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
Wednesday, February 07, 2007
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.
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