclase Feldspar and Green Muscovite Mica
Garnet Cat's-Eye Demantoid
Grossularite Garnet
Jadeite with Unusual Inclusions
Imitation Lapis Lazuli
Unusual Cultured Pearls
Sapphirine: A Rarely Encountered Cut Stone

To view the full section, download the PDF above. @chapter:17


Publication Year: 1990 Title: Hydrothermally Grown Synthetic Aquamarine Manufactured in Novosibirsk, USSR Abstract: Physical, chemical, spectroscopic, and microscopic characteristics of a sample of hydrothermally grown synthetic aquamarine from the USSR are presented. Physical and spectroscopic data are correlated with the chemical composition of the synthetic beryl to establish cause of color. Diagnostic criteria to separate natural from synthetic aquamarine are given, and the growth conditions of this synthetic blue beryl are discussed. This is the first description of synthetic aquamarine in the English gemological literature. @chapter:12


Publication Year: - Title: Sri Lanka: A Rich Blend of Old and New on the "Island of Jewels" Abstract: River mining to remove gem-bearing gravels is usually done in areas where the river water slows and deposits the gravel under rocks. Photo by Andrew Lucas/GIA

                      Sri Lanka, an island nation long known for its wide variety of sapphire, cat’s-eye chrysoberyl, and many other gemstones, is enjoying a resurgence in its gem and jewelry industry. Situated off the southeast coast of India—directly in the path of an ancient trade route for seafaring merchants—the “Island of Jewels” is a major source of colored gemstones and a center for cutting and heat treatment.

In February 2014, GIA field gemologist Andrew Lucas and video producer Pedro Padua traveled to Sri Lanka for two weeks with an ambitious goal: to document the country’s entire gem and jewelry industry, from mud-drenched mines to glittering retail stores. This was a true mine-to-market expedition covering all aspects of the industry, including:

		Colored gemstone mining, cutting, and treatment

		Colored gemstone wholesale trading

		Jewelry design and manufacturing

		Retail and pawn

They discovered a dynamic industry that blends centuries of experience with modern methods to meet the needs of the international gem and jewelry trade. With improved access to rough from outside sources, modernization of cutting techniques, precision-quality manufacturing, and expertise in heat treatment, Sri Lanka has made substantial gains in the global sapphire market.

This expedition was made possible by tremendous support from the Sri Lankan industry, whose members provided logistical support, background information, and trade experience. They opened the doors to the island and its industry, lending decades of knowledge to provide a complete picture of the local gem and jewelry trade.

Lucas and Padua teamed up with GIA’s Dr. Tao Hsu and a pair of Sri Lankan industry leaders to produce two field reports and a G&G article based on what they found.

	Sri Lanka still relies on pits for mining gemstones - as it has done for centuries. Photo by Andrew Lucas/GIA @chapter:26


Publication Year: 2019 Title: Hand-Carved Cameos from Italy Abstract: Figure 1. Shells harvested from the Caribbean have a dark brownish background color (left), while shells from Africa—especially Madagascar—show a much lighter background color (right). Photos by Vincenzo Imposimato.
Vincenzo Imposimato (Naples) brought his hand-carved shell cameos and his carving tools to the GJX show to demonstrate the making of these exquisite pieces.
This was Imposimato’s sixth visit to Tucson. As a child, he was fascinated by the shell carvings he watched his grandfather make at home. He has also been passionate about drawing since his early childhood, so a career in cameo carving was a natural choice.
Imposimato mainly uses two types of helmet shell. One has a dark brownish background color and originates from the Caribbean Sea; the other, with lighter orangy or reddish background, is from the coast of Madagascar. Consumers prefer the darker background because it displays the carved image in greater contrast (figure 1). The Caribbean shell also has a more curved shape, allowing greater complexity in its carving, while the African shell tends to be flat. The Caribbean shell is more expensive, so consumers pay more for these finished cameos.

Figure 2. A carver holds the stick attached to the small cameo piece next to a hard surface, which provides support. Photo by Kevin Schumacher.
With a shell in hand, carvers have two possible plans: They can either make a whole-shell cameo or a small piece with different shapes. The general process for both types includes a rough shaping by machine and then detailed carving by hand. For whole-shell cameos, carvers need to hold the shell very gently. Since the shell is empty, carvers must pay extra attention when applying force to avoid damage. As for small cameos, the shell needs to be sliced into small pieces and then shaped by machine. Carvers then attach the small piece to one end of a wood stick with fish glue. Fine hand carving is done by holding the stick next to a hard surface (figure 2).
Detailed carving by hand is done with the bulino, a traditional tool for carving and engraving. There are bulinos of different sizes and shapes for different carving purposes. For shell cameos, carvers remove the top whitish layer to form a carving against the contrasting background color. The character or theme depicted depends on the shell’s natural condition. Factors such as the curvature of the piece, the thickness of the white surface layer, and the color contrast will determine what can be carved. A whole-shell cameo typically takes about two months to finish, while a small piece takes a few days.

	Hand-carved cameos from Italy

Japan was once the biggest market for these handcrafted shell cameos. Imposimato first visited Japan in 1993 to show local consumers how to make cameos. After that, he was invited back more than 20 times. However, the market has slowed down over the past five years, perhaps due to changing styles. Women used to wear woolen coats that were perfectly paired with cameos. Now that they have more fashion options, many choose other accessories. Even at their height of popularity, cameos were typically purchased by women over the age of 30. Imposimato feels that the themes carved onto cameos need to be updated to appeal to young consumers and expand the market share.
Whereas cameos carved by machines tend to be flat, handmade versions tend to keep the natural curvature of the materials used. While manufactured cameos of all different types of materials are readily available these days, handcrafted shell cameos still hold a unique position in the fine jewelry world. @chapter:21