Publication Year: - Title: G. Robert Crowningshield (1919–2006) Abstract: For more than 50 years, G. Robert Crowningshield was the mainstay of GIA’s New York laboratory. After serving as a naval officer during World War II, he joined GIA as an instructor in Los Angeles before being sent east in 1948 to set up the New York office. In 1950, Crowningshield was named director of the New York office, where he began groundbreaking work that would take GIA and the young field of gemology to new heights.
His first breakthrough came in 1956, when he found the spectroscopic feature for detecting yellow irradiated diamonds. The spectroscope was a largely overlooked gem instrument at the time, but Crowningshield used it to examine every transparent gemstone submitted to the lab, meticulously drawing the absorption patterns with charcoal on paper. By examining the spectra of more than 10,000 natural-color and irradiated yellow diamonds, Crowningshield spotted the 592 nm absorption line that indicated irradiation treatment. It was a landmark contribution, one that also established the spectroscope as an invaluable tool in gem identification.

	G. Robert CrowningshieldLeading the Way in Gem Testing and Detection

In 1970, Crowningshield reported on the new laser drilling process used to bleach dark inclusions in diamond. A year later, after General Electric announced the development of gem-quality synthetic diamonds, he wrote the first scientific study of the material. During the mid-1970s, he examined hundreds of Tahitian black cultured pearls and determined they were of natural color, an important milestone in the trade’s acceptance of these products. His 1983 Gems & Gemology article describing the color nomenclature of orange-pink “padparadscha” sapphires is considered the authoritative explanation for these rare and highly prized specimens.
Over a span of four decades, Crowningshield published more than a thousand brief observations in G&G’s Lab Notes column, which he started in 1957.

The left image shows a diamond sample that contains the newly recognized mineral crowningshieldite, in the dark area circled in red. The sample is an offcut from a larger type IIa diamond from the Letseng mine, Lesotho. The right image shows an enlargement, using an electron microscope, where individual grains of crowningshieldite are seen in a fine grained mixture with other minerals. Photo credits: Evan M. Smith (left image) and Fabrizio Nestola (right image).
GIA scientists, in collaboration with researchers at the University of Padova, discovered a new mineral and named it in honor of Crowningshield in 2018. Crowningshieldite was discovered as an altered inclusion in two CLIPPIR diamonds – a variety of type IIa diamond that forms at significantly greater depths than most diamonds – from the Letseng mine in Lesotho. Crowningshieldite is a nickel sulfide mineral with a hexagonal crystal structure and can be regarded as the high-temperature polymorph of the mineral millerite. @chapter:35


Publication Year: 2021 Title: Virtual Report on the Industry in 2021 Abstract: Snapshots of an industry dealing with a global pandemic. A starkly quiet Jewelry Trade Center in Bangkok (top row) and Chan Gems Building in Chanthaburi (middle right); temperature screening outside a Pranda facility on the outskirts of Bangkok (bottom left); and two glimpses of activity at the Hainan Expo in China. Photos by Jinting Yu, Shen Chen, and Sunny Jiang.

              As the major Tucson gem and mineral shows were all canceled in 2021 due to the pandemic, we decided to use our annual Tucson report space a bit differently this year. We wanted to capture how some of the vendors we normally visit have been weathering the situation and their thoughts about the impact on the trade along the entire supply chain. We wanted to find out how the pandemic has shaped their businesses over the past year and if they foresee permanent changes to the way business will be conducted in the future.

From our understanding going into these interviews, fine jewelry has actually been doing quite well during this time, as consumers who would normally spend money on travel have opted to spend those discretionary funds on luxury items, including jewelry. With the initial onset of the pandemic creating a full disruption to in-person sales, retail jewelry was hit hard in the spring. By summertime, however, sales had increased for many compared to the same period in 2019. This trend reemerged during the end-of-the-year holiday season. As discretionary travel is a strong competitor to fine jewelry, having people stuck at home benefited retail jewelry sales. Online jewelry sales appear to have benefited the most, increasing by about 50% over pre-pandemic times. To what extent these patterns will hold is uncertain. Another trend was the popularity of “Zoom-worthy” jewelry such as earrings and necklaces as online interactions with colleagues, friends, and family increased. To read more about some of the pandemic-related retail jewelry trends, see Victoria Gomelsky, “Even in a pandemic, fine jewelry is selling,” New York Times, December 3, 2020, https://www.nytimes.com/2020/12/03/fashion/jewelry-rising-sales-pandemic-.html.

Starting at the mines, activity was clearly affected by work stoppages and the inability of foreign buyers and traders to travel internationally. These situations were highly dependent on local restrictions, which were often different in neighboring countries. In East Africa and Asia, many mines temporarily stopped production to comply with regulations to avoid gatherings of people, while others produced plenty of material but initially had no foreign buyers to sell it to. Much rough trading went online, allowing the continued flow of some materials between miners and buyers with established relationships. This online presence also brought forth completely new relationships for miners and local traders who started dealing directly with downstream buyers, such as cutters and jewelers, who normally would have made purchases through other channels.

In many instances, cutting and jewelry manufacturing workshops were significantly impacted by the pandemic on three fronts: the disruption in the supply of new raw materials, the inability to work together in factories in light of social distancing policies, and (in some cases) difficulty in shipping goods across borders. However, some rough dealers and jewelers have been opening the vaults to work with gems saved for a rainy day such as this.

Gem markets have been significantly impacted, as here too social distancing policies and travel restrictions greatly reduced or eliminated the ability to gather and kept the international buyers who supply the cash necessary to keep trade moving away from these sites. Similarly, virtually all of the major trade shows globally were forced to cancel for the same reasons. Political unrest has also been impacting the movement of goods across borders, something we heard from several sources.

Stone dealers and jewelers in general reported a challenging time last spring, but reasonable to good sales from summer 2020 on. Many of them had to adapt to virtual interactions with suppliers and clients, some for the first time. However, several had already started building online presences, which were put to the test and rapidly expanded to accommodate this unusual year. Communication through WhatsApp and Zoom proved essential for many in continuing business both upstream and downstream. Vendors reported using social media such as Facebook and Instagram to keep clients updated on their activities. Even though it was clear that these vendors look forward to the return to big trade shows, they believe that the way business is conducted along the supply chain has likely been changed in some permanent ways by the recent forced reliance on doing business virtually.

We hope you enjoy our report showing the mixture of positive and negative trends over this unprecedented past year. We look forward to seeing everyone in person in Tucson next year. The 2022 Tucson shows will also bring us the opportunity to visit the Alfie Norville Gem and Mineral Museum, scheduled to reopen in 2021, and its Somewhere in the Rainbow collection. These are also featured in our report. @chapter:27


Publication Year: 2021 Title: New CVD Material Submitted for Analysis Abstract: Figure 1. These 10 CVD-grown diamonds submitted to the New York laboratory were fairly large (2.24 ct to 5.90 ct) with high color grades (D to F) and excellent clarity (VVS2 to VS1). Photo by Sood Oil (Judy) Chia.
Since the introduction of its new digital Laboratory-Grown Diamond service, GIA has recently seen a vast increase in the number of diamonds grown by chemical vapor deposition (CVD). These are often large and of exceptional clarity. The New York laboratory recently examined a batch of 10 large, high-quality CVD-grown diamonds from a single client, Shanghai Zhengshi Technology. The diamonds ranged from 2.24 ct to 5.90 ct and came in a variety of fancy shapes, as well as the standard round brilliant cut. All of them had high color grades, ranging from D to F, and excellent clarity, with grades between VVS2 and VS1 (figure 1).

Figure 2. PL spectrum showing the 596/597 nm doublet observed in an as-grown CVD diamond.
The diamonds were all identified as type IIa using Fourier-transform infrared (FTIR) spectroscopy, with the 3123 cm–1 peak that is attributed to most as-grown CVD synthetics and the 3017 cm–1 peak that can be found in treated CVD synthetics both notably absent from their spectra. PL spectroscopy using a 514 nm laser revealed SiV (737 nm), NV– (637 nm), and NV0 (575 nm) centers in all of the diamonds. Also observed was the 596/597 nm doublet, a feature commonly seen in as-grown CVD diamond indicating no treatment was applied (figure 2) (S. Odake, “Melee diamonds: Metal defects and treated color,” Fall 2018 G&G, p. 304).

Figure 3. Each CVD-grown diamond showed a strong birefringence pattern displaying many interference colors. The pattern is not disrupted by the presence of pinpoint inclusions in the diamonds. Photomicrographs by A’Dhi Lall and Elina Myagkaya. Field of view 19.27 mm (left) and 1.26 mm (right).

Figure 4. DiamondView imaging revealed homogenous, unbroken dislocations without the distinct banding that is common in CVD-grown diamonds. Images by Elina Myagkaya.
The diamonds showed strong birefringence when viewed under cross-polarized light, exhibiting both low and high interference colors (figure 3). DiamondView imaging revealed mostly blue, purple, or pink fluorescence, with blue-violet dislocations that were clearly observed in all of the diamonds tested. More notable was the absence of the striations commonly seen in CVD diamonds, which indicate start-stop growth and changing growth conditions (figure 4). The absence of striations implies that these diamonds might have been grown in one continuous step—the fact that the dislocations appear to be homogenous and uninterrupted supports this theory.
This group of lab-grown diamonds possessed high clarity and high color for as-grown material, demonstrating the potential for large lab-grown diamonds to make large inroads in the gem diamond market. With continuing improvements to growth technology, lab-grown diamond identification faces many challenges. While large batches of CVD synthetics from different manufacturers have been documented by GIA in the past (e.g., W. Wang et al., “CVD synthetic diamonds from Gemesis Corp.,” Summer 2012 G&G, pp. 80–97), this set offers insight into potential new CVD growth conditions for CVD synthetic diamonds. @chapter:15


Publication Year: 2017 Title: CVD Synthetic Diamond Mimicking Natural Stone Abstract: Figure 1. This 0.51 ct CVD synthetic diamond, submitted to GIA for update service, yielded some surprising results. Photo by Johnny Leung.

A 0.51 ct round brilliant (figure 1) was recently submitted to GIA’s Hong Kong laboratory for update service to verify the results from a diamond grading report issued in 2014. Investigation showed that its properties were much different from the diamond in the original report and that it was actually a CVD synthetic diamond.

The round brilliant submitted (5.18–5.20 × 3.11 mm) had H-equivalent color grade, much lower than the D color of the diamond submitted in 2014 (5.07–5.09 × 3.15 mm). Its IF-equivalent clarity was better than the VVS1 clarity of the original stone, however. Only pinpoints and blemishes observable with greater than 10× magnification were found in this specimen. A GIA report number inscribed on the girdle was easily identified as a fake (figure 2). A minor difference in weight was also observed: an “increase” from 0.50335 ct to 0.51444 ct.

Figure 2. The GIA report number of a natural diamond graded three years earlier
was inscribed on the CVD synthetic diamond shown in figure 1. Photo by Billie Law.
Infrared absorption spectroscopy identified the synthetic as type IIa and led to further spectroscopic testing. Photoluminescence (PL) spectroscopy was performed at liquid nitrogen temperature, and spectra were collected with various excitation wavelengths. A very strong SiV– doublet observed at 736.6 and 736.9 nm indicated a synthetic diamond. Under the short-wave UV radiation of the DiamondView, the sample showed green fluorescence but, interestingly, none of the obvious layered growth structures that CVD synthetics usually display. All gemological and spectroscopic features confirmed that the stone was CVD synthetic with post-growth HPHT annealing. This is another example of the importance of using a combination of tests and data to identify a stone. GIA’s laboratories continue to develop and implement various measures to identify possible fraud. @chapter:15


Publication Year: - Title: A New Life for Revival Jewelry Styles: Archaeological, Renaissance and Egyptian Abstract: Dating from the 1990s, this necklace made by Castellani in 19th century archeological revival style features heart-shaped and palmette pendants with bead spacers on foxtail chain. This close-up photo of the necklace’s elements show its twisted wire details and granulation. Courtesy of Frances Klein Antiques & Estate Jewelry. Photo by Tino Hammid/GIA & Tino Hammid.

Revival jewelry embodies a long-standing tradition of drawing inspiration from the past – either by copying or reinterpreting ancient motifs. It is a way for us to wear jewelry pieces that connect us to the rich history of the beginning of civilization.
Archaeological Revival
Archaeological Revival was spurred by discoveries of buried artifacts – after the eruption of Mt. Vesuvius in 79 CE – uncovered in the cities of Herculaneum in 1738 and Pompeii in 1748. A century later, haphazard excavation techniques had improved somewhat, creating a second wave of interest in revival jewelry prompted by discoveries in Etruscan burial sites.
After opening the Regolini-Galassi tomb in 1836, jewelers Fortunato Pio and Alessandro Castellani were granted access by papal authorities to study the ancient gold jewelry. They were also given access to huge collections of antiquities between 1840 and 1850, making it possible for the Castellani family to study the art of Etruscan granulation, filigree and other gold work. They began to uncover the mystery of how the ancients created their designs by soldering detail to the metal rather than carving, punching, or cutting.

Eugène Fontenay was one of the leading jewelers working in France in the third quarter of the century and his jewelry was considered among the most technically refined of the work produced at this time. This gold Etruscan revival pendant features matte enamel decoration, rose-cut diamonds, granulation, and beading, all associated with the work of Eugène Fontenay (1824–1887) and archaeological revival jewelry. Courtesy of The Metropolitan Museum of Art. Photo by Joseph Coscia.
Michelangelo Caetani, an Italian scholar interested in literature, sculpture and goldsmithing, encouraged them to concentrate on ancient-style jewelry, providing them with models of the finest jewelry examples from antiquity. Through their association, he became a pivotal influencer of their designs. The Castellani firm also incorporated Egyptian scarabs into their designs.
Renaissance Revival
Jewelry took its inspiration from a variety of sources in the 19th century, including from Renaissance pieces that survived and those that were preserved in jewelry design books. A colored gemstone or pearl as the central focal point, surrounded by smaller gems, was a hallmark of the Renaissance Revival style of pendants, brooches and earrings. Various enameling techniques were often used as colorful accents.

The gold Renaissance revival style bar brooch by Tiffany & Co. features three sculpted flower head clusters. The left cluster contains six blue sapphires surrounding an orange garnet. The right cluster contains a center green stone surrounded by six orange garnets. The center element is an old European cut diamond surrounded by small diamonds. Courtesy of Neil Lane, Inc., Beverly Hills. Photo by Tino Hammid/GIA & Tino Hammid.
Renaissance-themed costume balls were popular during the 19th century and great effort was taken to recreate the period costumes and jewelry worn at these lavish events.
Hans Holbein the Younger, a German artist in the Tudor period (1485-1603), was an early influencer of Renaissance Revival jewelry. His paintings portrayed Tudor royalty and the upper class, who set the fashion. Once seen in London, his paintings influenced the fashion of high society dances in the 19th century and thus inspired British Renaissance Revival jewelry.

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Carlo Guiliano was well-known in Western Europe from the 1840s to the 1890s for his interpretive Renaissance Revival style creations. He employed champlevé, basse-taille and en ronde bosse enameling techniques in his designs that featured rubies, emeralds and sapphires to cater to his wealthy patrons. Giuliano and other revivalist jewelers often employed ancient techniques and tools in their work, such as die-stamping, a technique used by Hellenistic goldsmiths.

This Renaissance revival style gold brooch and stickpin features a grotesque mask in the center and is accented with acanthus leaf. Courtesy of Neil Lane, Inc., Beverly Hills. Photo by Tino Hammid/GIA & Tino Hammid.
Renaissance Revival jewelry revisited the grotesque style, which is derived from the Italian grotteschi and refers to the decoration of grottoes found circa 1500 during Roman excavations, particularly of the Golden House of Nero, 65-68 C.E. The word “grotesque” involves mixed animal, human and plant forms in strange configurations one might find less than beautiful.
Although the animal heads and other motifs sometimes held symbolic significance, grotesque, in general, is purely decorative.
The most notable French Renaissance Revival jewelers were Lucien Falize, Alphonse Fouquet and Louis Wièse, and included the larger jewelry houses of Boucheron, Chaumet and Vever.

This 1930s Egyptian Revival scarab brooch features wings fashioned in plique-à-jour enameling set in 14K gold. The scarab beetle is lapis lazuli accented with pearl. Courtesy of Marilyn & Co. Photo by Kevin Schumacher/GIA.
Egyptian Revival
Egyptian Revival jewelry came into its golden age in the late 19th and early 20th centuries. The completion of the Suez Canal in 1869 connected the Mediterranean and Red Seas and propelled opportunities for travel and an interest in Egyptian culture. The opening of the tomb of the Egyptian pharaoh Tutankhamun in 1922 revealed ancient treasures in the southern Mediterranean world and sparked awe among those who saw them. These monumental events were instrumental to the emergence of Egyptian Revival jewelry.
The Egyptians believed plants and animals were sacred and the scarab beetle, lotus flower are recurring motifs in Egyptian design. According to Egyptian culture the scarab beetle was a sign of rebirth; the winged scarab signified coming into being. Cats and other animals were revered as gods. The lotus, symbolic of Upper Egypt, represents an emerging god in some creation myths.

This Egyptian revival style gold brooch is by T.B. Starr, a prominent New York City jeweler in during the late 19th and early 20th centuries. It features a carved amethyst scarab, with green, blue and red enameling, and a falcon with a demantoid garnet as its eye. The piece evokes the exotic treasures unearthed from Egyptian royal tombs, embellished with symbolic motifs such as scarabs, lotus blossoms, sphinxes and ibises that were thought to ensure protection from evil and the promise of eternal life. Courtesy of The Metropolitan Museum of Art.
The palette of colors in Egyptian artifacts and art were also symbolic: red represented the desert; green evoked the fertile lands of the Nile Valley; blue symbolized the sky and water; and yellow signified the Sun. The pharaoh and sphinx motifs are easily recognizable as Egyptian symbols.
It is no wonder that an artistic interest in Archaeological, Renaissance and Egyptian Revival themes remains alive in jewelry today. @chapter:21


Publication Year: 1990 Title: Synthetic Gem Materials in the 1980s Abstract: Although the 1980s did not experience the emergence of several totally new synthetics that characterized the preceding decade, it was during this period that synthetics matured, with many new manufacturers and greater manufacturing capacity. The highlights of this decade included the introduction of a number of new synthetic sapphires, rubies, and emeralds, as well as the appearance of the first commercially available cuttable synthetic diamond. The 1980s also saw the influx into the market of literally tons of synthetic amethyst and thousands of tons of synthetic cubic zirconia. As new synthetic products emerged, so did the need for new detection techniques. Developments during this decade will provide major challenges in the years to come. @chapter:23


Publication Year: - Title: Summer 2009 G&G Lab Notes Abstract: Bicolored Diamond
	“Black” Diamond with Deep Violet Color
	Carved Diamond Crucifix
	Rare Type IIb Gray-Green Diamond
	Unconventional Diamond Cuts
	Pink CVD Synthetic Diamond
	Rare Star Peridot
	Tourmaline with Silver and Gold Chatoyancy
	Eljen Treated Turquoise

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	DATA DEPOSITORY

'Black' Diamond with Deep Violet Color - Supplementary Figure
	Submitted by Christopher M. Breeding and Kimberly M. Rockwell
	Summer, 2009
UV-Visible–Near Infrared Spectrum
	Submitted by Paul Johnson and Jason Darley
	Summer, 2009 @chapter:35


Publication Year: 2024 Title: Shrinkage Cracks in Fire Agate Abstract: This fire agate from Mexico displays an interesting weblike network of shrinkage cracks that were likely the result of desiccation during formation. Photomicrograph by Nathan Renfro; field of view 4.11 mm.
Over the last few years, the author has encountered numerous examples of fire agate (a variety of quartz chalcedony) displaying a random weblike pattern, including a parcel of cabochons from Mexico purchased at the 2023 Tucson gem shows. Fire agates typically show a botryoidal structure reminiscent of a cluster of grapes, so this unusual pattern was quite noteworthy.
Microscopic examination of the cabochons revealed that the pattern was most likely the result of shrinkage cracks caused by desiccation. This drying out created a volume reduction that pulled apart the silica material during formation of the fire agate, producing a pattern of irregular separations that were later infilled by a secondary generation of chalcedony, which then preserved the pattern (see above). These shrinkage cracks stand out in high contrast to the host chalcedony as interruptions in the iridescent phenomenon that result from broken layers of goethite where shrinkage occurred. While not particularly common, shrinkage cracks in fire agate create a unique pattern in this colorful gem material. @chapter:6


Publication Year: - Title: Report Check - 2213478946 Abstract: gia report number
2213478946

date of issue
Feb. 16, 2021

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LABORATORY-GROWN COLORED DIAMOND REPORT

Laboratory-Grown Colored Diamond Report

									            		REPORT DETAIL

									            		TREATMENT

									            		GROWTH METHOD

									            		COUNTRY OF ORIGIN

Laboratory-Grown Diamond Specification*

Shape and Cutting Style

Describes the shape and Cutting Style.

Cushion Brilliant

Measurements

Diamond dimensions listed as “minimum diameter – maximum diameter x depth” for round diamonds and “length x width x depth” for fancy-shaped diamonds.

7.04 x 6.41 x 4.40 mm

Carat Weight

Weight given in carats, recorded to the nearest hundredth of a carat. One carat is equal to 1/5 of a gram.

3.50 carat

Color

Includes a color description describing the hue as well as a fancy color grade describing the combined effect of tone and saturation. More generalized description is used for laboratory-grown diamonds.

Fancy Light Yellow

Color Distribution

Evenness or unevenness of color seen face-up using standard viewing procedures.

Even

Clarity

The relative absence of inclusions and blemishes.

VS2

PROPORTIONS

Depth

Table-to-culet depth, expressed as a percentage of average girdle diameter for round shapes or width for fancy shapes.

68.6%

Table

Table size expressed as a percentage of a round brilliant’s average girdle diameter for round shapes or width for fancy shapes.

62%

Girdle

Thickness of the intersection of the crown and pavilion which defines the perimeter of the diamond.

Slightly Thick to Thick, Faceted

Culet

Size of the facet at the tip of a gemstone relative to the average diameter for round shapes or width for fancy shapes.

None

FINISH

Polish

Smoothness of the diamond’s surface, assessed on a scale ranging from excellent to poor.

Excellent

Symmetry

Exactness of the diamond’s outline, and the shape, placement, and alignment of its facets, assessed on a scale ranging from excellent to poor.

Very Good

FLUORESCENCE

Fluorescence

Strength and color of the diamond when viewed under long-wave ultraviolet light. A fluorescence description of “none” represents a range of fluorescence from indiscernible to very faint. Used for identification purposes.

Medium Blue

CLARITY CHARACTERISTICS

Clarity Characteristics

List of the most significant clarity characteristics present in the diamond that justifies the clarity grade; a maximum of four characteristics are listed.

Growth Remnant, Growth Remnant, Indented Crystal Surface, Growth Remnant

Key to symbols
Growth RemnantGrowth RemnantIndented Crystal SurfaceGrowth Remnant

COMMENTS

Comments

Additional growth remnants are not shown.
This is a man-made diamond produced by CVD (Chemical Vapor Deposition) growth process and has evidence of post-growth treatments to change the color.

INSCRIPTION(S)

Inscription(s)

GIA 2213478946, LABORATORY-GROWN

*This GIA Laboratory-Grown Diamond Report describes color and clarity specifications on the same scale as the GIA Diamond Grading Report for natural diamonds. The specifications do not correlate to nature’s continuum of rarity. To learn more about laboratory-grown diamonds, including how GIA differentiates them from natural diamonds visit GIA.edu/GIALGDR

Feb. 16, 2021

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Important Limitations
GIA LGDR results will only be provided via Report Check. All Report Check information is subject to these limitations.

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Learn More About Colored Diamonds

	Explore colored diamonds history, research, quality factors, and more in the GIA Gem Encyclopedia.

Learn More @chapter:31


Publication Year: 2018 Title: Chicago Responsible Jewelry Conference Abstract: Held October 21 and 22 at Cinema Row, the Chicago Responsible Jewelry Conference drew 200 attendees who heard industry experts discuss safe, sustainable, ethical gem production and jewelry design.
Friday’s session opened with a keynote address by Mark Hanna (Richline Group). “Our vision is the creation and maintenance of a responsible, worldwide supply chain that promotes trust in the global fine jewelry industry,” Hanna announced. He discussed the ways blockchain technology is allowing for greater mine-to-market transparency. While there are communication and efficiency issues, as the various blockchains do not yet interact, open-source tracking does seem to be the wave of the future. Following Hanna’s presentation, Rolberto Alvarez  of Colombia’s Mina Gualconda reported on the gold mine’s transformation from a manual operation with mercury extraction (1974–2001) to an environmentally conscious, Fairmined-branded enterprise, supporting 12 families and using zero mercury.
Eric Braunwart (Columbia Gem House) moderated the first of several panels held during the conference. A group of gem cutters, representing four continents, discussed locale-based challenges that included the costs of replacing broken equipment, a lack of cutting knowledge and experience among locals, and recent restrictions on exporting rough from countries such as Tanzania. Panelists observed that clients also want corporate social responsibility (CSR) efforts to extend to cutters and reiterated what has been said at similar gatherings: The art of cutting involves more than just faceting a stone. Often cutters say the stones “speak” to them, telling them where to begin and end. The storytelling that has become part of the jewelry industry’s outreach to customers should include tales of the cut as well.
Day one ended with the work of sustainability consultants The Dragonfly Initiative (TDI), which has developed the Coloured Gemstone Working Group (CGWG) to support the communities impacted by the colored gems sector. TDI’s Sarah Caven posed the question: “Things are not perfect, and we can maybe never get perfection, but what can we do to improve transparency and do a better job in the supply chains?” She explained that the CGWG has created due diligence systems that are adaptable for everything from micro-businesses to large corporations, with commitments from 12 major luxury jewelry brands. With corporate partnerships, TDI has also launched artisanal and small-scale mining projects in Tanzania, Uganda, Kenya, and Brazil. Brian Cook (Nature’s Geometry) spoke of his work as a consultant for TDI, investigating the financial records and environmental reclamation efforts of alluvial mining sites in Brazil. He also provided updates on the rutilated golden quartz community he established in Brazil’s Bahia State.
The first day also featured the premiere of River of Gold, a documentary on illegal gold mining in the Amazon rainforest. The film shows the environmental devastation and human corruption that results from this form of gold exploitation. After the screening, sustainable jewelry consultant Christina Miller moderated a Q&A session with producer Sarah DuPont, joined by Susan Egan Keane (Natural Resources Defense Council) and Nigel Pitman (The Field Museum).
Day two opened with a panel in which jewelry designers described how they began working ethically sourced material. Moderated by jewelry designer and metalsmith Alexandra Hart, panelists told of humble beginnings in the responsible sourcing sphere; Helene Grassin (Paulette à Bicyclette) recalled sharing casting trees with other like-minded Parisian designers in order to afford the cost of ethically mined gold. The designers noted that their clientele know how to find them and were adamant about balancing bad news with transparency: If the customer cannot be told honestly that their materials are ethically sourced, they will often select a different metal or gemstone. They shared a desire to reach out to independent ethical, environmentally responsible gem suppliers so that designers and suppliers could join together to create a remarkable story for clientele. As one panelist stated, “We are the pioneers of creating these relationships.
Joanne Lebert (Impact) used a case study from the Democratic Republic of the Congo to explain how Impact believes ASM activity should operate. Borrowing the Reagan-era dictum “Trust, but verify” allows the gemstone or jewelry piece’s story to be told honestly and ethically. The Clinton campaign mantra “It’s the economy, stupid!” reminds us that producers along the supply chain should be seen as economic actors who have a stake—and a final impact—on the material. Finally, Lebert’s assertion that Obama focused on the good of the community as a whole reminds us that men and women in the mining and cutting sectors benefit differently from CSR efforts, a point examined further by the next speaker. Glenn Lehrer (Colourful Life Foundation) discussed the importance of giving back to communities that produce and work in the gem and jewelry industry. While the foundation is working in gem communities around the world, Lehrer focused on the schools it has opened for low-income children in Jaipur, India. Mothers of the children attending Colourful Life schools were provided with faceting training to prepare them for Jaipur’s workforce. He was surprised to learn that the women rejected at-home training and workshop equipment. Going to school and work was a form of dignity for them, whereas Western workers often prefer the convenience of working remotely.
The last panel of the conference, moderated by Monica Stephenson (Anza Gems and iDazzle) focused on artisanal mining. Panelists recounted their personal experiences, challenges, and triumphs in the mining sector. Among the speakers was Salma Kundi, a tourmaline miner from Tanga, Tanzania, and secretary general of Tanzanian Women’s Mining Association (TAWOMA); her group was involved in the Pact/GIA guidebook project (see below). Where Kundi comes from, a miner pays for a concession and a license and exploits the deposit with assistance. A mining license costs about US$400, a high price for a woman, and that does not cover mining and food expenses. Membership in TAWOMA allows for collective mining, enabling women to pay for licenses. Other challenges include a need to reach buyers beyond their local markets.
Robert Weldon spoke about GIA’s collaboration with Washington, DC–based NGO Pact to create and distribute a rough gem guidebook among Tanzanian miners (Summer 2018 GNI, pp. 245–246). Since early 2017, GIA and Pact have provided training with the Swahili-language guidebook, which is accompanied by a tray for sorting gemstones using reflected and transmitted light. Follow-up surveys revealed a $12 social return on investment for every $1 invested in the program. As of October 2018, the guidebook has reached approximately 1,000 Tanzanian miners. The final speaker of the day, Yianni Melas (The Gem Explorer), recounted his experiences as a human rights advocate for gem and jewelry laborers, including a recent 31-day hunger strike that made international headlines.
Both days also featured a gem boutique, with information on ventures and gemstones available for sale. There were also optional lunch sessions that elaborated on topics that will affect the industry’s future, such as the Jewelry Development Index, the flagship project of the University of Delaware’s “Mines, Minerals and Society” program; the Mercury-Free Mining Challenge; and TrustChain, a collaboration between industry leaders and IBM to create a blockchain solution. As Mark Hanna said in opening the conference, “The challenge of our unknown future is so much more exciting than the stories of our accomplished past.”
The 2019 Chicago Responsible Jewelry Conference is slated for Friday, October 25 and Saturday, October 26. @chapter:38


Publication Year: 2015 Title: Iridescent Scapolite Abstract: Figure 1. These two scapolite cabochons (7.30 and 30.22 ct) displayed prominent iridescence in reflected light. Photo by Don Mengason.

GIA’s Carlsbad laboratory recently examined two cabochons from L. Allen Brown (All That Glitters, Methuen, Massachusetts) that exhibited prominent iridescence in reflected light (figure 1). Standard gemological testing of the 7.30 and 32.22 ct specimens revealed a spot RI of 1.55 and a hydrostatic specific gravity of 2.67. Fluorescence was inert to long- and short-wave UV light. The stones also showed a very weak reaction to a strong magnet.

Under magnification, the most distinctive internal characteristic was the presence of dark brown exsolution stringers of a secondary mineral. Larger tabular dark brown crystals were also observed (figure 2, left). Under reflected light, these exsolution stringers proved to be the source of the iridescent colors (figure 2, right). Similar material has been reported to occur in India, by G. Choudhary (Spring 2013 GNI, pp. 58–59), but the identity of the phenomenon causing inclusions was not determined.

Figure 2. Dark brown exsolution stringers of magnetite (left), also viewed with oblique fiber-optic illumination (right), were the source of iridescence in this scapolite. Photomicrographs by Nathan Renfro; field of view 4.37 mm.
Raman spectroscopy confirmed that the stones were scapolite. To identify the color causing inclusions, the smaller stone was selected for destructive testing. Windows were polished to expose some of the inclusions to the surface of the stone. The exposed surface of the inclusion showed a metallic luster (figure 3), which was identified as magnetite by Raman spectroscopy, and was explanatory of the magnetic reaction observed.

Figure 3. Under reflected light, the exposed surface of the inclusion showed a metallic luster. Photomicrograph by Ziyin Sun; field of view 0.25 mm.
Laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) analysis was used to further support the identity of the inclusions. While the exposure of the inclusions on the stone’s surface was too small for a clean analysis without a contribution from the scapolite host, the results showed a significant increase in iron as the laser ablated through the brown inclusion and decreased afterward.

Scapolite occurs in a number of rock types as a product of regional metamorphism or metasomatism. The close association of magnetite with scapolite has been noted before, particularly in some skarn deposits and some hydrothermally altered volcanic formations (J.A. Naranjo et al., “Subvolcanic contact metasomatism at El Laco Volcanic Complex, Central Andes,” Andean Geology, Vol. 37, 2010, pp. 110–120). Choudhary reported similar material, but the inclusions that caused the iridescence were not identified. This scapolite with iridescence, also known in the trade as rainbow scapolite, is a very interesting example of a phenomenal gemstone. @chapter:13


Publication Year: - Title: Market Update and Exceptional Colored Gems Abstract: Edward BoehmRare Source

	Interview with Edward Boehm, Rare Source
In an exclusive interview with Edward Boehm at the 2013 Tucson Gem Show, GIA uncovers a rich vein of current information on supply and demand in the rare and high-end gem market. Boehm, a geologist, gemologist and gem dealer with his own company, Rare Source, ranges over a spate of hot topics, including the rebirth of the emerald market, the fallout from the US ban on Myanmar, and the importance of estate sales.

Boehm reports the emerald market is coming back strong after a decade of suffering under the weight of buyer suspicions regarding treatment. He says that emerald dealers from both South America and Africa seem to have learned the hard lesson of those days and have embraced the policy of full disclosure on treatments.

Although the US ban on rubies from Myanmar has created a severe shortage in supply and kept ruby prices high, it has also opened the door for rubies from other locations. Thus buyers in the US and Europe are now more receptive to rubies from such places as Mozambique and Madagascar, whereas before it was the legend of the Burmese product that prevailed.

Boehm further relates how secondhand jewelry from estate sales becomes a primary source of material in times of tight supply. Sadly, he tells us, these often-vintage pieces usually become more plentiful during tight economic times.

To complement his knowledgeable narrative, Boehm also shows off some impressive gems in the video that follows. Among them is a 32 ct. Liddicoatite that Boehm says he would never sell. But you can view it up close here in the video. @chapter:28


Publication Year: 2015 Title: Large Faceted Hibonite Abstract: This 134.43 ct faceted hibonite is the largest examined by GIA to date. Photo by Robison McMurtry.

	The Carlsbad laboratory recently examined an unusually large 134.43 ct opaque, very dark brown faceted hibonite (see above image). Standard gemological testing gave spot RI values of 1.79 to 1.81 and a hydrostatic SG of 3.81. Hibonite, which crystallizes in the hexagonal system, has published RI values of 1.790 to 1.807, but we were unable to observe birefringence, probably due to its opacity and these values’ proximity to the limits of the refractometer. The stone showed a high luster and was inert to long-wave and short-wave UV. Testing with a Geiger counter showed it was slightly radioactive. All of these features are consistent with hibonite, yet more advanced testing was needed for a positive identification of this unusual material.

	Raman spectroscopy gave a spectrum consistent with hibonite. Laser ablation–inductively coupled plasma–mass spectrometry (LA-ICP-MS) analysis revealed large amounts of Mg, Ca, Al, Ti, and Fe; small amounts of Na, Si, Sr, La, and Ce; and traces of numerous other elements, including the radioactive elements thorium (62.62–122.60 ppma) and uranium (0.12–0.56 ppma). The presence of these elements caused the mineral to react to the Geiger counter. The thorium and REE content is consistent with samples from Madagascar (M.A.F. Rakotondrazafy et al., “Mode of formation of hibonite (CaAl12O19) within the U-Th skarns from the granulites of S-E Madagascar,” Contributions to Mineralogy and Petrology, Vol. 123, No. 2, 1996, pp. 190–201).

	Microscopic examination revealed one deep green mineral inclusion breaking the surface of the table. Its Raman spectrum was consistent with spinel, a known associated mineral of hibonite. LA-ICP-MS analysis showed it was an iron-rich spinel within the hercynite(FeAl2O4)-spinel (MgAl2O4) series, with almost one-third of the magnesium substituted by iron. Although difficult to see internally, other whitish mineral inclusions were visible, as well as an extensive fracture and cleavage network.

	Orangy brown, transparent, and well-formed hexagonal crystals of gem-quality hibonite have been reported from Myanmar (T. Hainschwang et al., “Hibonite: A new gem mineral,” Summer 2010 G&G, pp. 135–138; Summer 2012 Lab Notes, p. 136). Although not gem quality, the stone’s size makes it a rare collector’s mineral as well as the largest hibonite GIA has identified to date. @chapter:5


Publication Year: 2019 Title: Native Copper Inclusions in Indonesian Purple Chalcedony Abstract: This purple chalcedony from Indonesia contained interesting inclusions of native copper. Photomicrograph by Nathan Renfro; field of view 5.74 mm.

As a gem material, chalcedony can contain an array of interesting structures and mineral inclusions. This was particularly evident in one example recently examined by the authors. Purchased by author SC from gemstone dealer John Garsow (John E. Garsow Gems & Minerals, Murrieta, California), this vibrant purple chalcedony reportedly from Indonesia contained several small clusters of what appeared to be native copper (see above). This suspicion was confirmed by energy-dispersive X-ray fluorescence (EDXRF) testing. While the origin of the purple color is not clear, it certainly does not appear to be related to copper. In purple areas that were devoid of copper inclusions, no copper was detected by EDXRF. We did detect iron, which may be related to the purple color.
While native copper inclusions have been previously reported in chalcedony (B.M. Laurs and N.D. Renfro, “Chrysocolla chalcedony with native copper inclusions,” Journal of Gemmology, Vol. 36, No. 2, 2018, p. 92), this is the first time the authors have examined purple chalcedony from Indonesia with native copper inclusions. @chapter:4


Publication Year: - Title: Books: Gemstones of the World Abstract: By Walter Schumann, 272 pp., hardcover, illus., publ. by Sterling Publishing, New York, NY, 2013. US$24.95

                      First published in English in 1976, Walter Schumann’s Gemstones of the World has served as a handy reference guide to gemologists of any level. The most recent fifth edition is no exception.

The text begins with a brief mineralogical and gemological study, focusing on such topics as basic crystallography and crystal systems, hardness, refractive index, and other pertinent features of gem materials. Schumann largely focuses on minerals but does give proper descriptions of organic and synthetic materials as well. These first few sections serve as an excellent introduction to, or refresher on, many of the basic concepts that help make identification easier. The text is easily comprehensible to those at least somewhat familiar with the science of gemology, and it does a reasonably good job explaining the concepts for a novice. For someone completely new to the science, the jargon may be difficult, although Schumann attempts to bypass this issue by providing a brief list at the beginning of the book of terminology that may be unfamiliar.

Schumann devotes the most space, logically, to the most well-known and economically significant gemstones, such as diamond, sapphire, ruby, and emerald. Lesser-known and rare gems are not neglected, however, and he has compiled a fairly exhaustive list of gemstones, complete with color, hardness, density, refractive index, crystal system, and chemical composition.

At first glance, it would appear that little has changed since the fourth edition in 2009, and indeed most of the easy reference and good basic information is the same. Even the photographs, while very colorful and helpful, remain unchanged and could benefit from some modernization. New to this recent edition is a chapter discussing the symbolic and supposed medicinal significance of different gem materials. The author does approach this subject as a scientist, which is to say with great skepticism, and makes clear numerous times that there is no real proof of gemstones’ effectiveness in easing ailments beyond a well-intentioned placebo effect. It is a brief, interesting look at the historical and current importance of gemstones within a more mystical or homeopathic context, but probably not worth the price of repurchase.

This being the fifth edition, one would expect errors to be essentially nonexistent. Unfortunately, there were a few instances of misspelled gemstones (some of the charts refer to “peridote” rather than “peridot”) and grammatical errors. The brief description of diffusion treatment in corundum is not correct. He vaguely describes the treatment as creating a thin metal layer on the stone, similar to a foil backing. Although diffusion treatment commonly utilizes titanium, a metallic element, the connection between his description and actual diffusion treatment stops here. Additionally, unlike the other treatments he mentions, no detection method for diffusion treated corundum is given. Still, it should be noted that these errors are few and far between, and the book can still be used for referencing and basic information without trouble.

Gemstones of the World is a conveniently sized and organized reference book for both the casual and serious gemologist. Because it is fairly compact, it would be easy to take on field trips for use as a handy guide. The comprehensive listing of gem materials that includes many of the most important identifying features makes it useful for identifying both common and unusual gemstones. For those who already own the previous edition, there might not be much to gain from this latest version. For a first-time buyer, though, it would be a wise investment. @chapter:6


Publication Year: 2022 Title: Star Topaz from Vietnam Abstract: Figure 1. The 271.76 ct topaz was very light blue and transparent under daylight (A). Directing the flashlight as reflected light on the dome caused an eight-rayed star effect. Because of the wide light zone, the ray extending along the stone was blurred when the light was directed at the dome (B) and became more defined as the stone was moved (C and D). Photos by Le Ngoc Nang.
In addition to ruby, sapphire, spinel, tourmaline, garnet, and aquamarine, Vietnam is a source of topaz, discovered in many mining areas of several northern and Central Highlands provinces. These crystals are mainly colorless or very light to light blue. In 2020, we purchased a star topaz, reported to be from Lam Dong, Vietnam (figure 1). It was cut and sold by a gem setter in Ho Chi Minh City.
This transparent oval cabochon weighed 271.76 ct and measured 43.98 × 32.16 mm and 19.12 mm high. Observed with the unaided eye under a spotlight, it had a visible eight-rayed star effect. Testing at Liu Gemological Research and Application Center revealed the following standard gemological properties: refractive index—1.620–1.627 (measured on the flat polished bottom); hydrostatic specific gravity—3.56; biaxial optic figure under the polariscope; inert to long- and short-wave UV radiation; very weak pleochroism (colorless to light blue); and two-phase inclusions and needle-like inclusions. These characteristics confirmed a natural topaz.
We directed a flashlight as reflected light on the top of the stone, keeping the background dark to accentuate the phenomenon. An eight-rayed asterism appeared, caused by a strong band of light that extended along the length of the stone. This band of light formed the two main arms of the star. Six sharper arms extended from the main band. These six arms were formed by three bands—one perpendicular to the main light band and the other two inclined to it. Depending on the stone’s orientation, the arms of the inclined light bands were split into two parts or crossed the intersection of the main light band and the light band perpendicular to it. Each pair of inclined arms formed an angle of ~98° (i.e., the single light band was inclined at ~49° to the main light band). The length and width of the rays changed when we directed the light at different angles (figure 1).

	Star Topaz from Vietnam

Figure 2. Needle-like inclusions arranged in four directions, viewed here from the top of the stone, created the asterism effect in the Vietnam topaz. Photomicrograph by Le Ngoc Nang.
Under the microscope, we recorded white needle-like inclusions but could not identify them. They were oriented in four directions, and this was responsible for the eight-rayed star effect. These inclusions did not form long needles but slightly elongated dashes that were unevenly distributed in the stone (figure 2). This uneven distribution of inclusions explains why some rays became blurred or vanished while others were continuous and sharp.

Figure 3. Bravais lattice with base-centered orthorhombic system (left). On the
(001) plane, the needle-like inclusions aligned in four directions to form an
eight-rayed asterism (right).
Topaz has been documented to have chatoyancy, four-rayed asterism (Spring 2007 GNI, p. 73; Summer 2008 GNI, pp. 182–183), and six-rayed asterism (M. Steinbach, Asterism—Gems with a Star, MPS Publishing and Media, Idar-Oberstein, Germany, 2016). However, there have been no reports of topaz with eight-rayed asterism. The orthorhombic system has four Bravais lattices: primitive, base-centered, body-centered, and face-centered. When the topaz crystal has a base-centered lattice, the needle-like inclusion will align to four directions on the (001) plane: two perpendicular directions of a and b, and two diagonal directions intersected at the center of the top and bottom faces of the lattice. These directions are perpendicular to the c-axis (figure 3). When the light reflects off these inclusions, an eight-rayed asterism will appear. A typical example of an orthorhombic mineral with an eight-rayed asterism was bronzite, introduced by Steinbach (2016). Nevertheless, this eight-rayed star topaz was a rare and intriguing case. @chapter:4


Publication Year: 2000 Title: Sapphires from Antsiranana Province, Northern Madagascar Abstract: Since 1996, large quantities of yellow to blue sapphires have been recovered from alluvial deposits derived from basaltic rocks in northern Madagascar. The crystal morphology, internal growth patterns, mineral inclusions, absorption spectra, and trace-element contents of these northern Madagascar sapphires are typical of “basaltic-magmatic” sapphires. Comparison of the properties of these sapphires to those of sapphires from different basaltic sources reveals no significant differences. The northern Madagascar sapphires are distinct from those from Andranondambo, a skarn-related deposit in southeastern Madagascar. @chapter:5


Publication Year: 2022 Title: Unusual Repair of a Natural Emerald Abstract: Figure 1. Examination of this 5.24 ct clarity-enhanced emerald revealed unusual repair work. Photo by Iurii Gaievskyi.
A 5.24 ct bluish green emerald (figure 1) was presented to the State Gemmological Centre of Ukraine for identification and determination of the presence of treatment. The client reported that this stone was mined in Colombia. The stone exhibited a refractive index of 1.566–1.571, birefringence of 0.005, hydrostatic specific gravity of 2.67, moderate pleochroism with bluish green to green colors, and a very weak pink fluorescence to long-wave and short-wave UV. Qualitative analysis using EDXRF spectroscopy showed major amounts of vanadium, chromium, and iron and minor amounts of gallium.
Magnification with a gemological microscope revealed an abundance of fluid growth tubes, as well as two-phase and three-phase inclusions. Thick masses of gray matter were revealed inside the cracks of the emerald. Infrared spectroscopy (FTIR) was subsequently performed to analyze this gray substance. Epoxy resin peaks at 3060, 3035, 3000, 2964, 2932, and 2871 cm–1 confirmed an epoxy resin treatment (M.L. Johnson et al., “On the identification of various emerald filling substances,” Summer 1999 G&G, pp. 82–107).

Figure 2. DiamondView imaging of a patch applied to a corner of the emerald. Image by Iurii Gaievskyi.

Figure 3. The clear, even border between the patch and the emerald, shown in daylight. Photomicrograph by Iurii Gaievskyi; field of view 4.0 mm.
DiamondView imaging clearly revealed the epoxy resin filler within the fissures as a series of blue lines extending over the entire surface against the emerald’s red-fluorescing bodycolor (apparently due to the presence of the Cr3+ impurity). Additionally, careful examination from all sides of the stone revealed a patch in one of the corners. This patch was covered with rounded pits and glowed strong blue in the DiamondView (figure 2). In daylight, there was a clear, even border between the patch and the emerald (figure 3). EDXRF analysis showed additional admixtures of potassium and calcium on the side of the patch. All of these properties suggest that glass was the raw material for this patch, which was presumably used to conceal a damaged part of the cut emerald. This kind of repair is extremely unusual for cut stones. @chapter:9


Publication Year: - Title: Sri Lanka: From Mine to Market, Part 2 Abstract: Traditional Manufacturing22K Gold Jewelry

As with gemstone cutting, jewelry manufacturing methods in Sri Lanka range from traditional to modern. We visited small workshops that were mainly involved in hand fabrication of 22K gold jewelry. Jewelers sat on the floor and created pieces by hand sawing, bending with pliers, soldering with handheld gas torches or even blowpipes, and hammering. Often they worked shirtless due to the daytime heat combined with the heat from the torches.

	Modern Factory

This was in contrast to the modern factories we visited, where jewelers worked at modern benches with a greater variety of hand tools and also used wax carving, mold making, and casting. Their designs were created with CAD/CAM. The mass-production capacity and consistent weight of these pieces gives the modern factories an advantage in keeping costs down for the popular 22K gold jewelry market. They also had greater capacity to produce other karat-gold alloys, as well as white gold and platinum, and to create more contemporary designs.

	Retail
A good portion of the Sri Lankan retail market is tied to 22K gold jewelry for weddings and special occasions, investment, and the pawn industry. It's the traditional choice for brides, and virtually no wedding in Sri Lanka happens without it. Heavier jewelry pieces are preferred because most of their value lies in the gold commodity value, which can be regained when the jewelry is sold or, more likely, pawned.

Another important aspect of the Sri Lankan retail industry is the use of 22K gold jewelry as an investment. The pawn business is tied directly to the jewelry industry. Sri Lankans place a percentage of their personal wealth in 22K gold jewelry, to be pawned in times of cash shortage. They have traditionally used crystal and cubic zirconia to add sparkle and color to their jewelry, since nearly all of the loan value comes from the intrinsic value of the gold. Even major banks there have substantial portions of their portfolios invested in the pawning of gold jewelry.

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	Sri Lankan Jewelry
While the 22K gold jewelry industry remains very strong, new generations of consumers are expanding their tastes and purchases. They are looking for lighter pieces and less-traditional designs and buying more for fashion than investment or religious purposes. They are also buying jewelry made with different types of karat gold, including white gold. Younger and wealthier, well-traveled consumers are showing more interest in diamonds and natural colored stones. Colored stone jewelry based on astrology can also have a strong appeal.

	Inside the Retail Industry

	Colombo
After an early-morning arrival in Colombo, we visited the offices of Sapphire Capital Group, where we saw Sri Lankan dealers acting as agents and consultants for a foreign buyer. Numerous local dealers brought in their stones and offered them for sale. Sapphire Capital Group guarantees the material to be as represented.

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	Cutting Experience and Skill in Colombo
We also documented two experts cutting and polishing blue sapphire, purple star sapphire, and cat’s-eye chrysoberyl. Some recutting was done to improve proportions, symmetry, and polish, to close windows and improve color, and to improve phenomena such as stars and cat’s-eyes.

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	Precision Lapidaries
The next day, we visited Precision Lapidaries of Colombo and interviewed managing director Faiq Rehan. There we witnessed precision calibrating, following very high standards for proportions, calibration tolerance, symmetry, and polish. Mr. Rehan explained his philosophy of putting quality and customer service first, with precise inventory and grading documents.

“I do not have inventory that sits around," Mr. Rehan said. "My inventory is not like the standard commercial material on the market, and it goes quickly to a growing niche market.”

	Sea Street Retail

After touring the surrounding mining areas, we returned to Colombo to document 22K gold jewelry manufacturing at Sujitha Traditional Jewellery Workshop on Sea Street. We also visited leading retailers Wellawatta Nithyakalyani Jewellery and Devi Jewellers, where we interviewed each company's director. We also interviewed other industry leaders and visited Wellawatta Nithyakalyani’s modern jewelry manufacturing facility. At the Wellawatta retail store, we were able to photograph a Sri Lankan model wearing jewelry in a variety of traditional and modern styles.

	Retail Leader Interview

	Beruwala
The gem trading area of Beruwala is also known as China Fort, named after Chinese traders who settled there about 300 years ago. We visited the morning gem market, which actually lasted through mid-afternoon. The market was very busy, with dealers crowding the street over a two-block area. We were told that up to 5,000 dealers might be in the street and offices at any one time. This open market is not associated with any particular mining area but has material from the various mining areas of Sri Lanka.

Beruwala’s street market was full of trading activity. Photo by Andrew Lucas/GIA.
Most of the trade we witnessed was between Sri Lankan dealers, but there were also some foreign buyers. Dealing took place in the street as well as in the offices. Many foreign buyers utilized Sri Lankan dealers as their local contacts, advisors, and negotiators. While observing the dealing, we also visited traditional cutters, a heat-treatment facility, and a local gemological laboratory.

This traditional cutter, just off the busy street market in Beruwala, shared an enormous amount of knowledge with us about orienting sapphire rough. Photo by Andrew Lucas/GIA.

	Ratnapura

Many of the gems for sale in the Ratnapura open-air gem market were sapphires from nearby mining operations. Photo by Andrew Lucas/GIA.
At Ratnapura, which is Sinhalese for “city of gems,” the street market was crowded like the Beruwala market but covered a wider area. The streets were often crowded with dealers. There were also numerous offices, traditional cutting shops and burners. Again, most of the transactions involved Sri Lankan dealers selling to each other, but there were also foreign dealers buying, many with local dealers advising them. As in Beruwala, material found in the street market would often be brought to a dealer in an office. Most of the goods being offered were rough sapphires, but we also saw cut sapphires and a wide variety of rough and cut colored gemstones, including cat’s-eye chrysoberyl and alexandrite.

	The City of Gems

After leaving town, it was easy to find small-scale traditional pit-mining operations in the area around Ratnapura. All of the mines we visited were pit-mining operations that used traditional methods of digging the gravels and tossing up the buckets or hoisting them with a hand-powered winch.

	Ratnapura Mines

	Balangoda
Balangoda was especially valuable for documenting the Sri Lankan mining industry. In one day, we were able to visit traditional pit mines, mechanized mines, and river mines and interview experts involved with each process. We also had the opportunity to see a couple of processing operations that used sluices based on Australian designs.

Mechanized mining is rare in Sri Lanka, but at Balangoda our contacts were able to take us to three sites. Photo by Andrew Lucas/GIA.
At Balangoda, we  saw how water both helps and hinders mining operations. At one of the mechanized open-pit operations, the water supply had become so saturated with mud that it could not be used to wash the gravel in the sluice. The miners were using backhoes to remove the mud while the gravel was transported to another washing area. At another relatively large mechanized operation, the open pit had partially filled with rainwater that had to be pumped out before mining could continue.

We also visited a pit mine that used only manual labor, located right next to a mechanized operation. Both were in full production. Later, we went to a traditional pit-mining operation where the rainwater had just been pumped out and they were starting to remove the illam. At one of the mechanized open-pit operations, they also washed the overburden, as both the overburden and the illam were fairly rich in gemstones.

	Mining in Balangoda

The highlight of the Balangoda mining area was a visit to a river mining operation right next to a picturesque tea plantation. Seven miners worked the deposit. They had chosen an area where the water slowed and built a dam to help trap the gravels. They scooped out the overburden gravel until they reached the illam, which they loosened with long pointed steel rods. They dragged up the gem-bearing gravel so it could be washed by the rushing water and removed any visible gemstones. The remaining gravel was set aside for possible further washing. Besides sapphires and other gemstones, these miners were also finding gold.

At Balangoda, we were able to document all forms of traditional and modern mechanized mining conducted in Sri Lanka: digging in open pits and traditional pit shafts, the use of excavators and trucks to remove overburden and gem gravels in open-pit mechanized mines, mechanical sluices, hand-washing gravel and traditional river mining.

Most of Balangoda’s mines were muddy pits worked by hand. Photo by Andrew Lucas/GIA.

	Elahera
The last famous Sri Lankan mining area we visited was Elahera, where we saw mechanized and traditional pit mining. One of these mechanized operations also had a problem with the water supply becoming too muddy for their sluice, so they were trucking gravel to another washing area. There we watched gem gravels being washed and the sluice being opened up to examine the yield.

The next stop in Elahera was an open-pit operation using traditional mining methods. A worker at the bottom of the pit removed overburden and gravel with a scraper and placed it in a basket held by another miner. With almost perfect coordination, the basket filled with mud and gravel was tossed up to a chain of three miners, each one a bit higher up, until the basket was emptied and placed in a pile at the top of the pit. As the mud- and gravel-filled basket was tossed to the top, an empty basket was thrown back to the bottom of the pit in what looked like a professional juggling act.

	Elahera Mining

One of the surprising aspects of Sri Lanka is that you come across traditional pit mines just driving down the roads. The mine where we witnessed the acrobatic tossing of baskets was alongside a paved road, as was another shallow pit operation we found by accident right in front of a home and farm. At this shallow pit operation, the overburden was removed quickly and they were just starting to reach the illam and dig horizontally from the pit to remove the gem-bearing gravels. This was a traditional mining operation: All the work was done with hand tools and the gravel was removed in baskets on the miners’ shoulders.

At this open-pit mine in Elahera, mud was constantly being scooped up, placed in baskets, and tossed up the pit. Photo by Andrew Lucas/GIA.

	Summary
After extensive observations and interviews covering all sectors of the Sri Lankan gem and jewelry industry, we were able to obtain a clear picture of this dynamic market. While Sri Lanka struggled to regain its status in the global market from the 1970s through the 1990s, the last decade has been very encouraging. With more trade-friendly policies, they have become competitive in the global market for rough sapphire and other colored gemstones from around the world. Domestic mining activity has increased with renewed interest and higher prices sparked by China and other new markets.

The Sri Lankan industry combines traditional cutting experience with modern skills to suit all market sectors, and its trading models incorporate decades of relationships and experience into strategies for today's markets. Jewelry manufacturing, though focused primarily on 22K gold jewelry for the domestic market, is moving to different styles to suit new consumers. The Sri Lankan retail industry hopes to continue the traditionally strong 22K gold jewelry business for weddings, special occasions, and investment as it cultivates the newer generations’ taste for gemstone, karat gold, and platinum jewelry, as well as diamond and colored gemstone jewelry. All in all, this is an industry that honors tradition while also showing strong potential for future growth.

Left to right: Andrew Lucas, Shamil Sammoon, and Pedro Padua, shown in Ratnapura, visited mining areas during an enlightening and unforgettable trip. Shamil tirelessly escorted the team to mining areas and around this incredible island, sharing his expertise and decades of family experience.

	More to Come
These field reports will be followed by a more in-depth Gems & Gemology article with further reporting on our findings from the Sri Lanka expedition. We will also continue working closely with the Sri Lankan industry to provide updates on this dynamic industry and its importance to the global markets. @chapter:26


Publication Year: - Title: Gem Lovers Converge on Tucson 2016 for Treasures, Reunions Abstract: GIA Alumni Association members from around the world meet up in at the dinner, dance and auction in Tucson. From left, Pedro Fernandez Molina, a jewelry designer from Spain; Debi Flores, global alumni relations coordinator for GIA; Kate Donovan, global alumni relations manager for GIA; Andrea Neves Bento, president of the Spain chapter; and Gabrielle Mattice, from Pala International.

	Dealers, designers, buyers and other attendees converge in Tucson in early February each year to share their passion for gems, minerals and jewelry – and reconnect with colleagues and friends from around the world. From the AGTA GemFair at the convention center to hotel rooms and tent cities spread across the desert, an extensive array of gem and mineral fairs take over the area. Gem lovers take advantage of the many opportunities to peruse tables of treasures and get an up-close look at old favorites and new discoveries.

	The compass pointed north this year for the GIA Alumni Association’s “Party at the Gem Mine: Artic Blast” dinner dance and auction, which has become the best destination in Tucson to reunite with former classmates and friends in the industry. More than 350 guests from 17 countries (the U.S., Brazil, Canada, Columbia, China, Japan, Spain, Portugal, Malta, Italy, South Africa, England, Thailand and more) attended the artic-themed event. Guests mingled amongst polar bear and igloo decorations − and signposts of artic mines − as a video highlighting alumni chapters activities from around the world played in the background.

	Beyond catching up with old friends, this alumni event is an opportunity to support the Alumni Endowment Fund. This year’s event raised more than $25,000, which includes more than $14,000 from the silent and live auctions. Seventy items, including loose gemstones and pearls, designer jewelry, mineral specimen, equipment, books and more, were available to bid on. Joseph DuMouchelle and Lindy Adducci, of DuMouchelle Auctions, volunteered their professional services – for the 15th year – to run the exciting live auction.

	“A special thank you to all our auction contributors, supporters, event volunteers and attendees,” said Kate Donovan, manager of alumni relations. “And save the date for next year’s bash – Friday, Feb. 3, 2017. We are already accepting donations!”

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	GIA Alumni Association chapter leaders and senior GIA executives also gathered in Tucson for a leadership forum to discuss chapter ideas, challenges, policy and plans. This annual event makes it possible for attendees to share and coordinate ideas and enhance relationships between chapters for the overall benefit of the alumni association.

	Forty-three alumni leaders from 21 chapters (the U.S., Canada, Mexico, Sri Lanka, Spain and Portugal) attended, along with GIA executives Susan Jacques, president and CEO; Bev Hori, senior vice president of education and Chief Learning Officer; Anna Martin, senior vice president of global development; and Stephen Morisseau, director of corporate communications.

	Starla Turner, a longtime alumni leadership council member and immediate past-president of CA – Golden Gate chapter, lead a spirited chapter-to-chapter peer discussion session to share meeting topic ideas and how to engage more alumni with local chapters.

Susan Jacques and other GIA executives meet with alumni chapter leaders from around the globe at the Alumni Chapter Leadership Forum in Tucson.

	GIA Displays

	The GIA Museum and the Richard T. Liddicoat Library and Information Center had exhibits during the gem shows.

	GIA’s museum AGTA exhibit “Striking Gold!” featured a number of transparent yellow gem species and varieties on the market, including sapphire, citrine, topaz and more unusual, collector gem minerals. The museum also created a display for the Tucson Gem and Mineral Show (TGMS) to reflect the annual theme, “Shades of Blue: Minerals of the World.” It featured rough and cut stones, jewelry and carved objet d’art and won the award for Best in Show.

	The library’s TGMS display, “Providing Access in a Digital World” gave visitors insight into the library’s recent digitization project, begun in 2015. The library staff is working on an extensive project to make many of its rare and historically significant books available online to the public. @chapter:34


Publication Year: 1984 Title: Natural Rubies with Glass-Filled Cavities Abstract: During recent months, natural rubies with surface cavities filled with glass-like substances that may influence both the appearance and weight of the faceted stone were examined by gemological laboratories in Thailand and England and by GIA's Gem Trade Laboratories in both New York and Los Angeles. This article reports on the examination and analysis of 15 natural rubies with notable glass-filled cavities and simple methods for identifying the presence of such filled areas. In most cases the cavities were readily detected by their distinctive luster and other visual characteristics. X-ray diffraction and chemical analysis indicated that the filler was indeed a glass; it was probably added in conjunction with heat treatment. @chapter:8


Publication Year: 2017 Title: Update on Dyed Hydrophane Opal Abstract: Figure 1. These two opals (21.75 and 15.12 ct) were represented as natural-color blue and pink opal from Mexico. Photo by Robison McMurtry.

Dyed purple opals first appeared in the gem trade in 2011 (N. Renfro and S.F. McClure, “Dyed purple hydrophane opal,” Winter 2011 G&G, pp. 260–270). Recently, the authors became aware of similar material with vibrant blue and pink bodycolors (figure 1). From 2015 to 2017, a jewelry designer reportedly purchased over 500 carats of vivid pink and blue opals from a dealer she met at a small regional gem show in California. The dealer did not disclose that the material was dyed and claimed that these intense colors were from a new opal discovery in Mexico. This kind of misrepresentation could damage consumer confidence in all opals.

In July 2017, author EB received the two opals in figure 1 for examination. After determining that they were likely color treated, he sent both samples to GIA’s Carlsbad lab for further testing. With permission from the owner, each opal was cut in half to obtain a control sample and a test sample. The test samples (one blue and one pink) were soaked in acetone and hydrogen peroxide solutions to determine if their colors were stable. These two opals were carefully examined and, like the dyed purple material from 2011, were consistent with hydrophane opal from Ethiopia that had been dyed. Both stones displayed a “digit pattern” play of color (B. Rondeau et al., “On the origin of digit patterns in gem opal,” Fall 2013 G&G, pp. 138–146). They also showed small spots of saturated color at the surface, consistent with dye (figure 2).

Figure 2. Both the blue and pink opal showed dye color concentrations around pits and scratches on the surface, consistent with hydrophane opal that has been artificially dyed. Photomicrographs by Nathan Renfro; fields of view 2.34 mm (left) and 1.99 mm (right).
Both stones were soaked in acetone to collect some of the dye material for color spectroscopic analysis. The acetone with residual dye was measured and artificially concentrated by a factor of 20 by multiplying the very low absorption values measured. The measurements produced a spectrum consistent with an organic dye, characterized by broad band absorption features in both the pink and blue samples (figure 3). The absorption measurements were then converted to transmission spectra using GRAMS/AI spectroscopy software by Thermo Fisher Scientific. Color space coordinates were calculated from the transmission spectra and plotted as a color swatch. The hues produced were consistent with the bodycolor of each opal, confirming that the spectra represent the organic dye component (figure 3, inset).

Figure 3. The absorption spectra of the dyes were collected by first soaking the opals in acetone to remove some of the dye material. Color swatches were then calculated from measurements of the dye molecules suspended in acetone to produce the color swatches for reference (inset). These swatches were consistent with the observed bodycolor of each opal.

Figure 4. The blue and pink opals were confirmed to be dyed hydrophane opal, likely from Ethiopia. Half of each stone has been bleached using 3% hydrogen peroxide solution. Photo by Robison McMurtry.
The two samples were further tested to see if they could be restored to their original non-dyed state. As reported by Renfro and McClure (2011), soaking dyed purple opal in a solution of hydrogen peroxide removed the purple color. These new pink and blue samples were sliced in half and one piece of each sample was soaked in 3% hydrogen peroxide for up to two weeks. Their color saturation was significantly reduced, with the blue half turning white and the saturated pink half becoming very light pink (figure 4). It is possible that more time in the solution would have further reduced the pink color. Note that even though the samples lost their color, the dye molecules were not removed. But the hydrogen peroxide had oxidatively decomposed the dye into different molecules that did not absorb visible light and therefore could no longer impart color on the opals. Soaking dyed stones in hydrogen peroxide may be an effective way to remove the observed color in dyed opals, returning them to their natural appearance. In our experience, however, there is a risk of cracking when any hydrophane opal is immersed in a liquid.

Acetone allowed the removal of enough dye for spectroscopic analysis, proving that the coloring agent is an organic dye. While soaking the opals in acetone did not seem to greatly affect their color, soaking them in a hydrogen peroxide solution for several weeks removed the artificial color almost entirely. Upon further examination, we determined that they were originally hydrophane opals with a white bodycolor, likely from Ethiopia, that were color treated using an organic dye. These findings reaffirm the importance of treatment disclosure in the trade. A few unscrupulous industry members could compromise the reputation of dealers selling natural opal as well as those properly disclosing treated material to their customers. @chapter:39


Publication Year: 2014 Title: Record Prices at Gem Auctions Abstract: ABSTRACT
Auction records kept breaking in late 2014 as the world’s ultra-wealthy buyers vied for rare, important gemstones. At Sotheby’s October 7 Hong Kong auction, an 8.41 ct GIA-graded Fancy Vivid purple-pink, Internally Flawless diamond (figure 1) drew a winning bid of $17,768,041 from a private buyer from Asia. It was the highest price ever paid for a Vivid pink diamond at auction. And at $2.1 million per carat, it came close to besting the all-time per-carat price achieved by a gemstone.

Figure 1. This 8.41 ct pear-shaped Fancy Vivid purple-pink diamond sold for more than $17.7 million at Sotheby’s Oct. 7 auction in Hong Kong. Photo courtesy of Sotheby’s.
On November 21 at Sotheby’s New York, a 9.75 ct Fancy Vivid blue diamond (figure 2) sold for $32,645,000, a new auction record total price for any blue diamond. At $3,348,205 per carat, it was also a new record price per carat for any diamond. The pear-shaped diamond went to a private collector in Hong Kong who named it the Zoe diamond.

Figure 2. This 9.75 ct Fancy Vivid blue diamond sold at Sotheby’s November 21 auction in New York for more than $32.6 million, a record total price for blue diamonds and a record per-carat price for any diamond. Photo courtesy of Sotheby’s. @chapter:38


Publication Year: 2024 Title: Rainbow Rays in Rainbow Lattice Sunstone Abstract: Figure 1. Parallel rays of golden, pink, and blue light were observed in this sample of rainbow lattice sunstone. Photomicrograph by Rosie Young; field of view 5.33 mm.

Figure 2. The changing direction of the rays is visible here when the stone is viewed through the same polished face but tilted to a slightly different orientation. Photomicrographs by Rosie Young; field of view 19.27 mm.
While examining a polished sample of Australian rainbow lattice sunstone, the author noticed a series of parallel “rays” illuminated with fiber-optic lighting (figure 1). These rays were initially considered some kind of internal structure within the feldspar. However, the orientation of the rays changed direction when the stone was tilted (figure 2). This indicated an optical effect whereby the fiber-optic light reflected off hematite inclusions and produced a ray of light corresponding to the color of the hematite platelet. This can be observed most easily in the upper right corner of figure 1. Extremely small particles within the sunstone likely allow the path of light to be visible, much like headlights shining through fog. @chapter:19


Publication Year: - Title: Winter 2009 Gem News International Abstract: Colored Stones and Organic Materials
            Benitoite: Update on Faceting and Jewelry Manufacturing
            Large Cat’s-Eye Beryl from India
            Emeralds Recovered Using New Techniques at the Kagem Mine, Zambia
            Yellow Grossular from Tanzania
            A Most Unusual Blister Pearl
            Myanmar Cultured Pearl Production and New Gem Localities
            Phenakite from Nigeria
            Update on Rubies from Mozambique
            Transparent, Bright Blue Sodalite from Afghanistan
            Pseudo-Chatoyancy and Pseudo-Asterism in Sphalerite from Spain
            Update on Cu-Bearing Tourmaline Mining in Mozambique
            New Find Of Pink-To-Red Tourmaline in Nigeria
Synthetics and Simulants
            Hydrothermal Synthetic Emerald Sold as Natural Rough from Russia
            High-RI Barium-Zirconium Glass Imitation of Peridot and Other Gems
            Silicon Inclusions in Black Synthetic Moissanite
            Dyed Sillimanite as an Emerald Imitation
Treatments
            Dyed Pink Alabaster
Conference Reports
            31st International Gemmological Conference
            2009 NAG Institute of Registered Valuers’ Conference

To view the full section, download the PDF above. @chapter:3


Publication Year: 2021 Title: Mignone Halls of Gems and Minerals Abstract: Figure 1. One of the two giant amethyst geodes displayed at the entrance of the Mineral Hall. This geode weighs 11,000 lbs. (5,000 kg). Photo by Augusto Castillo.

The American Museum of Natural History in New York City has reopened one of the most beloved spaces for gem enthusiasts with the unveiling of the Allison and Roberto Mignone Halls of Gems and Minerals on June 12, 2021. After a four-year closure, the 11,000-square-foot halls, which house more than 5,000 specimens sourced from 98 countries, have been completely redesigned and reinstalled to tell the intriguing story of how mineral diversity arose on our planet. This exciting public event reflects the reopening of New York City.
The American Museum of Natural History has a long-standing history with minerals and gems that dates back to its founding in 1869. In the 45 years since the previous iteration of the gem and mineral halls opened, the scientific fields of mineralogy and geology have advanced significantly, and the new design reflects these advancements. The halls were organized by Dr. George E. Harlow, curator of the Department of Earth and Planetary Sciences, to showcase to the public the current scientific understanding of gems and minerals, the geological conditions and processes by which they form, and introduce the relatively novel concept of mineral evolution.

Figure 2. The Singing Stone is a massive 7,200 lb. (3265 kg) block composed of the copper ore minerals azurite and malachite. Its name comes from the high-pitched sounds produced when the stone absorbed and released moisture from the air. The stone no longer sings now that it sits in a controlled environment. Photo by Augusto Castillo.
Mineral evolution, one of the central themes, seeks to explain how more than 5,500 mineral species came into existence when there were no minerals for hundreds of millions of years after the Big Bang. The new halls show how changing conditions on Earth allowed more chemically diverse minerals to arise. They highlight one of the most important changes, which is the evolution of life that filled the atmosphere with free oxygen, enabling colorful, highly oxidized minerals. These are the same colorful minerals we associate with the gemstones humans have used to decorate themselves for thousands of years.
The redesigned space no longer resembles a simulated subterranean mine, with the multi-leveled carpeted interior that the previous iteration was known for. Instead, an open-floor concept allows visitors to wander seamlessly between the different displays and exhibits. It has three main divisions: the Mineral Hall, the Gem Hall, and the Melissa and Keith Meister Gallery for temporary exhibitions.

Figure 3. A towering 14,500 lb. (6,577 kg) slab studded with giant garnets. The garnets formed more than 1 billion years ago, when the original rock transformed at pressure 8,000 times greater than atmospheric pressure and at about 1500°F (815°C). Photo by Augusto Castillo.
Entering the Mineral Hall, the visitor is welcomed by a pair of towering amethyst geodes that formed nearly 135 million years ago (figure 1). The scale and rich purple color of the massive geodes command attention and set the tone for the rest of the space. Behind the geodes, the center of the Mineral Hall contains mineral specimens organized by formation environment: igneous, pegmatitic, metamorphic, hydrothermal, and weathering. Highlights include the Singing Stone, a massive block composed of blue azurite and green malachite that was collected in 1891 from Bisbee, Arizona (figure 2), and a 14,500 lb. slab from upstate New York that is studded with garnets measuring up to one foot across (figure 3).

Figure 4. The 563 ct Star of India, the world’s largest gem-quality blue star sapphire. Photo by D. Finnin/©AMNH.
The west wall of the Mineral Hall has a running display dedicated to the systematic classification of minerals. The display contains 659 specimens arranged by chemical composition, increasing in complexity across the wall. An interactive periodic table that can be used to explore forming minerals stands at the center of the west wall. The four corners of the Mineral Hall explore the overarching scientific concepts of minerals, from their evolution and diversity to their properties and how they have been used by humans from prehistory to the present day. Adjacent to the gallery of minerals and light is the Gem Hall. It features a dazzling display of nearly 2,500 objects, including precious stones, carvings, and jewelry from the museum’s world-class collection. Highlights include the 563 ct Star of India (figure 4), the largest gem-quality star sapphire known, and the 632 ct Patricia emerald, the largest gem-quality emerald reported from the Chivor mine in Colombia (figure 5).

Figure 5. The 632 ct Patricia emerald, discovered in 1920 by a local miner, is the largest gem-quality emerald reported from the Chivor mine in Colombia. Photo by D. Finnin/©AMNH.
In addition, the Melissa and Keith Meister Gallery is a rotating exhibit gallery newly added to the Halls of Gems and Minerals. Beautiful Creatures, curated by jewelry historian Marion Fasel, features animal-themed jewelry created over the last 150 years. The exhibit included more than 100 jewels from the world’s great jewelry houses organized into three categories: land, water, and air. Its time frame coincides with the founding of the American Museum of Natural History in 1869 and explores the extraordinary diversity of the animal kingdom and the inspiration that it has provided for jewelry designers. Beautiful Creatures is on display through September 19, 2021. @chapter:7


Publication Year: 2006 Title: Summer 2006 G&G Book Reviews Abstract: “The Heartless Stone: A Journey through the World of Diamonds, Deceit and Desire”
By Tom Zoellner, 294 pp., publ. by St. Martin’s Press, New York, 2006. US$24.95

“Making the Most of Your Flex-shaft”
By Karen Christians, 96 pp., illus., publ. by MJSA/AJM Press and the Ganoksin Project, Providence, RI, 2006. US$34.95

“Charming: The Magic of Charm Jewelry”
By Deborah Alun-Jones and John Ayton, 112 pp., illus., publ. by Thames & Hudson Inc., New York, 2005. US$19.95

“Bedazzled: 5,000 Years of Jewelry”
By Sabine Albersmeier for The Walters Art Museum, 64 pp., illus., publ. by D. Giles Ltd., London, 2005. US$9.95

“Modernist Jewelry, 1930–1960: The Wearable Art Movement”
By Marbeth Schon, 227 pp., illus., publ. by Schiffer Publishing Ltd., Atglen, PA, 2004. US$69.95

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


Publication Year: 2023 Title: Octahedral Gahnospinel Crystal in Sri Lankan Blue Sapphire Abstract: A greenish blue octahedral crystal of gahnospinel found in Sri Lankan blue sapphire. Photomicrograph by Yusuke Takamura; field of view 3.81 mm.
Recently, the authors encountered a greenish blue octahedral crystal inclusion in a Sri Lankan blue sapphire (see above). Visual features, such as the greenish blue color and octahedral shape, and Raman spectroscopy identified the inclusion as gahnospinel, with the formula (Mg,Zn)Al2O4.
Gahnospinel inclusions in sapphire often suggest a Sri Lankan origin (A.C. Palke et al., “Geographic origin determination of blue sapphire,” Winter 2019 G&G, pp. 536–579). In addition, gahnospinel inclusions with euhedral crystal shape have been reported previously (E.J. Gübelin and J.I. Koivula, Photoatlas of Inclusions in Gemstones, Volume 3, Opinio Verlag, Basel, Switzerland, 2008). This crystal, however, shows large and beautiful octahedral features. @chapter:19


Publication Year: - Title: 10 Vivid Gems Bring Fall Colors to Life Abstract: View Gallery

Color – the first of the 4Cs – is perhaps the most described characteristic in gems. From bright blues and steely greys to rich browns and fiery reds, gems come in many colors. The Pantone Color Institute, an arbiter of color for designers and fashionistas, selected 10 favorites for its fall 2013 color report. With exotic names like Acai, Samba and Mykonos Blue, these trendy colors are expected to dominate the fall season.

	But we think they look best in gems.

	The photo gallery above brings Pantone’s fall colors to life with gems that represent each shade. Explore vibrant pink sapphire, tourmaline the color of ocean waters and the 2013 color of the year: emerald. @chapter:25