By Edwin W Streeter
George Bell & Sons
1884
Edwin W Streeter writes:
Many pages have been written on the history of precious stones. Authorities on authorities, from remote antiquity to this our day, have been cited as to their value, their uses, their beauties, and their properties, but still one might venture to say that there are fewer judges of the genuineness and real value of precious stones than there are treatises to guide people to such knowledge. Would it be altogether unwarrantable to express a grave doubt whether even in the trade there are very many skilled in detecting the real measure of difference between one stone and another, either by that most essential test, the specific gravity, or by minor tests of a more trivial character? Be this as it may, I have arrived at the deliberate conviction, as a merchant and dealer long versed in the purchase and sale of gems, that some practical and popular guide to those who have an interest in ascertaining and testing the genuineness and value of precious stones, is urgently needed, and cannot fail to be generally useful.
As an illustration of the difficulties of the subject, it may be stated that Professor Church, in a lecture delivered the Society of Arts on April 6th, 1881, pointed out a number of errors in the identification of a collection of precious stones which had been exhibited for years at the South Kensington Museum, although the official description of these stones had been confided to a well-known professor of mineralogy and expert in gems.
In the division of family jewels much injustice is often done by persons incompetent to form a correct opinion of their relative values. A study of this handbook may serve to demonstrate the difficulty of an accurate discrimination. In all cases it would be wise to submit the jewels to a practiced judge, whether for valuation or for probate. It is not right to leave the decision to some house agent or mutual friend.
A lady had bequeathed to her some family jewels, consisting of a sapphire and diamond suite. As they had passed probate several times, there was no doubt in the mind of the legatee of the genuineness of the sapphires. On being applied to in relation to their value, I had to pronounce the sapphires to be only paste. Had they been genuine they would have realized from 30000 pounds to 40000 pounds.
One often sees the spinel and the balas—the one a lively poppy red, and the other a violet rose—usurping the dignity of the true ruby; and yet the pure ruby of ten carats is worth from 3800 pounds to 4800 pounds, while the other stones, called by the same name, would be dear at one hundred pounds.
A gem should be a real possession, capable of affording pleasure to the wearer and the spectator, and, with fair usage, retaining an intrinsic and marketable value, undiminished by the lapse of time. I have sometimes seen in wear gems so scratched that their luster has been seriously impaired, and a suspicion was thus excited in the minds of wearers, friends, and dealers, that there was a defect in the hardness of the stones, and consequently in their in genuineness. It may be worth while to point out that a small sum expended in repolishing such stones would restore their original luster, revive the pleasure derived from the possession of them, and prevent the risk of their being sold as paste or imitation jewelry.
The value of precious stones must vary to some extent with the caprice of fashion—a gem which at one period stands high in public favor being at another time less eagerly sought after. Thus the chrysolite of the ancients, though highly esteemed by them, has not retained its popular character.
It is quite pardonable, and of small consequence, that the characteristic of the less valuable gemstones should be comparatively unknown; but there are precious stones about which there should be no doubt in the mind either of the purchaser or the merchant, viz., the diamond, ruby, emerald, sapphire, opal, cat’s eye, alexandrite, and pearl.
In other matters the distinction between a genuine and fictitious material is generally well understood, and fastidiously recognized. A lady refuses to wear a gown composed of an inferior fabric, intended to represent silk, because of its color, texture, and draping indicate, to every experienced eye, the substitution of the false for the real; but she often seems to ignore the fact that the color, the brilliancy, and the texture of a true gem, are as distinguishable from those of the false or mere imitation, as the cotton is from the silk. We presume to believe that in the case of the gown, which in a few nights wear altogether loses its worth, the genuineness of the material is of far less consequence than it is in the case of gems, which should be heirlooms of value, not much deteriorated by the lapse of years.
In determining the value of gems, it should be borne in mind that a perfect stone is rarely met with; and that probably, not even ten percent of the stones which are brought into commerce are really of fine quality. In the mineral kingdom, as in other department of nature, perfection is almost unknown.
Much study and attention will be required to attain a knowledge of the properties and appearance of gems, but the subject is by no means unattractive, and may be turned to good account.
With objects such as those referred to above, I am publishing the present volume, the outcome of more than thirty seven years’ experience , and of the united knowledge of many men of science, and of my contemporaries in trade. I hope that it may be of some service to us as merchants, and to the public in general.
It must be borne in mind that this book is not intended to be a strictly scientific treatise, but rather a practical work for those who, whether in the trade or among the public at large, desire to obtain some knowledge of the general characteristics of precious stones and gems.
In conclusion, I trust that the Goldsmiths’ Company, as fathers of the trade, will ere long throw open their fine suite of rooms in Foster Lane, and will not only establish a comprehensive library of books bearing on the study of jewelry, but by giving gratuitous lectures on precious stones and precious metals will offer that aid to the younger members of our trade which is necessary for a proper understanding of their daily business. To this company we must also look for aids to the more general appreciation of fine art jewelry, by affording favorable opportunities for exhibitions, and by awarding prizes, similar to those offered by the Turner’ Company. This would give an impetus to study to those engaged in jewelry work, and would enable the public to obtain a more accurate knowledge of and to take a deeper interest in a subject which has hitherto remained the property of the exclusive few.
The legacies bequeathed to the Goldsmiths’ Company by the famous goldsmiths and jewelers of the 15th,16th, and 17th centuries, which have since increased in value to an extent almost inconceivable, without doubt were intended for some such purposes as those to which I have referred. I find that so early as 1415, a celebrated goldsmith, Sir Drugo Barentine, who was Lord Mayor of London in 1398, and again in 1408, gave faire lands to this Company.
For the subject matter which forms the basis of this volume, I am in an especial manner indebted to the work of Professor Kluge, translated by Mrs Brewer; and I have also to acknowledge my obligations to Major F B Beaumont, Mr James A Forster, and others who have obligingly contributed information.
Sunday, February 18, 2007
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.23 Misuse of the words "ruby," "sapphire," "emerald," "topaz," "stone," "birthstone,"
"gemstone," etc.
(a) It is unfair or deceptive to use the unqualified words ruby, sapphire, emerald, topaz, or the name of any other precious or semi-precious stone to describe any product that is not in fact a natural stone of the type described.
(b) It is unfair or deceptive to use the word ruby, sapphire, emerald, topaz, or the name of any otherprecious or semi-precious stone, or the word stone, birthstone, gemstone,' or similar term to describe a laboratory grown, laboratory-created, [manufacturer name]-created, synthetic, imitation, or simulated stone, unless such word or name is immediately preceded with equal conspicuousness by the word laboratory-grown, laboratory-created, [manufacturer name]-created, synthetic, or by the word imitation or simulated, so as to disclose clearly the nature of the product and the fact it is not a natural gemstone.
Note to paragraph (b): The use of the word "faux" to describe a laboratory-created or imitation stone is not an adequate disclosure that the stone is not natural.
(c) It is unfair or deceptive to use the word "laboratory-grown," "laboratory-created," "[manufacturer name]-created," or "synthetic" with the name of any natural stone to describe any industry product unless such industry product has essentially the same optical, physical, and chemical properties as the stone named.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.23 Misuse of the words "ruby," "sapphire," "emerald," "topaz," "stone," "birthstone,"
"gemstone," etc.
(a) It is unfair or deceptive to use the unqualified words ruby, sapphire, emerald, topaz, or the name of any other precious or semi-precious stone to describe any product that is not in fact a natural stone of the type described.
(b) It is unfair or deceptive to use the word ruby, sapphire, emerald, topaz, or the name of any otherprecious or semi-precious stone, or the word stone, birthstone, gemstone,' or similar term to describe a laboratory grown, laboratory-created, [manufacturer name]-created, synthetic, imitation, or simulated stone, unless such word or name is immediately preceded with equal conspicuousness by the word laboratory-grown, laboratory-created, [manufacturer name]-created, synthetic, or by the word imitation or simulated, so as to disclose clearly the nature of the product and the fact it is not a natural gemstone.
Note to paragraph (b): The use of the word "faux" to describe a laboratory-created or imitation stone is not an adequate disclosure that the stone is not natural.
(c) It is unfair or deceptive to use the word "laboratory-grown," "laboratory-created," "[manufacturer name]-created," or "synthetic" with the name of any natural stone to describe any industry product unless such industry product has essentially the same optical, physical, and chemical properties as the stone named.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Doing Business In Eastern Europe
World Bank/IFC writes:
Doing business became easier in Eastern European countries in 2005-2006, according to a new report by the World Bank and the International Finance Corporation (IFC). Thirty-eight reforms in 16 economies in the region reduced the time, cost, and hassle for businesses to comply with legal and administrative requirements.
Spurred by recent or prospective accession to the European Union, Eastern Europe reformed more than any other region, including Western Europe and other OECD countries.Romania is top reformer in the regionDoing Business 2007: How to Reform finds that Romania was the second most active reformer on the ease of doing business across 175 economies, implementing reforms to simplify business licensing and trading, easing access to credit, increasing labor market flexibility, and strengthening investor protection. Croatia was ranked seventh. The top 10 reformers are, in order, Georgia, Romania, Mexico, China, Peru, France, Croatia, Guatemala, Ghana, and Tanzania.
Doing Business 2007 also ranks 175 economies on the ease of doing business-covering 20 more economies than last year's report. The top-ranked countries in Eastern Europe are Lithuania (16), Estonia (17), and Latvia (24), followed by Slovakia (36) and Romania (47).
The 30 economies that score the highest on the ease of doing business are, in order, Singapore, New Zealand, the United States, Canada, Hong Kong (China), the United Kingdom, Denmark, Australia, Norway, Ireland, Japan, Iceland, Sweden, Finland, Switzerland, Lithuania, Estonia, Thailand, Puerto Rico, Belgium, Germany, the Netherlands, Korea, Latvia, Malaysia, Israel, St. Lucia, Chile, South Africa, and Austria.
The rankings track indicators of the time and cost to meet government requirements in business start-up, operation, trade, taxation, and closure. They do not track variables such as market size, macroeconomic policy, quality of infrastructure, currency volatility, investor perceptions, or crime rates.
Romania -- the top reformer in the region and second-ranked globally -- simplified procedures for obtaining building permits and set up a single office for processing applications. This reduced the time for obtaining construction licenses by 49 days. Reforms to labor laws allowed term contracts to extend to six years, encouraging businesses to hire first-time workers. New customs procedures cut the time to satisfy regulatory requirements for trading in half, to 14 days. Romania also broadened the scope of information available for potential borrowers and sped bankruptcy proceedings.
More info @ http://web.worldbank.org
Doing business became easier in Eastern European countries in 2005-2006, according to a new report by the World Bank and the International Finance Corporation (IFC). Thirty-eight reforms in 16 economies in the region reduced the time, cost, and hassle for businesses to comply with legal and administrative requirements.
Spurred by recent or prospective accession to the European Union, Eastern Europe reformed more than any other region, including Western Europe and other OECD countries.Romania is top reformer in the regionDoing Business 2007: How to Reform finds that Romania was the second most active reformer on the ease of doing business across 175 economies, implementing reforms to simplify business licensing and trading, easing access to credit, increasing labor market flexibility, and strengthening investor protection. Croatia was ranked seventh. The top 10 reformers are, in order, Georgia, Romania, Mexico, China, Peru, France, Croatia, Guatemala, Ghana, and Tanzania.
Doing Business 2007 also ranks 175 economies on the ease of doing business-covering 20 more economies than last year's report. The top-ranked countries in Eastern Europe are Lithuania (16), Estonia (17), and Latvia (24), followed by Slovakia (36) and Romania (47).
The 30 economies that score the highest on the ease of doing business are, in order, Singapore, New Zealand, the United States, Canada, Hong Kong (China), the United Kingdom, Denmark, Australia, Norway, Ireland, Japan, Iceland, Sweden, Finland, Switzerland, Lithuania, Estonia, Thailand, Puerto Rico, Belgium, Germany, the Netherlands, Korea, Latvia, Malaysia, Israel, St. Lucia, Chile, South Africa, and Austria.
The rankings track indicators of the time and cost to meet government requirements in business start-up, operation, trade, taxation, and closure. They do not track variables such as market size, macroeconomic policy, quality of infrastructure, currency volatility, investor perceptions, or crime rates.
Romania -- the top reformer in the region and second-ranked globally -- simplified procedures for obtaining building permits and set up a single office for processing applications. This reduced the time for obtaining construction licenses by 49 days. Reforms to labor laws allowed term contracts to extend to six years, encouraging businesses to hire first-time workers. New customs procedures cut the time to satisfy regulatory requirements for trading in half, to 14 days. Romania also broadened the scope of information available for potential borrowers and sped bankruptcy proceedings.
More info @ http://web.worldbank.org
Intarsia
What Is Intarsia?
(via Gem Cutting: A Lapidary’s Manual) John Sinkankas writes:
The ancient art of imbedding small bits of colored material in cement to cover and decorate walls, floors, and other surfaces is called mosaic. Mosaic work using gemstones is popular among amateur gem cutters since it is both decorative and utilitarian. Surplus gem material can be used to advantage in ordinary mosaics, while exceptionally fine mosaic projects can absorb better material that is too small or not quite good enough for cabochons or faceted gems.
A variation of classic mosaic work is called intarsia, or sometimes pietre dure, or Florentine mosaic work. In this style of mosaic, flat pieces of stone are fitted together as closely as possible to make designs and pictures, much as pieces of glass are joined to make stained glass windows. However, intarsia is never transparent; pieces are always cemented to a base of stone, wood or other hard material. Some kinds of intarsia are inlaid into stone panels, which are then flattened to a common level and polished.
The beauty and effectiveness of intarsia depend on the skill used in making designs and selecting various kinds of stone to cover areas of different color and textures. The Italian method of inlaying intarsia is to carve out flat-bottomed recesses in soft slate to receive thin slabs of gem material (cut based on a paper pattern). The edges of the recesses are carefully trimmed to make them square and to avoid unsightly chipping. Since black slate is used, it is not necessary to try for a very exact fit because any slight gaps will be filled with an asphaltic mastic cement that matches the slate color. A truly perfect polish is not practical with this method because the heat generated will make the mastic flow and allow sections of stone to shift. However, a well-moistened pitch lap should overcome these difficulties and allow application of an excellent natural polish.
(via Gem Cutting: A Lapidary’s Manual) John Sinkankas writes:
The ancient art of imbedding small bits of colored material in cement to cover and decorate walls, floors, and other surfaces is called mosaic. Mosaic work using gemstones is popular among amateur gem cutters since it is both decorative and utilitarian. Surplus gem material can be used to advantage in ordinary mosaics, while exceptionally fine mosaic projects can absorb better material that is too small or not quite good enough for cabochons or faceted gems.
A variation of classic mosaic work is called intarsia, or sometimes pietre dure, or Florentine mosaic work. In this style of mosaic, flat pieces of stone are fitted together as closely as possible to make designs and pictures, much as pieces of glass are joined to make stained glass windows. However, intarsia is never transparent; pieces are always cemented to a base of stone, wood or other hard material. Some kinds of intarsia are inlaid into stone panels, which are then flattened to a common level and polished.
The beauty and effectiveness of intarsia depend on the skill used in making designs and selecting various kinds of stone to cover areas of different color and textures. The Italian method of inlaying intarsia is to carve out flat-bottomed recesses in soft slate to receive thin slabs of gem material (cut based on a paper pattern). The edges of the recesses are carefully trimmed to make them square and to avoid unsightly chipping. Since black slate is used, it is not necessary to try for a very exact fit because any slight gaps will be filled with an asphaltic mastic cement that matches the slate color. A truly perfect polish is not practical with this method because the heat generated will make the mastic flow and allow sections of stone to shift. However, a well-moistened pitch lap should overcome these difficulties and allow application of an excellent natural polish.
Art Nouveau Jewelry
By Vivienne Becker
Thames and Hudson Ltd
E P Dutton New York
1985 ISBN 0-525-24345-3
Thames and Hudson writes:
Jewelry was one of the purest, and most successful, expressions of the Art Nouveau movement. It captured the atmosphere and the passions of the fin de siecle, and the moral and artistic freedom which characterized the period. Fresh designs and motifs were created with intense excitement shared by artists all over the world. Sensuous and organic plant forms surged with new life; the female form struggled towards a new freedom, suggesting a long hidden eroticism; dragonflies and insects became creatures of beauty and fantasy; sunsets and changing seasons reflected the symbolic view of art in nature, borrowed from the Japanese. The artists and goldsmiths who created this jewelry were trained in the nineteenth century disciplines; their technical mastery allowed them to experiment with new materials and enamelling processes to indulge their fantasies. This combination—an atmosphere of ideas for a new art and the unrivalled technical skill of the makers—produced some of the most evocative jewelling art of modern times.
The book deals with major makers in France, and then follows the parallel modern movement that spread through Europe and the United States, acquiring different decorative characteristics, from England, Germany and Austria to Belgium, Scandinavia and Eastern Europe. For the collector, comprehensive biographies are included, drawing together for the first time full information on over 300 designers. The Guide to Identification, including over 200 maker’s marks and signatures, forms an invaluable aid to identifying and appreciating the jewelry. Each part of the book is illustrated by a series of dramatic color and black and white plates: the striking variety of the pieces shown, from the organic beauty of the work of Lalique to the simpler, more geometric Liberty designs, is clear evidence of the international scope and appeal of Art Nouveau jewelry.
Thames and Hudson Ltd
E P Dutton New York
1985 ISBN 0-525-24345-3
Thames and Hudson writes:
Jewelry was one of the purest, and most successful, expressions of the Art Nouveau movement. It captured the atmosphere and the passions of the fin de siecle, and the moral and artistic freedom which characterized the period. Fresh designs and motifs were created with intense excitement shared by artists all over the world. Sensuous and organic plant forms surged with new life; the female form struggled towards a new freedom, suggesting a long hidden eroticism; dragonflies and insects became creatures of beauty and fantasy; sunsets and changing seasons reflected the symbolic view of art in nature, borrowed from the Japanese. The artists and goldsmiths who created this jewelry were trained in the nineteenth century disciplines; their technical mastery allowed them to experiment with new materials and enamelling processes to indulge their fantasies. This combination—an atmosphere of ideas for a new art and the unrivalled technical skill of the makers—produced some of the most evocative jewelling art of modern times.
The book deals with major makers in France, and then follows the parallel modern movement that spread through Europe and the United States, acquiring different decorative characteristics, from England, Germany and Austria to Belgium, Scandinavia and Eastern Europe. For the collector, comprehensive biographies are included, drawing together for the first time full information on over 300 designers. The Guide to Identification, including over 200 maker’s marks and signatures, forms an invaluable aid to identifying and appreciating the jewelry. Each part of the book is illustrated by a series of dramatic color and black and white plates: the striking variety of the pieces shown, from the organic beauty of the work of Lalique to the simpler, more geometric Liberty designs, is clear evidence of the international scope and appeal of Art Nouveau jewelry.
Saturday, February 17, 2007
Indicator Minerals
What are the indicator minerals for prospecting diamond?
Well-trained geologists look for garnet, chromite, chromian diopside, ilmenite, clinopyroxene, olivine, zircon, and diamond as indicator minerals. The minerals may also be found as inclusions in a diamond.
Well-trained geologists look for garnet, chromite, chromian diopside, ilmenite, clinopyroxene, olivine, zircon, and diamond as indicator minerals. The minerals may also be found as inclusions in a diamond.
Friday, February 16, 2007
Doing Business In South Asia
World Bank / IFC writes:
This is the third report in the series of South Asia regional reports based on the methodology of the annual global Doing Business report. The South Asia report covers 8 countries. The top ranked countries in the region are the Maldives (53) and Pakistan (74), followed by Bangladesh (88), Sri Lanka (89), Nepal (100), India (134), Bhutan (138), and Afghanistan (162). As a region, South Asia performs comparatively well in business start-up and protecting investors. It lags far behind, however, on the ease of employing workers, enforcing contracts, and trading across borders. In-depth examination of indicators in key cities provides helpful details that can be seen in the tables below. Hyderabad has the most business-friendly regulations in India, Karachi in Pakistan, and Dhaka ranks best in Bangladesh.
More info @ http://www.doingbusiness.org/southasia
This is the third report in the series of South Asia regional reports based on the methodology of the annual global Doing Business report. The South Asia report covers 8 countries. The top ranked countries in the region are the Maldives (53) and Pakistan (74), followed by Bangladesh (88), Sri Lanka (89), Nepal (100), India (134), Bhutan (138), and Afghanistan (162). As a region, South Asia performs comparatively well in business start-up and protecting investors. It lags far behind, however, on the ease of employing workers, enforcing contracts, and trading across borders. In-depth examination of indicators in key cities provides helpful details that can be seen in the tables below. Hyderabad has the most business-friendly regulations in India, Karachi in Pakistan, and Dhaka ranks best in Bangladesh.
More info @ http://www.doingbusiness.org/southasia
Quartzsite
Quartzsite is the annual host of one of the largest gem, mineral and fossil shows in the United States. Since the 1960s rockhounds have been moving to Quartzsite, in Western Arizona each year in large numbers to display their merchandise. During the month of January and February over a million plus visitors may descend on this town to sell their merchandise. In January, Quartzsite becomes the fourth largest city in Arizona because of the show. Most of the shows are outdoors, with dealers setting up booths outside or in tents right next to their trailers. Quartzsite is more casual than Tucson and the dealers enjoy it because of the relatively low set up costs. This enables them to sell goods at fair prices to buyers. During the show vendors come from all over the world to display all kinds of gem and jewelry crafts. There are daily field trips for those who are interested in rockhounding. The show also has special demonstrations on lapidary techniques sponsored by the Quartzsite Roadrunner Gem and Mineral Club. The show is a big event for cutters so that they are able to display diverse assortment of cut gems, minerals and fossils. At the same a lot of Quartzsite goods may get resold at the Tucson Gem and Mineral show.
Quartzsite show schedule:
- Desert Gardens International Gem & Mineral Show: January 2 – February 28
- Tyson Wells, Rock-Gem-Mineral Show: January 7 – 16
- Tyson Wells “Sell-A-Rama” Rocks, Gem-Arts-Crafts Show (January 21 – 30)
- PowWow Gem & Mineral Show: January 26 - 30
More info @ www.desertusa.com/Cities/az/quartzite.html
Quartzsite show schedule:
- Desert Gardens International Gem & Mineral Show: January 2 – February 28
- Tyson Wells, Rock-Gem-Mineral Show: January 7 – 16
- Tyson Wells “Sell-A-Rama” Rocks, Gem-Arts-Crafts Show (January 21 – 30)
- PowWow Gem & Mineral Show: January 26 - 30
More info @ www.desertusa.com/Cities/az/quartzite.html
Wall Street Movie
Memorable quote (s) from the movie:
Gordon Gekko (Michael Douglas): Hiya, Buddy.
Bud Fox (Charlie Sheen): Gordon.
Gordon Gekko (Michael Douglas): Sand bagged me on Bluestar huh? I guess you think you taught the teacher a lesson that the tail can wag the dog huh? Well let me clue you in, pal. The ice is melting right underneath your feet. Did you think you could've gotten this far this fast with anyone else, huh? That you'd be out there dicking someone like Darien? Naw... you'd still be cold calling widows and dentists tryin' to sell 'em 20 shares of some dog shit stock. I took you in... a NOBODY! I opened the doors for you... showed you how the system works... the value of information... how to *get it*! Fulham oil, Brant resources, geodynamics and this is how you fucking pay me back you COCKROACH! I GAVE you Darien! I GAVE you your manhood I gave you EVERYTHING! You could've been one of the great ones Buddy. I look at you and see myself... WHY?
Bud Fox (Charlie Sheen): I don't know. I guest I realized that I'm just Bud Fox... and as much as I wanted to be Gordon Gekko, I'll always be Bud Fox.
Gordon Gekko (Michael Douglas): Hiya, Buddy.
Bud Fox (Charlie Sheen): Gordon.
Gordon Gekko (Michael Douglas): Sand bagged me on Bluestar huh? I guess you think you taught the teacher a lesson that the tail can wag the dog huh? Well let me clue you in, pal. The ice is melting right underneath your feet. Did you think you could've gotten this far this fast with anyone else, huh? That you'd be out there dicking someone like Darien? Naw... you'd still be cold calling widows and dentists tryin' to sell 'em 20 shares of some dog shit stock. I took you in... a NOBODY! I opened the doors for you... showed you how the system works... the value of information... how to *get it*! Fulham oil, Brant resources, geodynamics and this is how you fucking pay me back you COCKROACH! I GAVE you Darien! I GAVE you your manhood I gave you EVERYTHING! You could've been one of the great ones Buddy. I look at you and see myself... WHY?
Bud Fox (Charlie Sheen): I don't know. I guest I realized that I'm just Bud Fox... and as much as I wanted to be Gordon Gekko, I'll always be Bud Fox.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.22 Disclosure of treatments to gemstones.
It is unfair or deceptive to fail to disclose that a gemstone has been treated if:
(a) the treatment is not permanent. The seller should disclose that the gemstone has been treated and that the treatment is or may not be permanent;
(b) the treatment creates special care requirements for the gemstone. The seller should disclose that the gemstone has been treated and has special care requirements. It is also recommended that the seller disclose the special care requirements to the purchaser;
(c) the treatment has a significant effect on the stone’s value. The seller should disclose that the gemstone has been treated.
Note to 23.22: The disclosures outlined in this section are applicable to sellers at every level of trade, as defined in 23.0(b) of these Guides, and they may be made at the point of sale prior to sale; except that where a jewelry product can be purchased without personally viewing the product, (e.g., direct mail catalogs, online services, televised shopping programs) disclosure should be made in the solicitation for or description of the product.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.22 Disclosure of treatments to gemstones.
It is unfair or deceptive to fail to disclose that a gemstone has been treated if:
(a) the treatment is not permanent. The seller should disclose that the gemstone has been treated and that the treatment is or may not be permanent;
(b) the treatment creates special care requirements for the gemstone. The seller should disclose that the gemstone has been treated and has special care requirements. It is also recommended that the seller disclose the special care requirements to the purchaser;
(c) the treatment has a significant effect on the stone’s value. The seller should disclose that the gemstone has been treated.
Note to 23.22: The disclosures outlined in this section are applicable to sellers at every level of trade, as defined in 23.0(b) of these Guides, and they may be made at the point of sale prior to sale; except that where a jewelry product can be purchased without personally viewing the product, (e.g., direct mail catalogs, online services, televised shopping programs) disclosure should be made in the solicitation for or description of the product.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Ivory
A History and Collectors Guide
Thames and Hudson Ltd
1987 ISBN 0-500-23505-8
Thames and Hudson writes:
More than three thousand years ago, the Old Testament records, “King Solomon made a great throne of ivory….” from which he summoned to his court ‘the navy of Tarnish, bringing gold and silver, ivory and apes, and peacocks…’
Throughout history, from the ancient civilizations to the present day, the subtle glowing color and sensual tactile surface of ivory has lent a special quality to objects as diverse as religious images and thimbles, palace furniture and paper knives. Ivory is also extraordinarily tractable—it can be sliced paper thin, sawn, carved, etched, or turned on a lathe, stained or painted—and so flexible that an ivory riding whip was once described as being ‘as finely tempered as a Toledo sword blade, and as supple as a willow switch.’
The astonishing range of this remarkable substance has, for the first time, been fully described in Ivory: A History and Collector’s Guide, illustrated with copious reproductions, many in color. A team of distinguished contributors have combined their considerable expertise to unfold the story of ivory carving, from Paleolithic Europe, through the Hellenistic and Roman worlds to the Middle Ages and right up to the twentieth century Europe. There are chapters on Europe, the Near East and India, the Far East and South East Asia, North America—and Central and South America where bone was used instead of ivory. The contributors reveal the beauties of ivory—in rich patina of antique figures or the intricacies of miniature medieval plaques—and describe the different kinds of ivory that have been used.
This unparalleled survey also includes a description of the ivory trade, an illustrated glossary, sections on collecting ivory and its care and repair, a guide to collections open to the public, a bibliography and—most notably—an invaluable detailed time chart which highlights every period in the long and exotic history of ivory.
Richly documented and superbly illustrated, Ivory: A History and Collector’s Guide is not only the definitive reference work for collectors and dealers but a sumptuous source book for students of the decorative arts, ivory carvers and all who appreciate the unique beauty and fascinating history of ivory.
Thames and Hudson Ltd
1987 ISBN 0-500-23505-8
Thames and Hudson writes:
More than three thousand years ago, the Old Testament records, “King Solomon made a great throne of ivory….” from which he summoned to his court ‘the navy of Tarnish, bringing gold and silver, ivory and apes, and peacocks…’
Throughout history, from the ancient civilizations to the present day, the subtle glowing color and sensual tactile surface of ivory has lent a special quality to objects as diverse as religious images and thimbles, palace furniture and paper knives. Ivory is also extraordinarily tractable—it can be sliced paper thin, sawn, carved, etched, or turned on a lathe, stained or painted—and so flexible that an ivory riding whip was once described as being ‘as finely tempered as a Toledo sword blade, and as supple as a willow switch.’
The astonishing range of this remarkable substance has, for the first time, been fully described in Ivory: A History and Collector’s Guide, illustrated with copious reproductions, many in color. A team of distinguished contributors have combined their considerable expertise to unfold the story of ivory carving, from Paleolithic Europe, through the Hellenistic and Roman worlds to the Middle Ages and right up to the twentieth century Europe. There are chapters on Europe, the Near East and India, the Far East and South East Asia, North America—and Central and South America where bone was used instead of ivory. The contributors reveal the beauties of ivory—in rich patina of antique figures or the intricacies of miniature medieval plaques—and describe the different kinds of ivory that have been used.
This unparalleled survey also includes a description of the ivory trade, an illustrated glossary, sections on collecting ivory and its care and repair, a guide to collections open to the public, a bibliography and—most notably—an invaluable detailed time chart which highlights every period in the long and exotic history of ivory.
Richly documented and superbly illustrated, Ivory: A History and Collector’s Guide is not only the definitive reference work for collectors and dealers but a sumptuous source book for students of the decorative arts, ivory carvers and all who appreciate the unique beauty and fascinating history of ivory.
Thursday, February 15, 2007
Modified Asterism
It is possible to imitate asterism in gemstones by engraving several sets of parallel lines or grooves in flat or curved surfaces of the stones or cutting six-rayed star on the surface of a suitable cabochon, with tools such as rotating or vibrating iron rod. The technique is widely used in producing man-made asterism in rubies, sapphires and other colored stones including glass. A modified technique may be used to produce fake asterism in mainstream colored stones. The fake star stones are sold worldwide, but may be seen more frequently in Thailand, Sri Lanka, India, Burma, East Africa, Europe and United States, the colored stone centers of the world. An interesting fact is asterism in natural stones is due to the presence of needle-like inclusions, but they are not seen in these fake cabochons. In addition, the so-called called stars are not properly oriented and overall the stones look asymmetrical and lack the natural appearance.
Well informed buyers will always look carefully for the right star pattern, color, and finally, the top and base. In most cases the producers of fakes are not properly identifying the minerals before engraving, because highly radioactive crystals or crystal fragments have been used and sold with an incorrect but common mineral name. If in doubt always consult a reputed gem testing laboratory.
Well informed buyers will always look carefully for the right star pattern, color, and finally, the top and base. In most cases the producers of fakes are not properly identifying the minerals before engraving, because highly radioactive crystals or crystal fragments have been used and sold with an incorrect but common mineral name. If in doubt always consult a reputed gem testing laboratory.
Network Movie
Memorable quote (s) from the movie:
Howard Beale (Peter Finch): I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's work, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, Goddamnit! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
Howard Beale (Peter Finch): I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's work, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, Goddamnit! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.21 Misrepresentation as to cultured pearls.
It is unfair or deceptive to misrepresent the manner in which cultured pearls are produced, the size of the nucleus artificially inserted in the mollusk and included in cultured pearls, the length of time that such products remained in the mollusk, the thickness of the nacre coating, the value and quality of cultured pearls as compared with the value and quality of pearls and imitation pearls, or any other material matter relating to the formation, structure, properties, characteristics, and qualities of cultured pearls.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.21 Misrepresentation as to cultured pearls.
It is unfair or deceptive to misrepresent the manner in which cultured pearls are produced, the size of the nucleus artificially inserted in the mollusk and included in cultured pearls, the length of time that such products remained in the mollusk, the thickness of the nacre coating, the value and quality of cultured pearls as compared with the value and quality of pearls and imitation pearls, or any other material matter relating to the formation, structure, properties, characteristics, and qualities of cultured pearls.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Amber
By Patty C Rice
Van Nostrand Reinhold Company
1980 ISBN 0-442-26138-1
Van Nostrand Reinhold writes:
From history and lore to modern sources and commercial use, Amber: The Golden Gem of the Ages brings you a wealth of information on every aspect of amber. It is as completely up-to-date as it is all encompassing, and is the first definitive study of amber to be published in fifty years.
The author pinpoints the original sources of amber and its variety of colors and textures, the describes its historical usage. She recounts its use by early man during the Stone Age and Bronze Age….the ancient amber trade routes….and the use of amber in classical cultures. Dr. Rice then traces the amber industry’s growth from the guilds of the Middle Ages to current development and mining techniques in the Baltic regions. You will find interesting descriptions of archaeological finds of ancient amber…..intriguing facts on mystical beliefs and folklore associated with amber…and fascinating historical illustrations of the first fake inclusions recorded in amber.
Data on physical and chemical properties are accompanied by appropriate tests and methods for identifying genuine amber. The book features summaries of scientific studies conducted by leading researchers…..geological descriptions of regions where amber is found…and biological information on findings of fossil insects and other anthropods in amber, as well as on the use of amber as a botanical product to gain knowledge of plant evolution.
A complete review of amber’s commercial aspects includes commonly used imitations and substitutes ranging from early Bakelite jewelry to modern Bernit. Detailed methods are provided for pressing or reconstructing small amber chips and using them with plastic to make ‘polybern’ ornaments. Additional step-by-step directions tell you how to cut, drill, and polish rough amber into radiant jewelry.
When you want to know more about the Russian amber room….Chinese amber carvings or amber art from the Middle Ages….or the mythological surrounding amber in various cultures---consult Amber: The Golden Gem of the Ages. Every aspect of amber is covered in this comprehensive volume. Its beautiful illustrations include rare amber carvings, mosaics and chess produced by Lithuanian artisans. You will marvel at the wealth of new scientific knowledge gained from investigations of amber. And if gemology is your hobby or occupation, you will make good use of the charts and tabular information comparing amber with common substitutes, along with the numerous techniques for constructing amber ornaments and finished jewelry items.
About the author
Dr Patty Rice has lectured at numerous gem and mineral clubs, shows and conferences in the U.S and Canada. Her articles on amber have appeared in American Way, Gems and Minerals International, Lapidary Journal, and Rock and Minerals.
Van Nostrand Reinhold Company
1980 ISBN 0-442-26138-1
Van Nostrand Reinhold writes:
From history and lore to modern sources and commercial use, Amber: The Golden Gem of the Ages brings you a wealth of information on every aspect of amber. It is as completely up-to-date as it is all encompassing, and is the first definitive study of amber to be published in fifty years.
The author pinpoints the original sources of amber and its variety of colors and textures, the describes its historical usage. She recounts its use by early man during the Stone Age and Bronze Age….the ancient amber trade routes….and the use of amber in classical cultures. Dr. Rice then traces the amber industry’s growth from the guilds of the Middle Ages to current development and mining techniques in the Baltic regions. You will find interesting descriptions of archaeological finds of ancient amber…..intriguing facts on mystical beliefs and folklore associated with amber…and fascinating historical illustrations of the first fake inclusions recorded in amber.
Data on physical and chemical properties are accompanied by appropriate tests and methods for identifying genuine amber. The book features summaries of scientific studies conducted by leading researchers…..geological descriptions of regions where amber is found…and biological information on findings of fossil insects and other anthropods in amber, as well as on the use of amber as a botanical product to gain knowledge of plant evolution.
A complete review of amber’s commercial aspects includes commonly used imitations and substitutes ranging from early Bakelite jewelry to modern Bernit. Detailed methods are provided for pressing or reconstructing small amber chips and using them with plastic to make ‘polybern’ ornaments. Additional step-by-step directions tell you how to cut, drill, and polish rough amber into radiant jewelry.
When you want to know more about the Russian amber room….Chinese amber carvings or amber art from the Middle Ages….or the mythological surrounding amber in various cultures---consult Amber: The Golden Gem of the Ages. Every aspect of amber is covered in this comprehensive volume. Its beautiful illustrations include rare amber carvings, mosaics and chess produced by Lithuanian artisans. You will marvel at the wealth of new scientific knowledge gained from investigations of amber. And if gemology is your hobby or occupation, you will make good use of the charts and tabular information comparing amber with common substitutes, along with the numerous techniques for constructing amber ornaments and finished jewelry items.
About the author
Dr Patty Rice has lectured at numerous gem and mineral clubs, shows and conferences in the U.S and Canada. Her articles on amber have appeared in American Way, Gems and Minerals International, Lapidary Journal, and Rock and Minerals.
Wednesday, February 14, 2007
The Insider Movie
Memorable quote (s) from the movie:
Mike Wallace (Christopher Plummer): In the real world, when you get to where I am, there are other considerations.
Lowell Bergman (Al Pacino): Like what? Corporate responsibility? What, are we talking celebrity here?
Mike Wallace (Christopher Plummer): I'm not talking celebrity, vanity, CBS. I'm talking about when you're nearer the end of your life than the beginning. Now, what do you think you think about then? The future? In the future I'm going to do this? Become that? What future? No. What you think is "How will I be regarded in the end?" After I'm gone. Now, along the way I suppose I made some minor impact. I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. I've spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? Does it give someone at my time of life pause? Yeah.
Mike Wallace (Christopher Plummer): In the real world, when you get to where I am, there are other considerations.
Lowell Bergman (Al Pacino): Like what? Corporate responsibility? What, are we talking celebrity here?
Mike Wallace (Christopher Plummer): I'm not talking celebrity, vanity, CBS. I'm talking about when you're nearer the end of your life than the beginning. Now, what do you think you think about then? The future? In the future I'm going to do this? Become that? What future? No. What you think is "How will I be regarded in the end?" After I'm gone. Now, along the way I suppose I made some minor impact. I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. I've spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? Does it give someone at my time of life pause? Yeah.
This Budget To Be A Girl's Best Friend
(via Times News Network) Bharti Jain writes:
With the Union Budget (India) likely to abolish the import duty on cut and polished diamonds (CPDs) and gemstones, the gems & jewellery industry is in for some happy times. Another planned initiative for the industry is the introduction of the presumptive tax regime, which allows for computation of income-tax on the basis of turnover.
The proposal to cut the Customs tariff on import of CPDs and gemstones from 5% to nil follows a recommendation to this effect by the MR Sivaraman committee set up last year to study the rationalization of taxes and tariffs applicable to the forex-earning gems and jewellery sector.
The finance ministry is keen to put the sector – which accounted for nearly 15% of the country’s total exports and 19% of the total world demand for gems and jewellery in 2006 – on a growth trajectory that will see centres like Mumbai emerging as a diamond hub on the lines of cities like Antwerp and Bangkok. To that end, the ministry is said to have decided to reflect in the coming budget the recommendations of the Sivaraman committee on both the customs tariff as well as introduction of presumptive tax.
The presumptive tax regime was introduced in the last budget for the shipping sector, wherein the tax to be paid by companies in the sector would be calculated on the basis of tonnage. The proposal is now set to be replicated for the gems and jewellery sector, mainly to cut down on administrative costs and to encourage output as increased production would mean less taxes. This proposal, according to sources in the government, would be revenue-neutral.
As for the duty cut, the government is keen on seeing the emergence of centres like Mumbai as major diamond hubs, competing with other international diamond destinations like Antwerp and Bangkok. The abolition of duties on CPDs and gemstones, which accounted for 23% of total imports by the gems and jewellery sector, is expected to increase exports of studded and finished ornaments.
Duty cuts may essentially help Indian jewellers, most of whom are in the unorganised sector, cater to the growing demand of bulk buyers from the US and European Union for Indian diamond studded jewellery due to its affordability. Lower import rates will bring India on par with major competitors like Thailand which have zero tariffs on import of gold diamonds and gemstones. At the same time, it will create more jobs as the gems and jewellery trade is highly labour intensive, employing nearly 2 million workers.
More info @ http://economictimes.indiatimes.com/This_Budget_to_be_a_girls_best_friend/articleshow/1601463.cms
With the Union Budget (India) likely to abolish the import duty on cut and polished diamonds (CPDs) and gemstones, the gems & jewellery industry is in for some happy times. Another planned initiative for the industry is the introduction of the presumptive tax regime, which allows for computation of income-tax on the basis of turnover.
The proposal to cut the Customs tariff on import of CPDs and gemstones from 5% to nil follows a recommendation to this effect by the MR Sivaraman committee set up last year to study the rationalization of taxes and tariffs applicable to the forex-earning gems and jewellery sector.
The finance ministry is keen to put the sector – which accounted for nearly 15% of the country’s total exports and 19% of the total world demand for gems and jewellery in 2006 – on a growth trajectory that will see centres like Mumbai emerging as a diamond hub on the lines of cities like Antwerp and Bangkok. To that end, the ministry is said to have decided to reflect in the coming budget the recommendations of the Sivaraman committee on both the customs tariff as well as introduction of presumptive tax.
The presumptive tax regime was introduced in the last budget for the shipping sector, wherein the tax to be paid by companies in the sector would be calculated on the basis of tonnage. The proposal is now set to be replicated for the gems and jewellery sector, mainly to cut down on administrative costs and to encourage output as increased production would mean less taxes. This proposal, according to sources in the government, would be revenue-neutral.
As for the duty cut, the government is keen on seeing the emergence of centres like Mumbai as major diamond hubs, competing with other international diamond destinations like Antwerp and Bangkok. The abolition of duties on CPDs and gemstones, which accounted for 23% of total imports by the gems and jewellery sector, is expected to increase exports of studded and finished ornaments.
Duty cuts may essentially help Indian jewellers, most of whom are in the unorganised sector, cater to the growing demand of bulk buyers from the US and European Union for Indian diamond studded jewellery due to its affordability. Lower import rates will bring India on par with major competitors like Thailand which have zero tariffs on import of gold diamonds and gemstones. At the same time, it will create more jobs as the gems and jewellery trade is highly labour intensive, employing nearly 2 million workers.
More info @ http://economictimes.indiatimes.com/This_Budget_to_be_a_girls_best_friend/articleshow/1601463.cms
How To Create Asterism With Metal Foils Or Plates
Asterism can be produced by engraving metal foils or plates on doublets to imitate popular gemstones with stars. To imitate the phenomena silver, copper, brass or steel may be used as metal backings on doublets by scratching three sets of parallel lines sets of lines or grooves, using emery or carborundum paper. Other variations include scratched metal foils as backings to create four or six-rayed stars or metal foils with a network of engraved or impressed lines, along with a protective third layer of plastic or mineral. A good example is synthetic blue spinel triplet with a middle layer of engraved metal foil.
For well informed buyers, if the gemstones are unset identification is not difficult. The first hint is the color, diffused asterism and physical appearance.
For well informed buyers, if the gemstones are unset identification is not difficult. The first hint is the color, diffused asterism and physical appearance.
H Stern
H. Stern writes:
At the beginning of the 1950s a small Brazilian jewelry company was making a name for itself in international circles. With beautiful jewels and an audacious marketing strategy for that time, the company was poised to revolutionize the traditional jewelry industry. Behind the rising brand was Hans Stern, a young German émigré’ and a carioca’ (is the native of Rio de Janeiro) at heart. Several years earlier, 1945, at age 22, he had founded a small gemstone trading business in Rio de Janeiro—the beginning of this success story.
More info @ http://www.hstern.net/en/institucional/historia
At the beginning of the 1950s a small Brazilian jewelry company was making a name for itself in international circles. With beautiful jewels and an audacious marketing strategy for that time, the company was poised to revolutionize the traditional jewelry industry. Behind the rising brand was Hans Stern, a young German émigré’ and a carioca’ (is the native of Rio de Janeiro) at heart. Several years earlier, 1945, at age 22, he had founded a small gemstone trading business in Rio de Janeiro—the beginning of this success story.
More info @ http://www.hstern.net/en/institucional/historia
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.20 Misuse of terms such as "cultured pearl," "seed pearl," "Oriental pearl," "natura," "kultured," "real," "gem," "synthetic," and regional designations.
(a) It is unfair or deceptive to use the term "cultured pearl," "cultivated pearl," or any other word, term, or phrase of like meaning to describe, identify, or refer to any imitation pearl.
(b) It is unfair or deceptive to use the term "seed pearl" or any word, term, or phrase of like meaning to describe, identify, or refer to a cultured or an imitation pearl, without using the appropriate qualifying term "cultured" (e.g., "cultured seed pearl") or "simulated," "artificial," or "imitation" (e.g., "imitation seed pearl").
(c) It is unfair or deceptive to use the term "Oriental pearl" or any word, term, or phrase of like meaning to describe, identify, or refer to any industry product other than a pearl taken from a salt water mollusk and of the distinctive appearance and type of pearls obtained from mollusks inhabiting the Persian Gulf and recognized in the jewelry trade as Oriental pearls.
(d) It is unfair or deceptive to use the word "Oriental" to describe, identify, or refer to any cultured or imitation pearl.
(e) It is unfair or deceptive to use the word "natura," "natural," "nature’s," or any word, term, or phrase of like meaning to describe, identify, or refer to a cultured or imitation pearl. It is unfair or deceptive to use the term "organic" to describe, identify, or refer to an imitation pearl, unless the term is qualified in such a way as to make clear that the product is not a natural or cultured pearl.
(f) It is unfair or deceptive to use the term "kultured," "semi-cultured pearl," "cultured-like," "part-cultured," "pre-mature cultured pearl," or any word, term, or phrase of like meaning to describe, identify, or refer to an imitation pearl.
(g) It is unfair or deceptive to use the term "South Sea pearl" unless it describes, identifies, or refers to a pearl that is taken from a salt water mollusk of the Pacific Ocean South Sea Islands, Australia, or Southeast Asia. It is unfair or deceptive to use the term "South Sea cultured pearl" unless it describes, identifies, or refers to a cultured pearl formed in a salt water mollusk of the Pacific Ocean South Sea Islands, Australia, or Southeast Asia.
(h) It is unfair or deceptive to use the term "Biwa cultured pearl" unless it describes, identifies, or refers to cultured pearls grown in fresh water mollusks in the lakes and rivers of Japan.
(i) It is unfair or deceptive to use the word "real," "genuine," "precious," or any word, term, or phrase of like meaning to describe, identify, or refer to any imitation pearl.
(j) It is unfair or deceptive to use the word "gem" to describe, identify, or refer to a pearl or cultured pearl that does not possess the beauty, symmetry, rarity, and value necessary for qualification as a gem.
Note to paragraph (j): Use of the word "gem" with respect to cultured pearls should be avoided since few cultured pearls possess the necessary qualifications to properly be termed "gems." Imitation pearls should not be described as "gems."
(k) It is unfair or deceptive to use the word "synthetic" or similar terms to describe cultured or imitation pearls.
(l) It is unfair or deceptive to use the terms "Japanese Pearls," "Chinese Pearls," "Mallorca Pearls," or any regional designation to describe, identify, or refer to any cultured or imitation pearl, unless the term is immediately preceded, with equal conspicuousness, by the word "cultured," "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is a cultured or imitation pearl.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.20 Misuse of terms such as "cultured pearl," "seed pearl," "Oriental pearl," "natura," "kultured," "real," "gem," "synthetic," and regional designations.
(a) It is unfair or deceptive to use the term "cultured pearl," "cultivated pearl," or any other word, term, or phrase of like meaning to describe, identify, or refer to any imitation pearl.
(b) It is unfair or deceptive to use the term "seed pearl" or any word, term, or phrase of like meaning to describe, identify, or refer to a cultured or an imitation pearl, without using the appropriate qualifying term "cultured" (e.g., "cultured seed pearl") or "simulated," "artificial," or "imitation" (e.g., "imitation seed pearl").
(c) It is unfair or deceptive to use the term "Oriental pearl" or any word, term, or phrase of like meaning to describe, identify, or refer to any industry product other than a pearl taken from a salt water mollusk and of the distinctive appearance and type of pearls obtained from mollusks inhabiting the Persian Gulf and recognized in the jewelry trade as Oriental pearls.
(d) It is unfair or deceptive to use the word "Oriental" to describe, identify, or refer to any cultured or imitation pearl.
(e) It is unfair or deceptive to use the word "natura," "natural," "nature’s," or any word, term, or phrase of like meaning to describe, identify, or refer to a cultured or imitation pearl. It is unfair or deceptive to use the term "organic" to describe, identify, or refer to an imitation pearl, unless the term is qualified in such a way as to make clear that the product is not a natural or cultured pearl.
(f) It is unfair or deceptive to use the term "kultured," "semi-cultured pearl," "cultured-like," "part-cultured," "pre-mature cultured pearl," or any word, term, or phrase of like meaning to describe, identify, or refer to an imitation pearl.
(g) It is unfair or deceptive to use the term "South Sea pearl" unless it describes, identifies, or refers to a pearl that is taken from a salt water mollusk of the Pacific Ocean South Sea Islands, Australia, or Southeast Asia. It is unfair or deceptive to use the term "South Sea cultured pearl" unless it describes, identifies, or refers to a cultured pearl formed in a salt water mollusk of the Pacific Ocean South Sea Islands, Australia, or Southeast Asia.
(h) It is unfair or deceptive to use the term "Biwa cultured pearl" unless it describes, identifies, or refers to cultured pearls grown in fresh water mollusks in the lakes and rivers of Japan.
(i) It is unfair or deceptive to use the word "real," "genuine," "precious," or any word, term, or phrase of like meaning to describe, identify, or refer to any imitation pearl.
(j) It is unfair or deceptive to use the word "gem" to describe, identify, or refer to a pearl or cultured pearl that does not possess the beauty, symmetry, rarity, and value necessary for qualification as a gem.
Note to paragraph (j): Use of the word "gem" with respect to cultured pearls should be avoided since few cultured pearls possess the necessary qualifications to properly be termed "gems." Imitation pearls should not be described as "gems."
(k) It is unfair or deceptive to use the word "synthetic" or similar terms to describe cultured or imitation pearls.
(l) It is unfair or deceptive to use the terms "Japanese Pearls," "Chinese Pearls," "Mallorca Pearls," or any regional designation to describe, identify, or refer to any cultured or imitation pearl, unless the term is immediately preceded, with equal conspicuousness, by the word "cultured," "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is a cultured or imitation pearl.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Chinese Jade Throughout The Ages
By Stanley Charles Nott
Charles E Tuttle Company
1962 ISBN 0-8048-0100-2
Charles E Tuttle Company writes:
Centuries before the Christian era Jade was valued in China as the purest and most divine of natural treasures, and it evoked a reverence accorded to no other material. It was chosen by the Chinese as the vehicle for communication with the unseen powers of the universe, as the emblem of imperial authority, and as a charm against evil influence. From the earliest times it appears to have been credited with medicinal properties. In its ritual character it was believed to have qualities of solar light and so to have relationship with the powers of heaven. Naturally it was thus appropriate as an attribute of the emperor. To the artist craftsman it appealed not only in its range of exquisite colors but also in his hardness, which to him was a symbol of eternity. He had the artistic impulse to master this hardness in such a way as to give the effect of natural fluency. The resulting creations have provided the inspiration for this book.
First published in 1936 and since then a collector’s item of increasing rarity, Chinese Jade Throughout The Ages comprises a review of the characteristics, decoration, folklore, and symbolism of this esteemed mineral that has always held a proud place among the gems of the world. The book presents a full descriptive account of the significance and meaning of the carvings produced in this prized stone by Chinese craftsmen from the earliest times, through the Chou and succeeding dynasties, down to the twentieth century. In the achievement of his task, the author has endeavored to embody the results of study that occupied his leisure moments over number of years: the study of an intriguing and beautiful art that for many centuries has been interwoven into the very life of the Chinese.
The text is illustrated with a magnificent series of more than 350 reproductions in color (39 plats), black and white (110 plates), and line (73 drawings) of choice pieces selected from the chief Asiatic, European, and American collections. Many of these pieces are displayed here for the first time. In addition, the book explains not only the wealth of symbolic designs used in the decoration of jade but also a large number of the marks and devices by which collectors identify the origin and the date of valued pieces.
Charles E Tuttle Company
1962 ISBN 0-8048-0100-2
Charles E Tuttle Company writes:
Centuries before the Christian era Jade was valued in China as the purest and most divine of natural treasures, and it evoked a reverence accorded to no other material. It was chosen by the Chinese as the vehicle for communication with the unseen powers of the universe, as the emblem of imperial authority, and as a charm against evil influence. From the earliest times it appears to have been credited with medicinal properties. In its ritual character it was believed to have qualities of solar light and so to have relationship with the powers of heaven. Naturally it was thus appropriate as an attribute of the emperor. To the artist craftsman it appealed not only in its range of exquisite colors but also in his hardness, which to him was a symbol of eternity. He had the artistic impulse to master this hardness in such a way as to give the effect of natural fluency. The resulting creations have provided the inspiration for this book.
First published in 1936 and since then a collector’s item of increasing rarity, Chinese Jade Throughout The Ages comprises a review of the characteristics, decoration, folklore, and symbolism of this esteemed mineral that has always held a proud place among the gems of the world. The book presents a full descriptive account of the significance and meaning of the carvings produced in this prized stone by Chinese craftsmen from the earliest times, through the Chou and succeeding dynasties, down to the twentieth century. In the achievement of his task, the author has endeavored to embody the results of study that occupied his leisure moments over number of years: the study of an intriguing and beautiful art that for many centuries has been interwoven into the very life of the Chinese.
The text is illustrated with a magnificent series of more than 350 reproductions in color (39 plats), black and white (110 plates), and line (73 drawings) of choice pieces selected from the chief Asiatic, European, and American collections. Many of these pieces are displayed here for the first time. In addition, the book explains not only the wealth of symbolic designs used in the decoration of jade but also a large number of the marks and devices by which collectors identify the origin and the date of valued pieces.
Tuesday, February 13, 2007
Gitanjali Partners With Tri-Star Worldwide
(via) National Jeweler Network writes:
Gitanjali USA Inc., a subsidiary of Gitanjali Gems Ltd., announced the purchase of a majority interest in Tri-Star Worldwide LLC, a BHP sightholder, CanadaMark licensee, manufacturer and global distributor of Canadia-brand diamonds and diamond jewelry.
"We are excited to have partnered with Gitanjali, the most vertically integrated diamond house in the world," Tri-Star Chief Executive Officer Oren Sofer said in a statement.
"Gitanjali has extensive global distribution channels. This will help Tri-Star to propel Canadia to new levels not only in our existing markets of North America and the United Kingdom, but also in the Indian and Middle Eastern markets where they have well-established retail networks."
More info @ http://www.nationaljewelernetwork.com/njn/content_display/diamonds/e3ica3d2cfe98b3521902f113461f115762
Gitanjali USA Inc., a subsidiary of Gitanjali Gems Ltd., announced the purchase of a majority interest in Tri-Star Worldwide LLC, a BHP sightholder, CanadaMark licensee, manufacturer and global distributor of Canadia-brand diamonds and diamond jewelry.
"We are excited to have partnered with Gitanjali, the most vertically integrated diamond house in the world," Tri-Star Chief Executive Officer Oren Sofer said in a statement.
"Gitanjali has extensive global distribution channels. This will help Tri-Star to propel Canadia to new levels not only in our existing markets of North America and the United Kingdom, but also in the Indian and Middle Eastern markets where they have well-established retail networks."
More info @ http://www.nationaljewelernetwork.com/njn/content_display/diamonds/e3ica3d2cfe98b3521902f113461f115762
Diamonds May Have A Future As A Commodity
Here is an interesting article about diamond being perceived as a commodity. It will be interesting to see what De Beers and the industry as a whole is going to do. In my view they don't like diamond being perceived as a commodity. The industry believes diamond is different from other precious stones and metals. But you will never know. Good luck to Martin Rapaport!
(via Market Watch) Myra P. Saefong writes:
What's at stake could be the first-ever futures market for diamond trading. It's impossible, say some industry experts. Others just say it's nearly impossible.
But after more than 20-years, Martin Rapaport, publisher of the Rapaport Diamond Report -- a primary source of diamond prices for the trade, plans to make his second attempt at creating one.
"Not only is it possible to create a futures market, but we are going to do it," he said.
Back in 1982, Rapaport submitted a contract proposal to the New York Commodities Exchange for the
creation of a futures market for diamonds.
It was rejected, he said, because the "diamond industry didn't want price transparency."
Now he's writing up a new proposal, one that he expects will be ready in another year or two, though he won't specify where he'll submit it.
Rapaport's biggest setback, however, may be that he has to first convince the diamond industry that diamonds are, in fact, a commodity.
Diamonds are "definitely a commodity. You buy and sell them for cash," he said. "They're a natural resource with limited supply; they're well defined; they're certified; they're analyzed, graded, tradable around the world."
More info @ http://www.marketwatch.com/news/story/diamonds-may-have-future-commodity/story.aspx?guid=%7b9376AEDE-CB8D-4101-AC8C-CF0015191A65
(via Market Watch) Myra P. Saefong writes:
What's at stake could be the first-ever futures market for diamond trading. It's impossible, say some industry experts. Others just say it's nearly impossible.
But after more than 20-years, Martin Rapaport, publisher of the Rapaport Diamond Report -- a primary source of diamond prices for the trade, plans to make his second attempt at creating one.
"Not only is it possible to create a futures market, but we are going to do it," he said.
Back in 1982, Rapaport submitted a contract proposal to the New York Commodities Exchange for the
creation of a futures market for diamonds.
It was rejected, he said, because the "diamond industry didn't want price transparency."
Now he's writing up a new proposal, one that he expects will be ready in another year or two, though he won't specify where he'll submit it.
Rapaport's biggest setback, however, may be that he has to first convince the diamond industry that diamonds are, in fact, a commodity.
Diamonds are "definitely a commodity. You buy and sell them for cash," he said. "They're a natural resource with limited supply; they're well defined; they're certified; they're analyzed, graded, tradable around the world."
More info @ http://www.marketwatch.com/news/story/diamonds-may-have-future-commodity/story.aspx?guid=%7b9376AEDE-CB8D-4101-AC8C-CF0015191A65
Two For The Money Movie
Memorable quote (s) from the movie:
Walter Abrams (Al Pacino): You're a lemon. Like a bad car. There is something... there is something inherently defective in you, and you, and you, and me, and all of us. We're all lemons. We look like everyone else, but what makes us different is our defect. See, most gamblers, when they go to gamble, they go to win. When we go to gamble, we go to lose. Subconsciously. Me, I never feel better than when they're raking the chips away; not bringing them in. And everyone here knows what I'm talking about. Hell, even when we win it's just a matter of time before we give it all back. But when we lose, that's another story. When we lose, and I'm talking about the kind of loss that makes your asshole pucker to the size of a decimal point - you know what I mean - You've just recreated the worst possible nightmare this side of malignant cancer, for the twentieth goddamn time; and you're standing there and you suddenly realize, Hey, I'm still... here. I'm still breathing. I'm still alive. Us lemons, we fuck shit up all the time on purpose. Because we constantly need to remind ourselves we're alive. Gambling's not your problem. It's this fucked up need to feel something. To convince yourself you exist. That's the problem.
Walter Abrams (Al Pacino): You're a lemon. Like a bad car. There is something... there is something inherently defective in you, and you, and you, and me, and all of us. We're all lemons. We look like everyone else, but what makes us different is our defect. See, most gamblers, when they go to gamble, they go to win. When we go to gamble, we go to lose. Subconsciously. Me, I never feel better than when they're raking the chips away; not bringing them in. And everyone here knows what I'm talking about. Hell, even when we win it's just a matter of time before we give it all back. But when we lose, that's another story. When we lose, and I'm talking about the kind of loss that makes your asshole pucker to the size of a decimal point - you know what I mean - You've just recreated the worst possible nightmare this side of malignant cancer, for the twentieth goddamn time; and you're standing there and you suddenly realize, Hey, I'm still... here. I'm still breathing. I'm still alive. Us lemons, we fuck shit up all the time on purpose. Because we constantly need to remind ourselves we're alive. Gambling's not your problem. It's this fucked up need to feel something. To convince yourself you exist. That's the problem.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.19 Misuse of the word "pearl."
(a) It is unfair or deceptive to use the unqualified word "pearl" or any other word or phrase of like meaning to describe, identify, or refer to any object or product that is not in fact a pearl, as defined in 23.18(a).
(b) It is unfair or deceptive to use the word "pearl" to describe, identify, or refer to a cultured pearl unless it is immediately preceded, with equal conspicuousness, by the word "cultured" or "cultivated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
(c) It is unfair or deceptive to use the word "pearl" to describe, identify, or refer to an imitation pearl unless it is immediately preceded, with equal conspicuousness, by the word "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
(d) It is unfair or deceptive to use the terms "faux pearl," "fashion pearl," "Mother of Pearl," or any other such term to describe or qualify an imitation pearl product unless it is immediately preceded, with equal conspicuousness, by the word "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.19 Misuse of the word "pearl."
(a) It is unfair or deceptive to use the unqualified word "pearl" or any other word or phrase of like meaning to describe, identify, or refer to any object or product that is not in fact a pearl, as defined in 23.18(a).
(b) It is unfair or deceptive to use the word "pearl" to describe, identify, or refer to a cultured pearl unless it is immediately preceded, with equal conspicuousness, by the word "cultured" or "cultivated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
(c) It is unfair or deceptive to use the word "pearl" to describe, identify, or refer to an imitation pearl unless it is immediately preceded, with equal conspicuousness, by the word "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
(d) It is unfair or deceptive to use the terms "faux pearl," "fashion pearl," "Mother of Pearl," or any other such term to describe or qualify an imitation pearl product unless it is immediately preceded, with equal conspicuousness, by the word "artificial," "imitation," or "simulated," or by some other word or phrase of like meaning, so as to indicate definitely and clearly that the product is not a pearl.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Travels In India
By Jean Baptiste Tavernier
Baron of Aubonne
Translated from the original French edition of 1676 with a biographical sketch of the Author, Notes, and Appendices, &c.
By V Ball
Edited by William Crooke
Oriental Books Reprint Corporation, New Delhi, India
1977
Oriental Books Reprint Corporation writes:
Jean Baptiste Tavernier’s Travels in India contains the details of his journeys that he undertook traversing the greater part of this country. Rightly considered as one of the most renowned travelers of the seventeenth century, his Travels, like those of other European travelers, are in important source book for the history of India of the seventeenth century.
An avid traveler, Tavernier undertook seven voyages to the East of which six brought him to India including Ceylon and South East Asia between the years 1641 and 1667 and is thus an important source material for the history of Mughal India and Deccan Sultanates. A jeweler by profession, he also undertook journeys to various mines and other sources of precious stones.
The present volume of Tavernier’s Travels In India has been translated by Valentine Ball and the present edition has been edited by William Crooke.
A detailed life sketch of Tavernier apart, this edition also contains a detailed Bibliography, Notes on Tavernier’s History and Geography, six Appendices in which are respectively discussed the Koh-i-nur, list of diamond mines in India, the diamond mines of Bengal, the diamond mines of Boraeo, the ruby mines of Burma and the Sapphire of Washings of Ceylon and two early works by foreign travelers, and a detailed Index and Glossary.
An important source book, Travels in India is an indispensable work for all those interested in various facets of life during the times of the Mughals.
Baron of Aubonne
Translated from the original French edition of 1676 with a biographical sketch of the Author, Notes, and Appendices, &c.
By V Ball
Edited by William Crooke
Oriental Books Reprint Corporation, New Delhi, India
1977
Oriental Books Reprint Corporation writes:
Jean Baptiste Tavernier’s Travels in India contains the details of his journeys that he undertook traversing the greater part of this country. Rightly considered as one of the most renowned travelers of the seventeenth century, his Travels, like those of other European travelers, are in important source book for the history of India of the seventeenth century.
An avid traveler, Tavernier undertook seven voyages to the East of which six brought him to India including Ceylon and South East Asia between the years 1641 and 1667 and is thus an important source material for the history of Mughal India and Deccan Sultanates. A jeweler by profession, he also undertook journeys to various mines and other sources of precious stones.
The present volume of Tavernier’s Travels In India has been translated by Valentine Ball and the present edition has been edited by William Crooke.
A detailed life sketch of Tavernier apart, this edition also contains a detailed Bibliography, Notes on Tavernier’s History and Geography, six Appendices in which are respectively discussed the Koh-i-nur, list of diamond mines in India, the diamond mines of Bengal, the diamond mines of Boraeo, the ruby mines of Burma and the Sapphire of Washings of Ceylon and two early works by foreign travelers, and a detailed Index and Glossary.
An important source book, Travels in India is an indispensable work for all those interested in various facets of life during the times of the Mughals.
Monday, February 12, 2007
On Investing
Robert Klein (comedian) writes:
"In the book of things people more often do wrong than right, investing must certainly top the list, followed closely by wallpapering and eating artichokes."
"In the book of things people more often do wrong than right, investing must certainly top the list, followed closely by wallpapering and eating artichokes."
The Apartment Movie
A memorable quote from the movie:
C.C. Baxter (Jack Lemmon): On November 1st, 1959, the population of New York City was 8,042,783. If you laid all these people end to end, figuring an average height of five feet six and a half inches, they would reach from Times Square to the outskirts of Karachi, Pakistan. I know facts like this because I work for an insurance company - Consolidated Life of New York. We're one of the top five companies in the country. Our home office has 31,259 employees, which is more than the entire population of uhh... Natchez, Mississippi. I work on the 19th floor. Ordinary Policy Department, Premium Accounting Division, Section W, desk number 861.
C.C. Baxter (Jack Lemmon): On November 1st, 1959, the population of New York City was 8,042,783. If you laid all these people end to end, figuring an average height of five feet six and a half inches, they would reach from Times Square to the outskirts of Karachi, Pakistan. I know facts like this because I work for an insurance company - Consolidated Life of New York. We're one of the top five companies in the country. Our home office has 31,259 employees, which is more than the entire population of uhh... Natchez, Mississippi. I work on the 19th floor. Ordinary Policy Department, Premium Accounting Division, Section W, desk number 861.
Chameleon Diamonds
What is Chameleon diamond?
Sometimes colored gemstones tend to show certain phenomenal effects when properly cut. Well informed buyers are familiar with the phenomenal effects in corundum (stars), chrysoberyl (cat's eye), alexandrite (color change), opal (play of color), sunstone (aventurescence), labradorite (labradorescence), moonstone (schiller) and aventurine quartz (aventurescence). The optical effects are due to inclusions, reflection, twinning, selective absorption or diffraction.
But there is an unusual phenomenon in diamond known in the trade as ‘chameleons’. In nature, chameleons are large lizards that are well-known for their ability to change their body color, a unique physical and physiological condition due to their mood, light and temperature, where the skin color plays an important role in adapting to the surroundings, communication among the species or rivalry fights. You may see a similar chameleon-like phenomenon in natural green diamond. The suitable natural green (grayish yellow green) diamonds react to heat and change color temporarily, becoming yellow (greenish orangish yellow), and then reverts to its stable color. When you have a large stone with the unique phenomenon, the color shift becomes easier to perceive and describe, especially if you have a comparison stone. Chameleon-like diamonds are perceived to be one of the great mysteries of the diamond world. There are various
interpretations by gem experts on the cause and effect, and most specimens are sold with lab reports. Overall it is still not known as to why these diamonds change from deep green to yellow when heated or left in darkness.
The chameleon-like diamonds are rare, and not well understood by the public, dealers and jewelers due to lack of awareness or education. One has to wonder how many chameleon-like diamonds may have slipped through a dealer’s hand due to lack of knowledge. How many jewelers have ever seen a chameleon-like diamond? Very few. Collectors who are familiar with the chameleon-like effect in diamonds often pay high premiums for large stones at international auctions. Because of its celebrity status and stunning look, imaginative designers have recognized the potential by designing chameleon-like diamonds in one-of-a-kind jewelry to create a masterpiece.
Australia’s Argyle diamond mine, famous for its fancy color diamonds also produces chameleon-like diamonds. The stones are recognized by their blue violet gray or gray yellow green color. One interpretation by the experts is that the color may be due to high hydrogen content. Experiments have been conducted in the laboratory by heating and observation to study its unusual properties. The catch-22 is heating an enhanced diamond may result in permanent modification of color. Sophisticated analytical techniques with proper skills in interpreting the test results may be required to separate chameleon-like diamonds from another type of green diamond. If in doubt always consult a reputed gem testing laboratory.
Sometimes colored gemstones tend to show certain phenomenal effects when properly cut. Well informed buyers are familiar with the phenomenal effects in corundum (stars), chrysoberyl (cat's eye), alexandrite (color change), opal (play of color), sunstone (aventurescence), labradorite (labradorescence), moonstone (schiller) and aventurine quartz (aventurescence). The optical effects are due to inclusions, reflection, twinning, selective absorption or diffraction.
But there is an unusual phenomenon in diamond known in the trade as ‘chameleons’. In nature, chameleons are large lizards that are well-known for their ability to change their body color, a unique physical and physiological condition due to their mood, light and temperature, where the skin color plays an important role in adapting to the surroundings, communication among the species or rivalry fights. You may see a similar chameleon-like phenomenon in natural green diamond. The suitable natural green (grayish yellow green) diamonds react to heat and change color temporarily, becoming yellow (greenish orangish yellow), and then reverts to its stable color. When you have a large stone with the unique phenomenon, the color shift becomes easier to perceive and describe, especially if you have a comparison stone. Chameleon-like diamonds are perceived to be one of the great mysteries of the diamond world. There are various
interpretations by gem experts on the cause and effect, and most specimens are sold with lab reports. Overall it is still not known as to why these diamonds change from deep green to yellow when heated or left in darkness.
The chameleon-like diamonds are rare, and not well understood by the public, dealers and jewelers due to lack of awareness or education. One has to wonder how many chameleon-like diamonds may have slipped through a dealer’s hand due to lack of knowledge. How many jewelers have ever seen a chameleon-like diamond? Very few. Collectors who are familiar with the chameleon-like effect in diamonds often pay high premiums for large stones at international auctions. Because of its celebrity status and stunning look, imaginative designers have recognized the potential by designing chameleon-like diamonds in one-of-a-kind jewelry to create a masterpiece.
Australia’s Argyle diamond mine, famous for its fancy color diamonds also produces chameleon-like diamonds. The stones are recognized by their blue violet gray or gray yellow green color. One interpretation by the experts is that the color may be due to high hydrogen content. Experiments have been conducted in the laboratory by heating and observation to study its unusual properties. The catch-22 is heating an enhanced diamond may result in permanent modification of color. Sophisticated analytical techniques with proper skills in interpreting the test results may be required to separate chameleon-like diamonds from another type of green diamond. If in doubt always consult a reputed gem testing laboratory.
A Miner Finds 143 carat Diamond In Congo
It has been reported that Amos Maseko, a poor miner has found 143 carat diamond in a river near Banalia, 129 km north of Kisangani, in The Democratic Republic of Congo, and sold it for US$1.4 million.
Kisangani is a popular source for alluvial diamonds, where one to three carat size diamonds are usually found. Most of Congo’s diamond reserves are located in the Kasai provinces over 600 km south west of Kisangani. In addition to diamonds, The Democratic Republic of Congo is also known to have ample reserves of gold, silver copper and cobalt.
Kisangani is a popular source for alluvial diamonds, where one to three carat size diamonds are usually found. Most of Congo’s diamond reserves are located in the Kasai provinces over 600 km south west of Kisangani. In addition to diamonds, The Democratic Republic of Congo is also known to have ample reserves of gold, silver copper and cobalt.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.18 Definitions of various pearls.
As used in these guides, the terms set forth below have the following meanings:
(a) Pearl: A calcareous concretion consisting essentially of alternating concentric layers of carbonate of lime and organic material formed within the body of certain mollusks, the result of an abnormal secretory process caused by an irritation of the mantle of the mollusk following the intrusion of some foreign body inside the shell of the mollusk, or due to some abnormal physiological condition in the mollusk, neither of which has in any way been caused or induced by humans.
(b) Cultured Pearl: The composite product created when a nucleus (usually a sphere of calcareous mollusk shell) planted by humans inside the shell or in the mantle of a mollusk is coated with nacre by the mollusk.
(c) Imitation Pearl: A manufactured product composed of any material or materials that simulate in appearance a pearl or cultured pearl.
(d) Seed Pearl: A small pearl, as defined in (a), that measures approximately two millimeters or less.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.18 Definitions of various pearls.
As used in these guides, the terms set forth below have the following meanings:
(a) Pearl: A calcareous concretion consisting essentially of alternating concentric layers of carbonate of lime and organic material formed within the body of certain mollusks, the result of an abnormal secretory process caused by an irritation of the mantle of the mollusk following the intrusion of some foreign body inside the shell of the mollusk, or due to some abnormal physiological condition in the mollusk, neither of which has in any way been caused or induced by humans.
(b) Cultured Pearl: The composite product created when a nucleus (usually a sphere of calcareous mollusk shell) planted by humans inside the shell or in the mantle of a mollusk is coated with nacre by the mollusk.
(c) Imitation Pearl: A manufactured product composed of any material or materials that simulate in appearance a pearl or cultured pearl.
(d) Seed Pearl: A small pearl, as defined in (a), that measures approximately two millimeters or less.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
The Color Handbook
By E P Danger
Gower Technical Press
1987 ISBN 0-291-39717-4
Gower Technical Press writes:
In commercial situations, choice of color should never be simply a matter of preference. Choosing the right colors for the right applications directly affects performance in the marketplace. Color can also influence productivity.
The Color Handbook is a permanent and unique handbook for all those concerned with the marketing, selling and productivity aspects of color. There is no other source of reference which covers the same breadth of field, or which contains so much invaluable information in such a succinct form.
Author Eric P Danger draws on the experience and knowledge gained over nearly 30 years as a leading Color Research consultant. Here, in readily accessible terms, he explains the many attributes and characteristics of color, and its importance in the marketplace and the work environment. It is essential reading for those seeking a practical basis for choosing colors which will help achieve maximum sales and provide the best possible conditions in the workplace.
The Color Handbook includes a guide to color principles, color selection techniques, color usage and color trends as they apply to consumer and industrial products, graphical applications, productive and selling environments. A particularly useful section is the comprehensive Color Index, subdivided by hue and analyzed under nearly 100 different headings.
Managers who are responsible for the selection of color in selling applications will find this book extremely useful. It is also intended to help those who are concerned with choice of color as it relates to the likes and dislikes of customers and clients. Advertising agents, architects, designers, interior decorators and decorating contractors and retailers will all find much that is of value to their business within these pages.
It aims to supply answers to the questions that arise in the course of everyday work involving color, giving the user the knowledge and confidence to make the right decisions.
About the author
Eric P Danger has been an independent color research consultant since 1975. He has written numerous reports and articles for the trade and technical press on various aspects of color and marketing. He is also the author of two further titles in this field, Selecting Color for Print and Selecting Color for Packaging.
Gower Technical Press
1987 ISBN 0-291-39717-4
Gower Technical Press writes:
In commercial situations, choice of color should never be simply a matter of preference. Choosing the right colors for the right applications directly affects performance in the marketplace. Color can also influence productivity.
The Color Handbook is a permanent and unique handbook for all those concerned with the marketing, selling and productivity aspects of color. There is no other source of reference which covers the same breadth of field, or which contains so much invaluable information in such a succinct form.
Author Eric P Danger draws on the experience and knowledge gained over nearly 30 years as a leading Color Research consultant. Here, in readily accessible terms, he explains the many attributes and characteristics of color, and its importance in the marketplace and the work environment. It is essential reading for those seeking a practical basis for choosing colors which will help achieve maximum sales and provide the best possible conditions in the workplace.
The Color Handbook includes a guide to color principles, color selection techniques, color usage and color trends as they apply to consumer and industrial products, graphical applications, productive and selling environments. A particularly useful section is the comprehensive Color Index, subdivided by hue and analyzed under nearly 100 different headings.
Managers who are responsible for the selection of color in selling applications will find this book extremely useful. It is also intended to help those who are concerned with choice of color as it relates to the likes and dislikes of customers and clients. Advertising agents, architects, designers, interior decorators and decorating contractors and retailers will all find much that is of value to their business within these pages.
It aims to supply answers to the questions that arise in the course of everyday work involving color, giving the user the knowledge and confidence to make the right decisions.
About the author
Eric P Danger has been an independent color research consultant since 1975. He has written numerous reports and articles for the trade and technical press on various aspects of color and marketing. He is also the author of two further titles in this field, Selecting Color for Print and Selecting Color for Packaging.
Sunday, February 11, 2007
Argyle Pink Diamond Tender
The diamonds selected for the annual Argyle Pink Diamond Tender are one-of-a-kind lot and are extremely rare. In 2006, out of 30 millions +/- carats produced by the Argyle mine only 65 stones met the Tender standards. The Tender collection included 65 natural pink and blue diamonds weighing approximately 61.43 carats. The diamonds are processed by skilled diamond cutters at the Argyle’s polishing factory in Perth.
Once a year, Argyle’s diamond marketing team issue special release on pink diamonds that are sold by special bids by invitation only. Argyle has sold pink diamonds for up to $1 million a carat. The Argyle pink diamond color ranges from various shades of pink to intense purplish red. The value is based on the intensity of color. The top quality stones are faceted into round, marquise, oval, or pear to improve the over all life and natural beauty. Demand for Argyle’s fancy pink diamonds are extremely high and collectors from around the world pay hefty premiums to buy them.
Once a year, Argyle’s diamond marketing team issue special release on pink diamonds that are sold by special bids by invitation only. Argyle has sold pink diamonds for up to $1 million a carat. The Argyle pink diamond color ranges from various shades of pink to intense purplish red. The value is based on the intensity of color. The top quality stones are faceted into round, marquise, oval, or pear to improve the over all life and natural beauty. Demand for Argyle’s fancy pink diamonds are extremely high and collectors from around the world pay hefty premiums to buy them.
The GodFather Movie
Memorable quote (s) from the movie:
Don Corleone (Marlon Brando): I never wanted this for you. I work my whole life - I don't apologize - to take care of my family, and I refused to be a fool, dancing on the string held by all those bigshots. I don't apologize - that's my life - but I thought that, that when it was your time, that you would be the one to hold the string. Senator Corleone; Governor Corleone. Well, it wasn't enough time, Michael. It wasn't enough time.
Michael (Al Pacino): We'll get there, pop. We'll get there.
Don Corleone (Marlon Brando): I never wanted this for you. I work my whole life - I don't apologize - to take care of my family, and I refused to be a fool, dancing on the string held by all those bigshots. I don't apologize - that's my life - but I thought that, that when it was your time, that you would be the one to hold the string. Senator Corleone; Governor Corleone. Well, it wasn't enough time, Michael. It wasn't enough time.
Michael (Al Pacino): We'll get there, pop. We'll get there.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.17 Misrepresentation of weight and "total weight."
(a) It is unfair or deceptive to misrepresent the weight of a diamond.
(b) It is unfair or deceptive to use the word "point" or any abbreviation in any representation, advertising, marking, or labeling to describe the weight of a diamond, unless the weight is also stated as decimal parts of a carat (e.g., 25 points or .25 carat).
Note 1 to paragraph (b): A carat is a standard unit of weight for a diamond and is equivalent to 200 milligrams (1/5 gram). A point is one one hundredth (1/100) of a carat.
(c) If diamond weight is stated as decimal parts of a carat (e.g., .47 carat), the stated figure should be accurate to the last decimal place. If diamond weight is stated to only one decimal place (e.g., .5 carat), the stated figure should be accurate to the second decimal place (e.g., ".5 carat" could represent a diamond weight between .495-.504).
(d) If diamond weight is stated as fractional parts of a carat, a conspicuous disclosure of the fact that the diamond weight is not exact should be made in close proximity to the fractional representation and a disclosure of a reasonable range of weight for each fraction (or the weight tolerance being used) should also be made.
Note to paragraph (d): When fractional representations of diamond weight are made, as described in paragraph d of this section, in catalogs or other printed materials, the disclosure of the fact that the actual diamond weight is within a specified range should be made conspicuously on every page where a fractional representation is made. Such disclosure may refer to a chart or other detailed explanation of the actual ranges used. For example, "Diamond weights are not exact; see chart on p.X for ranges."
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.17 Misrepresentation of weight and "total weight."
(a) It is unfair or deceptive to misrepresent the weight of a diamond.
(b) It is unfair or deceptive to use the word "point" or any abbreviation in any representation, advertising, marking, or labeling to describe the weight of a diamond, unless the weight is also stated as decimal parts of a carat (e.g., 25 points or .25 carat).
Note 1 to paragraph (b): A carat is a standard unit of weight for a diamond and is equivalent to 200 milligrams (1/5 gram). A point is one one hundredth (1/100) of a carat.
(c) If diamond weight is stated as decimal parts of a carat (e.g., .47 carat), the stated figure should be accurate to the last decimal place. If diamond weight is stated to only one decimal place (e.g., .5 carat), the stated figure should be accurate to the second decimal place (e.g., ".5 carat" could represent a diamond weight between .495-.504).
(d) If diamond weight is stated as fractional parts of a carat, a conspicuous disclosure of the fact that the diamond weight is not exact should be made in close proximity to the fractional representation and a disclosure of a reasonable range of weight for each fraction (or the weight tolerance being used) should also be made.
Note to paragraph (d): When fractional representations of diamond weight are made, as described in paragraph d of this section, in catalogs or other printed materials, the disclosure of the fact that the actual diamond weight is within a specified range should be made conspicuously on every page where a fractional representation is made. Such disclosure may refer to a chart or other detailed explanation of the actual ranges used. For example, "Diamond weights are not exact; see chart on p.X for ranges."
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Principles Of Color Technology
By Fred W Billmeyer, Jr & Max Saltzman
John Wiley & Sons
1981 ISBN 0-471-03052-X
John Wiley & Sons writes:
In the fifteen years since the first edition of Principles of Color Technology, basic theory has remained the same, but in many cases practice has become considerably more automated. The second edition of this standard work covers all the major advances in color applied to the use of colorants in the industrial and creative production of colored material.
Billmeyer and Saltzman have substantially realigned their emphases in accordance with these new developments, including coverage of:
- Metamerism
- Non-color problems—quality control, techniques of sampling and sample preparation, and applications of simple statistics.
- Methods for instrument selection.
Fundamentals—the role of light, descriptions of color in objective, numerical terms, and practical industrial applications of color technology—are covered in the same methodical manner that has made Principles of Color Technology such an important information source for both industry and academics. Current updated material and a refinement of the general presentation make this second edition even more indispensable to the world of color technology.
John Wiley & Sons
1981 ISBN 0-471-03052-X
John Wiley & Sons writes:
In the fifteen years since the first edition of Principles of Color Technology, basic theory has remained the same, but in many cases practice has become considerably more automated. The second edition of this standard work covers all the major advances in color applied to the use of colorants in the industrial and creative production of colored material.
Billmeyer and Saltzman have substantially realigned their emphases in accordance with these new developments, including coverage of:
- Metamerism
- Non-color problems—quality control, techniques of sampling and sample preparation, and applications of simple statistics.
- Methods for instrument selection.
Fundamentals—the role of light, descriptions of color in objective, numerical terms, and practical industrial applications of color technology—are covered in the same methodical manner that has made Principles of Color Technology such an important information source for both industry and academics. Current updated material and a refinement of the general presentation make this second edition even more indispensable to the world of color technology.
The Slovak Opal
Dr Luigi Constantini, geologist and gemologist with the International Gemological Institute Italy, has written The Slovak Opal: A Rediscovery of the Queen of Gems for Gem Lovers and Tourists.
The book describes the historical as well as mineralogical and gemological aspect of Slovak opal. The book also explains the classification of Slovak opal, quality grading with glossary and index for quick reference.
The book is available @ www.e-igi.com/estore
The book describes the historical as well as mineralogical and gemological aspect of Slovak opal. The book also explains the classification of Slovak opal, quality grading with glossary and index for quick reference.
The book is available @ www.e-igi.com/estore
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.16 Misuse of the words "brilliant" and "full cut."
It is unfair or deceptive to use the unqualified expressions "brilliant," "brilliant cut," or "full cut" to describe, identify, or refer to any diamond except a round diamond that has at least thirty-two (32) facets plus the table above the girdle and at least twenty-four (24) facets below.
Note to 23.16: Such terms should not be applied to single or rose-cut diamonds. They may be applied to emerald-(rectangular) cut, pear-shaped, heart-shaped, oval-shaped, and marquise-(pointed oval) cut diamonds meeting the above-stated facet requirements when, in immediate conjunction with the term used, the form of the diamond is disclosed.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.16 Misuse of the words "brilliant" and "full cut."
It is unfair or deceptive to use the unqualified expressions "brilliant," "brilliant cut," or "full cut" to describe, identify, or refer to any diamond except a round diamond that has at least thirty-two (32) facets plus the table above the girdle and at least twenty-four (24) facets below.
Note to 23.16: Such terms should not be applied to single or rose-cut diamonds. They may be applied to emerald-(rectangular) cut, pear-shaped, heart-shaped, oval-shaped, and marquise-(pointed oval) cut diamonds meeting the above-stated facet requirements when, in immediate conjunction with the term used, the form of the diamond is disclosed.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Gemstones And Their Origins
By Peter C Keller
Van Nostrand Reinhold
1990 ISBN 0-442-31945-2
Van Nostrand Reinhold writes:
The closest most people ever come to experiencing gemstones at their source is at the jeweler’s case. This book takes you to many of their classic sources: the rich alluvial deposits of Sri Lanka, where precious stones lie exposed on gravel riverbeds; to Chantaburi-Trat, Thailand, where rubies are brought to the earth’s surface embedded in volcanic magma; to the black emerald-bearing veins of Muzo, Colombia; to the source of Australia’s Argyle diamond deposit—the most productive in the world, yet undiscovered until 1980.
Gemstones and Their Origins is the first major work devoted to the origins of precious stones: how they form, where they are found, and how they are recovered. Rigorous in scientific detail and lavish in illustrations, it explores the major geological processes responsible for the formation of gem deposits and then examines, on location, nine classic gem deposits from around the globe.
Peter C Keller takes you on a geologist’s tour of the world’s most famous and geologically significant gem deposits. Keller traces the origin of gems at each of four principle gem forming sources. First, we view the development of gemstones deposited by water on the earth’s surface. Here we encounter the gem gravels of Sri Lanka, opal deposits of Australia, and ruby and zircon from Indochina.
Next, we explore gemstones formed by molten rock—the hydrothermal emerald deposits of Colombia, the pegmatites of Minas Gerais, Brazil, and the rubies of Chantaburi-Trat in Thailand, brought to the earth’s surface in volcanic flows. As we go deeper into the earth’s crust, we encounter the world famous ruby deposits of Mogok, Burma, and jade deposits of northern Burma, one of few known examples of high pressure regional metamorphism.
Our descent into the earth’s crust ends some 100 miles below the earth’s surface. Here, in conditions of super high pressure and temperature, peridot and diamond form. Examples from the classic peridot of Zabargad and the recently discovered diamonds at Argyle in Western Australia are examined.
Along the way, Peter Keller documents this geological field trip with the outstanding photographs of Harold and Erica Van Pelt, renowned as the leading photographers of gems and mineral specimens in the world today. More than 100 stunning color photographs depict rough and cut stones and the often primitive places where they are mined. Useful maps, some in color, and an exhaustive bibliography make this the definitive reference work on the subject for gemologists and geologists, collectors and dealers, students and gem lovers.
Van Nostrand Reinhold
1990 ISBN 0-442-31945-2
Van Nostrand Reinhold writes:
The closest most people ever come to experiencing gemstones at their source is at the jeweler’s case. This book takes you to many of their classic sources: the rich alluvial deposits of Sri Lanka, where precious stones lie exposed on gravel riverbeds; to Chantaburi-Trat, Thailand, where rubies are brought to the earth’s surface embedded in volcanic magma; to the black emerald-bearing veins of Muzo, Colombia; to the source of Australia’s Argyle diamond deposit—the most productive in the world, yet undiscovered until 1980.
Gemstones and Their Origins is the first major work devoted to the origins of precious stones: how they form, where they are found, and how they are recovered. Rigorous in scientific detail and lavish in illustrations, it explores the major geological processes responsible for the formation of gem deposits and then examines, on location, nine classic gem deposits from around the globe.
Peter C Keller takes you on a geologist’s tour of the world’s most famous and geologically significant gem deposits. Keller traces the origin of gems at each of four principle gem forming sources. First, we view the development of gemstones deposited by water on the earth’s surface. Here we encounter the gem gravels of Sri Lanka, opal deposits of Australia, and ruby and zircon from Indochina.
Next, we explore gemstones formed by molten rock—the hydrothermal emerald deposits of Colombia, the pegmatites of Minas Gerais, Brazil, and the rubies of Chantaburi-Trat in Thailand, brought to the earth’s surface in volcanic flows. As we go deeper into the earth’s crust, we encounter the world famous ruby deposits of Mogok, Burma, and jade deposits of northern Burma, one of few known examples of high pressure regional metamorphism.
Our descent into the earth’s crust ends some 100 miles below the earth’s surface. Here, in conditions of super high pressure and temperature, peridot and diamond form. Examples from the classic peridot of Zabargad and the recently discovered diamonds at Argyle in Western Australia are examined.
Along the way, Peter Keller documents this geological field trip with the outstanding photographs of Harold and Erica Van Pelt, renowned as the leading photographers of gems and mineral specimens in the world today. More than 100 stunning color photographs depict rough and cut stones and the often primitive places where they are mined. Useful maps, some in color, and an exhaustive bibliography make this the definitive reference work on the subject for gemologists and geologists, collectors and dealers, students and gem lovers.
Saturday, February 10, 2007
Consumption Level Goes North As India Shines
(via Times News Network) Rajesh Shukla & Preeti Kakar writes:
The Indian economy has ushered in a new era, wherein the country’s per capita income growth in recent years has outperformed that of the other major Asian economies. However, the gains of prosperity have been distributed unevenly. The paradox of plenty amid poverty ceases to lift. For instance, per capita income in the richest state of the country is about five times that of the poorest.
India’s economic diversity matches its social diversity and this engenders a wide spectrum of consumers in terms of their income levels and spending behaviour. What is noteworthy here is that the diversity is not only visible in the spending behaviour of people with different levels of income but also with the same level of income. This is because income levels by themselves do not reveal much about market behaviour and purchasing power.
More info @ http://economictimes.indiatimes.com/articleshow/1581481.cms
The Indian economy has ushered in a new era, wherein the country’s per capita income growth in recent years has outperformed that of the other major Asian economies. However, the gains of prosperity have been distributed unevenly. The paradox of plenty amid poverty ceases to lift. For instance, per capita income in the richest state of the country is about five times that of the poorest.
India’s economic diversity matches its social diversity and this engenders a wide spectrum of consumers in terms of their income levels and spending behaviour. What is noteworthy here is that the diversity is not only visible in the spending behaviour of people with different levels of income but also with the same level of income. This is because income levels by themselves do not reveal much about market behaviour and purchasing power.
More info @ http://economictimes.indiatimes.com/articleshow/1581481.cms
Friday, February 09, 2007
Garnet And Glass Doublet
A garnet and glass doublet, also known as garnet-topped doublet (GTD) consists of a thin cap of almandine garnet fused to a piece of colored glass imitating a gem. The doublet was popular in the 18th and 19th century, and may still turn up in antique jewelry today.
The reason for constructing this type of doublet is to increase the surface luster on the table of a gemstone. For those who are unaware may think the stone is valuable, but it is easily detectable by the following means.
- The first step is to clean and examine the stone. Visual observation provides you with the chance to examine and classify all aspects of the physical appearance of the gem.
- Check the refractive index. Refractive index of the table will be that of almandine (1.76 or above).
- Refractive index of any pavilion facet will be within the glass range (1.50 - 1.70).
- Use the microscope. The luster difference between garnet top and the glass will become obvious.
- Do the red-ring test by placing the garnet-topped doublet face down on a white background. You will see a faint red ring inside the girdle outline representing the boundary of the garnet cap.
- Immersion technique. When you immerse the stone in a suitable liquid, you are able to see any color difference between the two materials.
- Fluorescence. This is a complimentary test. View the gem parallel to the girdle plane under long wave and short wave ultraviolet light. Garnet will show inert reaction, while glass may show chalky fluorescence.
The reason for constructing this type of doublet is to increase the surface luster on the table of a gemstone. For those who are unaware may think the stone is valuable, but it is easily detectable by the following means.
- The first step is to clean and examine the stone. Visual observation provides you with the chance to examine and classify all aspects of the physical appearance of the gem.
- Check the refractive index. Refractive index of the table will be that of almandine (1.76 or above).
- Refractive index of any pavilion facet will be within the glass range (1.50 - 1.70).
- Use the microscope. The luster difference between garnet top and the glass will become obvious.
- Do the red-ring test by placing the garnet-topped doublet face down on a white background. You will see a faint red ring inside the girdle outline representing the boundary of the garnet cap.
- Immersion technique. When you immerse the stone in a suitable liquid, you are able to see any color difference between the two materials.
- Fluorescence. This is a complimentary test. View the gem parallel to the girdle plane under long wave and short wave ultraviolet light. Garnet will show inert reaction, while glass may show chalky fluorescence.
Gems And Gem Art
Programa Royal Collections Group writes:
Gazing at the world’s biggest topaz, enjoying the rare sight of a gem embedded in a meteorite or marvelling at centuries-old sculptures made from precious stones are all culturally enriching experiences for people from all walks of life.
But the aim of PRC (Programa Royal Collection) is not only to exhibit unique collections but also to convert these experiences into a discovering and learning process that goes well beyond mere passive observation. This twofold experience of enjoying and learning in tandem is the keynote idea of our exhibition philosophy.
In the case of the gem exhibitions, for example, the precious stones are accompanied with educational display cases containing such exhibits as gemmological maps, uncut gems, laboratory material, polishing and cutting equipment, etc., all designed to raise public awareness of gems and gem art. These display cases are backed up by a wealth of informative material in different languages and with different levels of specialisation: posters for display cases, information panels, photographs, fact files, brochures, catalogues, etc. Visitors are thus enabled to discover numerous aspects of the world of gems, such as their formation, mining, physical characteristics (hardness, optical effects, cleavage...), cutting, authentication, what makes a synthetic gem different from a false gem and many other fascinating facts and snippets.
More info @ http://www.royalcollections.es/ingles/queofreceprc/interesdidactico/interesdidactico.htm
Gazing at the world’s biggest topaz, enjoying the rare sight of a gem embedded in a meteorite or marvelling at centuries-old sculptures made from precious stones are all culturally enriching experiences for people from all walks of life.
But the aim of PRC (Programa Royal Collection) is not only to exhibit unique collections but also to convert these experiences into a discovering and learning process that goes well beyond mere passive observation. This twofold experience of enjoying and learning in tandem is the keynote idea of our exhibition philosophy.
In the case of the gem exhibitions, for example, the precious stones are accompanied with educational display cases containing such exhibits as gemmological maps, uncut gems, laboratory material, polishing and cutting equipment, etc., all designed to raise public awareness of gems and gem art. These display cases are backed up by a wealth of informative material in different languages and with different levels of specialisation: posters for display cases, information panels, photographs, fact files, brochures, catalogues, etc. Visitors are thus enabled to discover numerous aspects of the world of gems, such as their formation, mining, physical characteristics (hardness, optical effects, cleavage...), cutting, authentication, what makes a synthetic gem different from a false gem and many other fascinating facts and snippets.
More info @ http://www.royalcollections.es/ingles/queofreceprc/interesdidactico/interesdidactico.htm
All About Eve
A memorable quote from the movie:
Margo Channing (Bette Davis): Funny business, a woman's career, the things you drop on the way up the ladder so you can move faster. You forget you'll need them again when you get back to being a woman. It's one career all females have in common - being a woman. Sooner or later we've got to work at it no matter how many other careers we've had or wanted. And in the last analysis nothing is any good unless you can look up just before dinner or turn around in bed and there he is. Without that you're not a woman. You're something with a French provincial office or a book full of clippings but you're not a woman. Slow curtain, the end.
Margo Channing (Bette Davis): Funny business, a woman's career, the things you drop on the way up the ladder so you can move faster. You forget you'll need them again when you get back to being a woman. It's one career all females have in common - being a woman. Sooner or later we've got to work at it no matter how many other careers we've had or wanted. And in the last analysis nothing is any good unless you can look up just before dinner or turn around in bed and there he is. Without that you're not a woman. You're something with a French provincial office or a book full of clippings but you're not a woman. Slow curtain, the end.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.15 Misuse of the term "properly cut," etc.
It is unfair or deceptive to use the terms "properly cut," "proper cut," "modern cut," or any representation of similar meaning to describe any diamond that is lopsided, or is so thick or so thin in depth as to detract materially from the brilliance of the stone.
Note to 23.15: Stones that are commonly called "fisheye" or "old mine" should not be described as "properly cut," "modern cut," etc.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.15 Misuse of the term "properly cut," etc.
It is unfair or deceptive to use the terms "properly cut," "proper cut," "modern cut," or any representation of similar meaning to describe any diamond that is lopsided, or is so thick or so thin in depth as to detract materially from the brilliance of the stone.
Note to 23.15: Stones that are commonly called "fisheye" or "old mine" should not be described as "properly cut," "modern cut," etc.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Methuen Handbook of Color
By A Korenerup & J H Wanscher
Politikens Forlag, Copenhagen
Methuen London
1961 / 1989 ISBN 0-413-33400-7
Methuen writes:
The third edition of this authoritative pocket color book covers the essentials of color practice and includes an international dictionary of colors with British standard equivalents. A universal ready reference for all those whose jobs or recreation involves color, it now includes names of colors used by British paint manufacturers and colors traditionally associated with the printing ink industry, thus shedding light on the whole field of color in art and science.
The color book is divided into two parts, the Handbook proper and a Color Dictionary. The Handbook explains the basic facts upon which all systems of color identification are based, and describes some important visual effects that apply to color usage generally. The Dictionary consists of plates of 1266 color samples accompanied by descriptive glossaries of color names with an easy cross reference system.
The Color Dictionary is so contrived that a color sample of one’s own can be compared with the charted samples, and an appropriate name selected for it from the color diagrams. On the other hand, the appearance of a named color can be discovered by looking up the color name in alphabetical list and following the reference symbol to the appropriate place on the color plates.
Lists of color names used by British paint manufacturers and those used by the printing ink industry are included, set out in such a way that they can be readily compared with the colors reproduced in the Dictionary.
Politikens Forlag, Copenhagen
Methuen London
1961 / 1989 ISBN 0-413-33400-7
Methuen writes:
The third edition of this authoritative pocket color book covers the essentials of color practice and includes an international dictionary of colors with British standard equivalents. A universal ready reference for all those whose jobs or recreation involves color, it now includes names of colors used by British paint manufacturers and colors traditionally associated with the printing ink industry, thus shedding light on the whole field of color in art and science.
The color book is divided into two parts, the Handbook proper and a Color Dictionary. The Handbook explains the basic facts upon which all systems of color identification are based, and describes some important visual effects that apply to color usage generally. The Dictionary consists of plates of 1266 color samples accompanied by descriptive glossaries of color names with an easy cross reference system.
The Color Dictionary is so contrived that a color sample of one’s own can be compared with the charted samples, and an appropriate name selected for it from the color diagrams. On the other hand, the appearance of a named color can be discovered by looking up the color name in alphabetical list and following the reference symbol to the appropriate place on the color plates.
Lists of color names used by British paint manufacturers and those used by the printing ink industry are included, set out in such a way that they can be readily compared with the colors reproduced in the Dictionary.
Thursday, February 08, 2007
Corundum Doublets
The most likely place to find doublets and triplets is in antique jewelry. It is also possible to find doublets and triplets in new pieces.
Assembled stones normally consist of two parts (doublets) or three parts (triplets) glued together for the following reasons:
- to provide a better wearing surface.
- to obtain a large stone from two smaller pieces of natural gem material.
- to provide better color and appearance.
The purpose of producing corundum doublet is to have the careless buyer look into the table of the stone, see the natural inclusions on the crown area, then purchase the gem at a high price. This deception is possible because of the thin crown of colorless or light yellowish green sapphire does not influence the color the stone face up (table-up), which is determined by the synthetic material on the pavilion. Few buyers actually check the girdle of the stone. Corundum doublets are easy to detect if the buyer is aware of their features. The careless buyer can easily be fooled.
When you are trying to identify an unknown stone always suspect an assembled stone. To avoid the mother-of-all surprise you should look for the difference in color, luster or inclusions, plane of join, gas bubbles (if any) between the crown and pavilion (base) of the gem material. Doublets consisting of black star sapphire on the crown and pavilion of lower quality natural sapphire is also common. There is also doublet made of a base of a black, non-transparent layer of natural star sapphire topped with synthetic orange sapphire or synthetic spinel (flame fusion). Use good lighting and proper magnification to view the color contrast so that you are able to identify the stone.
Assembled stones normally consist of two parts (doublets) or three parts (triplets) glued together for the following reasons:
- to provide a better wearing surface.
- to obtain a large stone from two smaller pieces of natural gem material.
- to provide better color and appearance.
The purpose of producing corundum doublet is to have the careless buyer look into the table of the stone, see the natural inclusions on the crown area, then purchase the gem at a high price. This deception is possible because of the thin crown of colorless or light yellowish green sapphire does not influence the color the stone face up (table-up), which is determined by the synthetic material on the pavilion. Few buyers actually check the girdle of the stone. Corundum doublets are easy to detect if the buyer is aware of their features. The careless buyer can easily be fooled.
When you are trying to identify an unknown stone always suspect an assembled stone. To avoid the mother-of-all surprise you should look for the difference in color, luster or inclusions, plane of join, gas bubbles (if any) between the crown and pavilion (base) of the gem material. Doublets consisting of black star sapphire on the crown and pavilion of lower quality natural sapphire is also common. There is also doublet made of a base of a black, non-transparent layer of natural star sapphire topped with synthetic orange sapphire or synthetic spinel (flame fusion). Use good lighting and proper magnification to view the color contrast so that you are able to identify the stone.
Forrest Gump Movie
A memorable quote from the movie:
Forrest Gump (Tom Hanks): My momma always said, "Life was like a box of chocolates. You never know what you're gonna get."
Forrest Gump (Tom Hanks): My momma always said, "Life was like a box of chocolates. You never know what you're gonna get."
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.14 Misuse of the term "blue white."
It is unfair or deceptive to use the term "blue white" or any representation of similar meaning to describe any diamond that under normal, north daylight or its equivalent shows any color or any trace of any color other than blue or bluish.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.14 Misuse of the term "blue white."
It is unfair or deceptive to use the term "blue white" or any representation of similar meaning to describe any diamond that under normal, north daylight or its equivalent shows any color or any trace of any color other than blue or bluish.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Emeralds Of Pakistan
By Ali H Kazmi and L W Snee
Geological Survey of Pakistan
Van Nostrand Reinhold Company
1989 ISBN 0-442-30328-9
Van Nostrand Reinhold Company writes:
Emerald has been known to mankind since prehistoric times and yet is one of the rarest of gemstones—found only in a few locations. The uniqueness of emerald is a result of the unusual combination of two chemical elements, beryllium and chromium, that normally are not associated in nature. This special combination is controlled by fascinating geological processes that brought rocks of very different character together under conditions that permitted the formation of these beautiful green gems. Thus, emerald is not only fascinating to the gemologist and mineral collector because of its exceptional beauty but also to the geologist because of the geological process it represents.
Emeralds of Pakistan—geology, gemology, and genesis examines emeralds of Pakistan from three viewpoints—geologic, occurrence, physical and chemical characteristics of the gems, and origin. With scores of figures, including 81 color plates, the book describes and illustrates emeralds of Pakistan and summarizes the geologic occurrence of other worldwide emerald deposits.
Nine chapters and a selected bibliography summarize nearly ten years of research by 12 scientists. Emeralds of Pakistan—geology, gemology, and genesis covers such topics as:
- geology and tectonics of Pakistan
- geologic setting of Pakistan emeralds
- gemological characteristics of Pakistani emeralds
- comprehensive data on inclusions within the emeralds
- chemistry of the emeralds and their host rocks
- microprobe analyses of the emeralds
- geology of world emerald deposits
- origin of emeralds
- selected bibliography
This is the first book of its kind on the geology of emerald deposits of one area in the world. However, the book also presents the best current summary of all world emerald deposits and develops a new classification system for emerald deposits.
Geological Survey of Pakistan
Van Nostrand Reinhold Company
1989 ISBN 0-442-30328-9
Van Nostrand Reinhold Company writes:
Emerald has been known to mankind since prehistoric times and yet is one of the rarest of gemstones—found only in a few locations. The uniqueness of emerald is a result of the unusual combination of two chemical elements, beryllium and chromium, that normally are not associated in nature. This special combination is controlled by fascinating geological processes that brought rocks of very different character together under conditions that permitted the formation of these beautiful green gems. Thus, emerald is not only fascinating to the gemologist and mineral collector because of its exceptional beauty but also to the geologist because of the geological process it represents.
Emeralds of Pakistan—geology, gemology, and genesis examines emeralds of Pakistan from three viewpoints—geologic, occurrence, physical and chemical characteristics of the gems, and origin. With scores of figures, including 81 color plates, the book describes and illustrates emeralds of Pakistan and summarizes the geologic occurrence of other worldwide emerald deposits.
Nine chapters and a selected bibliography summarize nearly ten years of research by 12 scientists. Emeralds of Pakistan—geology, gemology, and genesis covers such topics as:
- geology and tectonics of Pakistan
- geologic setting of Pakistan emeralds
- gemological characteristics of Pakistani emeralds
- comprehensive data on inclusions within the emeralds
- chemistry of the emeralds and their host rocks
- microprobe analyses of the emeralds
- geology of world emerald deposits
- origin of emeralds
- selected bibliography
This is the first book of its kind on the geology of emerald deposits of one area in the world. However, the book also presents the best current summary of all world emerald deposits and develops a new classification system for emerald deposits.
Wednesday, February 07, 2007
Diffusion Treatment Of Natural And Synthetic Sapphire And Ruby
Corundum with sufficient titanium are good samples for the development of asterism (stars) by heat treatment. Asterism can be developed by diffusing titanium into the corundum crystal lattice with appropriate heat treatment apparatus. The technique is very similar to the production of asterism in Verneuil (flame fusion)-grown synthetic sapphires without titanium content. The technique is applied by many companies to produce stones with asterism (stars). In Thailand both natural, synthetic and treated stones are available.
The process consists of :
1. Diffusion treatment of corundum samples in mixture of aluminum oxide and titanium oxide powder. The temperatures required to facilitate the process (diffusing a thin surface layer) may be in the range of 1700 - 1950 degrees centigrade.
2. The samples are then heat treated in a temperature in the range of 1100 - 1500 degrees centigrade permitting the formation of rutile needles in the surface layer.
The asterism (stars) created by this two step process is caused by needles within only a thin surface layer. When properly done, the visual appearance of treated samples may look very similar to that of untreated natural stones.
With careful examination under the microscope + immersion technique (with sample stones: treated + untreated stones) most treated stones can be identified if they are unset (loose stones).
The process consists of :
1. Diffusion treatment of corundum samples in mixture of aluminum oxide and titanium oxide powder. The temperatures required to facilitate the process (diffusing a thin surface layer) may be in the range of 1700 - 1950 degrees centigrade.
2. The samples are then heat treated in a temperature in the range of 1100 - 1500 degrees centigrade permitting the formation of rutile needles in the surface layer.
The asterism (stars) created by this two step process is caused by needles within only a thin surface layer. When properly done, the visual appearance of treated samples may look very similar to that of untreated natural stones.
With careful examination under the microscope + immersion technique (with sample stones: treated + untreated stones) most treated stones can be identified if they are unset (loose stones).
Sting Movie
Memorable quote (s) from the movie:
J.J. Singleton (Ray Walston): I dunno know what to do with this guy, Henry. He's an Irishman who doesn't drink, doesn't smoke, and doesn't chase dames. He's a grand knight in the Knights of Columbus, and he only goes out to play faro. Sometimes plays 15 or 20 hours at a time, just him against the house.
Henry Gondorff (Paul Newman): Roulette? Craps?
J.J. Singleton (Ray Walston): He won't touch them. The croupier at Gilman's says he never plays anything he can't win.
Henry Gondorff (Paul Newman): Sports?
J.J. Singleton (Ray Walston): Likes to be seen with fighters sometimes, but he doesn't go to the fights or bet on them.
Henry Gondorff (Paul Newman): Jesus. Does he do anything where he's not alone?
J.J. Singleton (Ray Walston): Just poker. And he cheats. Pretty good at it, too.
J.J. Singleton (Ray Walston): I dunno know what to do with this guy, Henry. He's an Irishman who doesn't drink, doesn't smoke, and doesn't chase dames. He's a grand knight in the Knights of Columbus, and he only goes out to play faro. Sometimes plays 15 or 20 hours at a time, just him against the house.
Henry Gondorff (Paul Newman): Roulette? Craps?
J.J. Singleton (Ray Walston): He won't touch them. The croupier at Gilman's says he never plays anything he can't win.
Henry Gondorff (Paul Newman): Sports?
J.J. Singleton (Ray Walston): Likes to be seen with fighters sometimes, but he doesn't go to the fights or bet on them.
Henry Gondorff (Paul Newman): Jesus. Does he do anything where he's not alone?
J.J. Singleton (Ray Walston): Just poker. And he cheats. Pretty good at it, too.
Charles T Munger
One of my favourite quote from Charles Munger.
Charles T Munger, Vice-Chairman of Berkshire Hathaway Corporation writes:
"Never wrestle with a pig, for if you do, you will both get dirty, but the pig will enjoy it."
Charles T Munger, Vice-Chairman of Berkshire Hathaway Corporation writes:
"Never wrestle with a pig, for if you do, you will both get dirty, but the pig will enjoy it."
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.13 Disclosure of treatments to diamonds.
A diamond is a gemstone product. Treatments to diamonds should be disclosed in the manner prescribed in 23.22 of these guides, Disclosure of treatments to gemstones.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.13 Disclosure of treatments to diamonds.
A diamond is a gemstone product. Treatments to diamonds should be disclosed in the manner prescribed in 23.22 of these guides, Disclosure of treatments to gemstones.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
The Art Of Jewelry
By Graham Hughes
Studio Vista Publishers
Peerage Books
1972 ISBN 0-907408-30-3
Peerage Books writes:
When a precious stone becomes a jewel, a work of art has been created and a story has begun. In this book, Graham Hughes, Art Director of the Worshipful Company of Goldsmiths of the City of London, tells the story of jewelry—its history, its changing styles, its craftsmen and designers and their techniques, its great collectors and patrons, its discoverers, its value and allure.
He traces the evolution of jewelry style from pre-history to the 1970s, through the great civilizations of Egypt, Greece, Byzantium, Rome and pre-Columbian South America, down through the Dark Ages and medieval times to the Renaissance, the eighteenth century and modern times. Included in this survey are the treasures of Persia, the traveling riches of the barbarians, the abundant gold of Africa and the magnificent, uncountable wealth of India.
Graham Hughes suggests that jewelry may be the oldest art; the most ancient jewels from Ur, Assyria and Babylon, from Pharaonic Egypt, Minoan Crete and Mycenae are evidence that the craft’s basic techniques were already established and well practiced before history began its records. He examines the technique of jewelers: not only modern developments like centrifugal casting machines, but the patience and skill of Etruscan craftsmen who painstakingly affixed by hand tiny, individual granules of gold to create patterns and distinctive finishes. He considers the dominance of that most marvelous metal, gold, which has probably been the chief asset to jewelers everywhere at all times.
From the giant stores of Japan selling jewels by the thousands to the grand and well-known names of jewelry design and business, and the tiny workshops where one or maybe two craftsmen turn their ideas into works of art, Graham Hughes explores the impact of jewelry. He interviews the world’s leading artist-jewelers examining their lives, ideas, attitudes to their creations, and relations with their buying public.
He reminds us of the exiting discoveries of Schliemann, Carter, Sir Arthur Evans and others, who relocated hoards that had been lost for centuries, and takes us on a tour of the great jewelry collections—like the Tsarist treasures, the tears of all Russia—bemoaning the sad fate of jewels which lie in dead museum vaults instead of being worn as their creators intended.
The book ends with an examination of the value and meaning of jewels to different ages of mankind, raising some fascinating questions. Why, for instance, is a Gilson cultured emerald scorned and deemed worthless when its only physical difference from a real emerald is that it does not crack under extreme heat?
The text is amplified by approximately 160 monochrome pictures and 56 pages of full color illustrations of some of the world’s finest jewels.
About the author
Graham Hughes is the author of two standard books, each of which is the only one of its kind: Modern Jewelry and Modern Silver. He has also written many articles in art and academic magazines, and often judges’ competitions.
Studio Vista Publishers
Peerage Books
1972 ISBN 0-907408-30-3
Peerage Books writes:
When a precious stone becomes a jewel, a work of art has been created and a story has begun. In this book, Graham Hughes, Art Director of the Worshipful Company of Goldsmiths of the City of London, tells the story of jewelry—its history, its changing styles, its craftsmen and designers and their techniques, its great collectors and patrons, its discoverers, its value and allure.
He traces the evolution of jewelry style from pre-history to the 1970s, through the great civilizations of Egypt, Greece, Byzantium, Rome and pre-Columbian South America, down through the Dark Ages and medieval times to the Renaissance, the eighteenth century and modern times. Included in this survey are the treasures of Persia, the traveling riches of the barbarians, the abundant gold of Africa and the magnificent, uncountable wealth of India.
Graham Hughes suggests that jewelry may be the oldest art; the most ancient jewels from Ur, Assyria and Babylon, from Pharaonic Egypt, Minoan Crete and Mycenae are evidence that the craft’s basic techniques were already established and well practiced before history began its records. He examines the technique of jewelers: not only modern developments like centrifugal casting machines, but the patience and skill of Etruscan craftsmen who painstakingly affixed by hand tiny, individual granules of gold to create patterns and distinctive finishes. He considers the dominance of that most marvelous metal, gold, which has probably been the chief asset to jewelers everywhere at all times.
From the giant stores of Japan selling jewels by the thousands to the grand and well-known names of jewelry design and business, and the tiny workshops where one or maybe two craftsmen turn their ideas into works of art, Graham Hughes explores the impact of jewelry. He interviews the world’s leading artist-jewelers examining their lives, ideas, attitudes to their creations, and relations with their buying public.
He reminds us of the exiting discoveries of Schliemann, Carter, Sir Arthur Evans and others, who relocated hoards that had been lost for centuries, and takes us on a tour of the great jewelry collections—like the Tsarist treasures, the tears of all Russia—bemoaning the sad fate of jewels which lie in dead museum vaults instead of being worn as their creators intended.
The book ends with an examination of the value and meaning of jewels to different ages of mankind, raising some fascinating questions. Why, for instance, is a Gilson cultured emerald scorned and deemed worthless when its only physical difference from a real emerald is that it does not crack under extreme heat?
The text is amplified by approximately 160 monochrome pictures and 56 pages of full color illustrations of some of the world’s finest jewels.
About the author
Graham Hughes is the author of two standard books, each of which is the only one of its kind: Modern Jewelry and Modern Silver. He has also written many articles in art and academic magazines, and often judges’ competitions.
Tuesday, February 06, 2007
Wall Street Movie
A memorable quote from the movie:
Gordon Gekko (Michael Douglas): The richest one percent of this country owns half our country's wealth, five trillion dollars. One third of that comes from hard work, two thirds comes from inheritance, interest on interest accumulating to widows and idiot sons and what I do, stock and real estate speculation. It's bullshit. You got ninety percent of the American public out there with little or no net worth. I create nothing. I own.
Gordon Gekko (Michael Douglas): The richest one percent of this country owns half our country's wealth, five trillion dollars. One third of that comes from hard work, two thirds comes from inheritance, interest on interest accumulating to widows and idiot sons and what I do, stock and real estate speculation. It's bullshit. You got ninety percent of the American public out there with little or no net worth. I create nothing. I own.
Synthetic Spinel
Gemmology Queensland writes:
Synthetic spinels were first grown by the flame fusion method of synthesis. These early synthetics, which owed their colors to a range of transitional metal chromophores, are easily identified by their high specific gravity of 3.63 and higher refractive index of 1.728. Flux grown synthetic spinels, that primarily originate from Russia are either red or blue in color. As the Russian flux-grown spinels are grown with a 1:1 Al:Mg ratio, their single refractive index (1.71/1.72) and specific gravity (3.60/3.62) are near identical to those of natural spinel color. Fortunately, the presence of solid metalic flux inclusions, and/or reflective grayish platinum will identify flux-grown spinels of Russian origin.
Another synthetic spinel of gemological interest includes a dark blue sintered mass of synthetic spinel powder together with cobalt oxide and specks of gold that has been marketed as a lapis imitation since the early 1950s. This imitation is identifiable by its non-pyrite brassy specks, its brilliant red color when viewed through a Chelsea filter, and its unusually low specific gravity of 3.52.
Synthetic spinel also have been used in the manufacture of an imitation moonstone. This imitation displays a distinct schiller that is thought to be induced into the synthetic spinel by heat treatment. However the distinctive blue-white fluorescence of this imitation when examined under shortwave ultraviolet light readily identifies it.
Synthetic spinels were first grown by the flame fusion method of synthesis. These early synthetics, which owed their colors to a range of transitional metal chromophores, are easily identified by their high specific gravity of 3.63 and higher refractive index of 1.728. Flux grown synthetic spinels, that primarily originate from Russia are either red or blue in color. As the Russian flux-grown spinels are grown with a 1:1 Al:Mg ratio, their single refractive index (1.71/1.72) and specific gravity (3.60/3.62) are near identical to those of natural spinel color. Fortunately, the presence of solid metalic flux inclusions, and/or reflective grayish platinum will identify flux-grown spinels of Russian origin.
Another synthetic spinel of gemological interest includes a dark blue sintered mass of synthetic spinel powder together with cobalt oxide and specks of gold that has been marketed as a lapis imitation since the early 1950s. This imitation is identifiable by its non-pyrite brassy specks, its brilliant red color when viewed through a Chelsea filter, and its unusually low specific gravity of 3.52.
Synthetic spinel also have been used in the manufacture of an imitation moonstone. This imitation displays a distinct schiller that is thought to be induced into the synthetic spinel by heat treatment. However the distinctive blue-white fluorescence of this imitation when examined under shortwave ultraviolet light readily identifies it.
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.12 Misuse of the words "flawless," "perfect," etc.
(a) It is unfair or deceptive to use the word "flawless" to describe any diamond that discloses flaws, cracks, inclusions, carbon spots, clouds, internal lasering, or other blemishes or imperfections of any sort when examined under a corrected magnifier at 10-power, with adequate illumination, by a person skilled in diamond grading.
(b) It is unfair or deceptive to use the word "perfect," or any representation of similar meaning, to describe any diamond unless the diamond meets the definition of "flawless" and is not of inferior color or make.
(c) It is unfair or deceptive to use the words "flawless" or "perfect" to describe a ring or other article of jewelry having a "flawless" or "perfect" principal diamond or diamonds, and supplementary stones that are not of such quality, unless there is a disclosure that the description applies only to the principal diamond or diamonds.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.12 Misuse of the words "flawless," "perfect," etc.
(a) It is unfair or deceptive to use the word "flawless" to describe any diamond that discloses flaws, cracks, inclusions, carbon spots, clouds, internal lasering, or other blemishes or imperfections of any sort when examined under a corrected magnifier at 10-power, with adequate illumination, by a person skilled in diamond grading.
(b) It is unfair or deceptive to use the word "perfect," or any representation of similar meaning, to describe any diamond unless the diamond meets the definition of "flawless" and is not of inferior color or make.
(c) It is unfair or deceptive to use the words "flawless" or "perfect" to describe a ring or other article of jewelry having a "flawless" or "perfect" principal diamond or diamonds, and supplementary stones that are not of such quality, unless there is a disclosure that the description applies only to the principal diamond or diamonds.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Gem and Crystal Treasures
By Peter Bancroft
A Western Enterprises
Mineralogical Record Bookl
1984 ISBN 0-9613461-1-6
Mineralogical Record Book writes:
Within these pages you will embark on 100 field trips to many of the world’s most exotic gem and crystal mines. You will relive the discovery and earliest days of each deposit, and meet those who worked in and about the mines—shopkeepers, sheriffs, miners, prostitutes, and bad men, all portrayed in 667 black and white illustrations and accompanying text.
Over 320 crystal and gemstone treasures gleaned from these deposits are depicted in full color. Each crystal has been selected as one of the choicest examples available. For the most part, specimens have been photographed in their entirety.
Dr Peter Bancroft has assembled what may be the finest group of gemstone and crystal illustrations ever, augmented by photos of exquisite carvings, faceted gems, and stunning jewelry.
Step back in time and experience human drama as it was—incredible good fortune, stark tragedy, and every conceivable event in between. Marvel at a wealth of gemstones and naturally formed crystals—surely among God’s greatest treasures.
Peter Bancroft writes:
As a small boy I sometimes sat before glowing coals in the fireplace of our darkened living room listening to my father and two uncles spin yarns of the old days. Ours had been a mining family. A great grandfather was chief carpenter and a great uncle was superintendent of the Sutro Tunnel in Virginia City, Nevada. An uncle was paymaster for copper mines at Jerome, Arizona. Another uncle owned the La Noria silver mine in Michoacan, Mexico, and my father had surveyed the Tonopah—Tidewater Railroad into Death Valley, California.
Inspired, I started a modest mineral collection. High school and collegiate courses in mineralogy and geology provided technical background, but also exposure to the beautiful world of stunning gemstones and crystals. I read every available book on mineralogy and mining, but seldom found reference to the men who worked the mines or people who lived in mining towns.
In 1973, I outlined a format for a new book to be titled Gem And Crystal Treasures. It would feature 100 of the world’s classic crystal producing localities. Each of the 100 chapters would concentrate on the human side, the history and lore of these famous deposits. Technical data, extensively covered in treatises shelved in many scientifically oriented libraries, would be kept, for the most part, in low profile.
The finest crystals, carvings, gemstones and jewelry items would be sought out wherever they were to be found n the world to be photographed in color for illustrations. This would require massive cooperation on the part of curators, collectors and photographers, as well as mining companies and various national and local governments.
Mysterious below-ground galleries and tunnels where men labored in constant danger would be profusely illustrated in black and white photography. Selected vignettes would portray the lives and times of miners and townspeople, some of whom were just plain characters.
I planned to visit many of the selected mines, as well as important museums, private collections and archives, and to seek interviews with those whose lives had been intimately connected with the mining of gemstones and crystals.
Eleven years after the project was envisioned, Gem And Crystal Treasures is ready to go to press. Most of the 100 mines have been personally visited and hundred of interviews conducted. Many miles were traveled in every conceivable type of conveyance and not a few were trod along dimly-lit, dank mine tunnels.
The remarkable experiences I have enjoyed while compiling materials for this book are largely due to the friendliness and cooperation of those with whom I have worked; miners, collectors, curators, dealers, cutters, mineralogists and photographers. To them this book with sincerest “Gluck auf (Good Luck)!”
A Western Enterprises
Mineralogical Record Bookl
1984 ISBN 0-9613461-1-6
Mineralogical Record Book writes:
Within these pages you will embark on 100 field trips to many of the world’s most exotic gem and crystal mines. You will relive the discovery and earliest days of each deposit, and meet those who worked in and about the mines—shopkeepers, sheriffs, miners, prostitutes, and bad men, all portrayed in 667 black and white illustrations and accompanying text.
Over 320 crystal and gemstone treasures gleaned from these deposits are depicted in full color. Each crystal has been selected as one of the choicest examples available. For the most part, specimens have been photographed in their entirety.
Dr Peter Bancroft has assembled what may be the finest group of gemstone and crystal illustrations ever, augmented by photos of exquisite carvings, faceted gems, and stunning jewelry.
Step back in time and experience human drama as it was—incredible good fortune, stark tragedy, and every conceivable event in between. Marvel at a wealth of gemstones and naturally formed crystals—surely among God’s greatest treasures.
Peter Bancroft writes:
As a small boy I sometimes sat before glowing coals in the fireplace of our darkened living room listening to my father and two uncles spin yarns of the old days. Ours had been a mining family. A great grandfather was chief carpenter and a great uncle was superintendent of the Sutro Tunnel in Virginia City, Nevada. An uncle was paymaster for copper mines at Jerome, Arizona. Another uncle owned the La Noria silver mine in Michoacan, Mexico, and my father had surveyed the Tonopah—Tidewater Railroad into Death Valley, California.
Inspired, I started a modest mineral collection. High school and collegiate courses in mineralogy and geology provided technical background, but also exposure to the beautiful world of stunning gemstones and crystals. I read every available book on mineralogy and mining, but seldom found reference to the men who worked the mines or people who lived in mining towns.
In 1973, I outlined a format for a new book to be titled Gem And Crystal Treasures. It would feature 100 of the world’s classic crystal producing localities. Each of the 100 chapters would concentrate on the human side, the history and lore of these famous deposits. Technical data, extensively covered in treatises shelved in many scientifically oriented libraries, would be kept, for the most part, in low profile.
The finest crystals, carvings, gemstones and jewelry items would be sought out wherever they were to be found n the world to be photographed in color for illustrations. This would require massive cooperation on the part of curators, collectors and photographers, as well as mining companies and various national and local governments.
Mysterious below-ground galleries and tunnels where men labored in constant danger would be profusely illustrated in black and white photography. Selected vignettes would portray the lives and times of miners and townspeople, some of whom were just plain characters.
I planned to visit many of the selected mines, as well as important museums, private collections and archives, and to seek interviews with those whose lives had been intimately connected with the mining of gemstones and crystals.
Eleven years after the project was envisioned, Gem And Crystal Treasures is ready to go to press. Most of the 100 mines have been personally visited and hundred of interviews conducted. Many miles were traveled in every conceivable type of conveyance and not a few were trod along dimly-lit, dank mine tunnels.
The remarkable experiences I have enjoyed while compiling materials for this book are largely due to the friendliness and cooperation of those with whom I have worked; miners, collectors, curators, dealers, cutters, mineralogists and photographers. To them this book with sincerest “Gluck auf (Good Luck)!”
Monday, February 05, 2007
The Federal Trade Commission’s Guide for the Jewelry, Precious Metals and Pewter Industries
FTC writes:
23.11 Definition and misuse of the word "diamond."
(a) A diamond is a natural mineral consisting essentially of pure carbon crystallized in the isometric system. It is found in many colors. Its hardness is 10; its specific gravity is approximately 3.52; and it has a refractive index of 2.42.
(b) It is unfair or deceptive to use the unqualified word "diamond" to describe or identify any object or product not meeting the requirements specified in the definition of diamond provided above, or which, though meeting such requirements, has not been symmetrically fashioned with at least seventeen (17) polished facets.
Note 1 to paragraph (b): It is unfair or deceptive to represent, directly or by implication, that industrial grade diamonds or other non-jewelry quality diamonds are of jewelry quality.
(c) The following are examples of descriptions that are not considered unfair or deceptive:
(1) The use of the words "rough diamond" to describe or designate uncut or unfaceted objects or products satisfying the definition of diamond provided above; or
(2) The use of the word "diamond" to describe or designate objects or products satisfying the definition of diamond but which have not been symmetrically fashioned with at least seventeen (17) polished facets when in immediate conjunction with the word "diamond" there is either a disclosure of the number of facets and shape of the diamond or the name of a type of diamond that denotes shape and that usually has less than seventeen (17) facets (e.g., "rose diamond").
Note 2 to paragraph (c): Additional guidance about imitation and laboratory-created diamond representations and misuse of words "gem," "real," "genuine," "natural," etc., are set forth in 23.23, 23.24, and 23.25.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
23.11 Definition and misuse of the word "diamond."
(a) A diamond is a natural mineral consisting essentially of pure carbon crystallized in the isometric system. It is found in many colors. Its hardness is 10; its specific gravity is approximately 3.52; and it has a refractive index of 2.42.
(b) It is unfair or deceptive to use the unqualified word "diamond" to describe or identify any object or product not meeting the requirements specified in the definition of diamond provided above, or which, though meeting such requirements, has not been symmetrically fashioned with at least seventeen (17) polished facets.
Note 1 to paragraph (b): It is unfair or deceptive to represent, directly or by implication, that industrial grade diamonds or other non-jewelry quality diamonds are of jewelry quality.
(c) The following are examples of descriptions that are not considered unfair or deceptive:
(1) The use of the words "rough diamond" to describe or designate uncut or unfaceted objects or products satisfying the definition of diamond provided above; or
(2) The use of the word "diamond" to describe or designate objects or products satisfying the definition of diamond but which have not been symmetrically fashioned with at least seventeen (17) polished facets when in immediate conjunction with the word "diamond" there is either a disclosure of the number of facets and shape of the diamond or the name of a type of diamond that denotes shape and that usually has less than seventeen (17) facets (e.g., "rose diamond").
Note 2 to paragraph (c): Additional guidance about imitation and laboratory-created diamond representations and misuse of words "gem," "real," "genuine," "natural," etc., are set forth in 23.23, 23.24, and 23.25.
More info @ http://www.ftc.gov/bcp/guides/jewel-gd.htm
Casino Movie
Memorable quote from the movie:
Ace Rothstein (Robert De Niro): In Vegas, everybody's gotta watch everybody else. Since the players are looking to beat the casino, the dealers are watching the players. The box men are watching the dealers. The floor men are watching the box men. The pit bosses are watching the floor men. The shift bosses are watching the pit bosses. The casino manager is watching the shift bosses. I'm watching the casino manager. And the eye-in-the-sky is watching us all.
Ace Rothstein (Robert De Niro): In Vegas, everybody's gotta watch everybody else. Since the players are looking to beat the casino, the dealers are watching the players. The box men are watching the dealers. The floor men are watching the box men. The pit bosses are watching the floor men. The shift bosses are watching the pit bosses. The casino manager is watching the shift bosses. I'm watching the casino manager. And the eye-in-the-sky is watching us all.
Cobat Blue Natural Spinels
Gemmology Queensland writes:
Darl cobalt blue spinels from Okkampitiya (Sri Lanka) owe their unusual color to the natural presence of cobalt (up to 5ppm) replacing magnesium. These spinels visually resemble Co-doped synthetic spinels with which they possibly could be confused. However the 1.72 refractive index, 3.60 +/- specific gravity, inertness to both longwave and shortwave ultraviolet light, and the presence of a strong absorption at 458 (460)nm in the visible spectrum the natural cobalt blue spinel readily discriminates it from both its Verneuil and flux-grown look-alike.
Darl cobalt blue spinels from Okkampitiya (Sri Lanka) owe their unusual color to the natural presence of cobalt (up to 5ppm) replacing magnesium. These spinels visually resemble Co-doped synthetic spinels with which they possibly could be confused. However the 1.72 refractive index, 3.60 +/- specific gravity, inertness to both longwave and shortwave ultraviolet light, and the presence of a strong absorption at 458 (460)nm in the visible spectrum the natural cobalt blue spinel readily discriminates it from both its Verneuil and flux-grown look-alike.
How To Swim With Sharks & Stay Sane
In this article there is an interesting perspective on how commodity traders think before they make deals. Those who want to learn the ropes of the gem trade may want to read this article to understand market uncertainities so that they are able to survive in the dog-eat-dog world of gem business.
(via Times News Network) Nidhi Nath Srinivas writes:
Do you need to be a hard-boiled, tough, Svengali-like,Type II alpha male to make money in commodity trading? A quick poll of some top traders says not at all. Which to my mind is good news (unless you are one of those chicks looking for a Nick Leeson kind of man) because it means ordinary persons who don’t have to live on a permanent diet of adrenalin, aspirin and alcohol, stand a fairly good chance.
Yet the ring is not a bed of roses for sissies. The ups and downs can be swift, fear contagious, losses serious and prospects foggy. So how do traders make sense of the market maelstroms and keep sane? As no psychological profile of the average Indian commodity trader exists, we asked three traders, with diverse ages and backgrounds: what were their top two survival tips.
Arun Mahabir (name changed on request), 30, is a successful soft commodity trader with a MNC here. Calm and soft-spoken, he has been in the ring for more than six years now, straight after an MBA from Punjab University. After trading from nine-to-five, he doesn’t hit the nearest pub. His first principle: don’t be greedy. “I believe in a cut-loss theory. Everything doesn’t work according to fundamentals every time. When things go wrong, just cut and get out. There will be plenty more opportunities later, so don’t sulk on a lost one now,’’ he says.
His second principle: junk your gut feel, see the facts. Despite being a New Age professional taught to think out of the box, Mahabir believes data and tables are a young trader’s best friends. “I hate speculating myself. And I don’t believe in luck. The only thing that stands with you in the ring is in-depth analysis of demand and supply,’’ he adds.
Mahabir trades on his company’s account. This means all the money he earns only fetches him a bit extra in bonus. The flip side is that he has plenty of advice and most importantly, a target to meet. “The target is most helpful because then I can pace myself. I don’t chase every trade. If the returns have been good, often I can even relax,’’ he says. His heros: Mark Faber and Jim Rogers.
B Thomas is a seasoned 48-year-old spices trader in Cochin, who has been passionate about the business since 1988. His first rule: get your ego out of the way. “Don’t love any position. If you don’t stick to your cut-off point and over trade, you are doomed,’’ he says.
His second principle: keep numbers in your head to think on your feet. “In Malayalam we call it ‘manakanakku’ or mental maths. You always should have the latest figure of positions and profits in your mind to know what best to do next. Without this, you are handicapped even in the age of online exchanges,’’ Thomas said.
Jojan Malayil, former president of Indian Pepper and Spice Trade Association, comes from a family that has been trading pepper for five generations. His first principle: be strong minded. “The market is volatile.
You need to be able to cope with the ups and downs without letting it affect you. Most of the trading is now speculative and sentiment-driven. One needs to get the fundamentals straight and be tough,’’ he says.
His second principle: case out the exits. “You should know exactly when to enter and exit the market. And don’t trade with shallow pockets. You should have enough funds to take physical delivery. That increases your staying power,’’ Malayil adds. His guru: his father.
Ultimately, the rules boil down to this: you need to be mentally strong and passionate about the business without losing sight of your target, trading strategy or bottomline. One more thing: fundamentals are your only life jacket. Cling to them if you want to get out alive. Even the SAS can’t do better than that.
More info @ http://economictimes.indiatimes.com/How_to_swim_with_sharks__stay_sane/articleshow/1559294.cms
(via Times News Network) Nidhi Nath Srinivas writes:
Do you need to be a hard-boiled, tough, Svengali-like,Type II alpha male to make money in commodity trading? A quick poll of some top traders says not at all. Which to my mind is good news (unless you are one of those chicks looking for a Nick Leeson kind of man) because it means ordinary persons who don’t have to live on a permanent diet of adrenalin, aspirin and alcohol, stand a fairly good chance.
Yet the ring is not a bed of roses for sissies. The ups and downs can be swift, fear contagious, losses serious and prospects foggy. So how do traders make sense of the market maelstroms and keep sane? As no psychological profile of the average Indian commodity trader exists, we asked three traders, with diverse ages and backgrounds: what were their top two survival tips.
Arun Mahabir (name changed on request), 30, is a successful soft commodity trader with a MNC here. Calm and soft-spoken, he has been in the ring for more than six years now, straight after an MBA from Punjab University. After trading from nine-to-five, he doesn’t hit the nearest pub. His first principle: don’t be greedy. “I believe in a cut-loss theory. Everything doesn’t work according to fundamentals every time. When things go wrong, just cut and get out. There will be plenty more opportunities later, so don’t sulk on a lost one now,’’ he says.
His second principle: junk your gut feel, see the facts. Despite being a New Age professional taught to think out of the box, Mahabir believes data and tables are a young trader’s best friends. “I hate speculating myself. And I don’t believe in luck. The only thing that stands with you in the ring is in-depth analysis of demand and supply,’’ he adds.
Mahabir trades on his company’s account. This means all the money he earns only fetches him a bit extra in bonus. The flip side is that he has plenty of advice and most importantly, a target to meet. “The target is most helpful because then I can pace myself. I don’t chase every trade. If the returns have been good, often I can even relax,’’ he says. His heros: Mark Faber and Jim Rogers.
B Thomas is a seasoned 48-year-old spices trader in Cochin, who has been passionate about the business since 1988. His first rule: get your ego out of the way. “Don’t love any position. If you don’t stick to your cut-off point and over trade, you are doomed,’’ he says.
His second principle: keep numbers in your head to think on your feet. “In Malayalam we call it ‘manakanakku’ or mental maths. You always should have the latest figure of positions and profits in your mind to know what best to do next. Without this, you are handicapped even in the age of online exchanges,’’ Thomas said.
Jojan Malayil, former president of Indian Pepper and Spice Trade Association, comes from a family that has been trading pepper for five generations. His first principle: be strong minded. “The market is volatile.
You need to be able to cope with the ups and downs without letting it affect you. Most of the trading is now speculative and sentiment-driven. One needs to get the fundamentals straight and be tough,’’ he says.
His second principle: case out the exits. “You should know exactly when to enter and exit the market. And don’t trade with shallow pockets. You should have enough funds to take physical delivery. That increases your staying power,’’ Malayil adds. His guru: his father.
Ultimately, the rules boil down to this: you need to be mentally strong and passionate about the business without losing sight of your target, trading strategy or bottomline. One more thing: fundamentals are your only life jacket. Cling to them if you want to get out alive. Even the SAS can’t do better than that.
More info @ http://economictimes.indiatimes.com/How_to_swim_with_sharks__stay_sane/articleshow/1559294.cms
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