Gem and Mineral Glossary
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Program Outline 434- Jewellery and Metalwork NUNAVUT INUIT LANGUAGES AND CULTURES Jewelry and Metalwork (and all fine arts) PROGRAM REPORT 434 Jewellery and Metalwork Start Term: No Specified End Date End Term: No Specified End Date Program Status: Approved Action Type: N/A Change Type: N/A Discontinued: No Latest Version: Yes Printed: 03/30/2015 1 Program Outline 434- Jewellery and Metalwork Program Details 434 - Jewellery and Metalwork Start Term: No Specified End Date End Term: No Specified End Date Program Details Code 434 Title Jewellery and Metalwork Start Term No Specified End Date End Term No Specified End Date Total Credits Institution Nunavut Faculty Inuit Languages and Cultures Department Jewelry and Metalwork (and all fine arts) General Information Eligible for RPL No Description The Program in Jewellery and Metalwork will enable students to develop their knowledge and skills of jewellery and metalwork production in a professional studio atmosphere. To this end the program stresses high standards of craftship and creativity, all the time encouraging and exposing students to a wide range of materials, techniques and concepts. This program is designed to allow the individual student to specialize in an area of study of particular interest. There is an emphasis on creative thinking and problem-solving throughout the program.The first year of the program provides an environment for the students to acquire the necessary skills that will enable them to translate their ideas into two and three dimensional jewellery and metalwork. This first year includes courses in: Drawing and Design, Inuit Art and Jewellery History, Lapidary and also Business and Communications. -
The Red Emerald
The Red Emerald Black Album Words by Seth William Rozendaal Photos by David Rozendaal This work is for the enjoyment of gemstone aficionados around the world and throughout time, and dedicated to the divine muse who inspires everything. This book celebrates the Red Emerald’s public debut at the 2017 Tucson Gem and Mineral Show. Graphics taken from the Mineralogical Record Volume 47 Number 1: Colombian Emeralds where noted. The two photos of the Heart matrix specimen on the top of the page in Section VI were taken by Wayne Schrimp. Seth Rozendaal is responsible for the landscape photo in Section II, the beveled heart in Section VI and Office Suite Graphics. The Suite Treasure necklace photo in Section XIII was taken at the Brent Isenberger Studio. Cover and all other interior photos in this album were taken by David Rozendaal. Without his tireless dedication, this publication would not have been possible. For additional information, please contact: Seth William Rozendaal (515) 868-7207 [email protected] Index I - Red Beryl IS Red Emerald II - Formation III - Matrix Specimens IV - Wafers V - Prisms VI - Twins VII - Clusters VIII - Bixbyite Combinations IX - Topaz Combinations X - Hourglass Patterning XI - The Scarlet Spectrum XII - Facet-Grade Red Emerald XIII - The Red Emerald Suite Treasure I ~ Red Beryl IS Red Emerald The human infatuation with Emeralds runs so deep, and our desire for them traces so far back… It's one of the only gemstones found in rank-signifying Neolithic headdresses. Yeah, you heard me: Caveman Crowns. Aja Raden - Author, Historian and Scientist Diamonds may be forever, but only Emeralds are eternal; our appreciation of Emeralds stretches from the beginning of human civilization to the very end. -
Reflecting on the Moche Past 2000 Years of Mirrors in Andean Art
Reflecting on the Moche Past 2000 Years of Mirrors in Andean Art Reflecting on the Moche Past Mirror Frame Moche, Loma Negra, Peru, AD 500-800 Gilded copper/bronze H. 9 ¼ in. W 5 in. irrors, useful for seeing one’s own image, or for reflecting light, are a commonplace today. But in ancient M times pooled water was the only readily available reflective surface. Artificial mirrors could be made only by processing rare natural substances or forging new man-made materials. Vanity is a universal human trait, and ancient peoples undoubtedly sought to admire their own faces, coiffures, and bodies. Numerous ceramic vessels portray individuals with elaborate coiffures or using pincers (tweezer-like tools) to pluck facial hair. At least two ceramic vessels portray women holding small black disks – presumably mirrors - up to their faces. After the con- quest, Garcilaso de la Vega wrote about mirrors: "Los espejos en que se miravan Las mugeres de LA sangre real eran de Plata muy brunida y Las comunes en acofar [The mirrors in which the women of royal blood looked were of highly polished silver; commoners used bronze mirrors]" libro II cap xxxviii. But pre-Columbian mirrors were undoubtedly used for purposes far more significant than facilitating personal adornment. Mirrors made by labori- ously mining, shaping, and grinding dark, shiny minerals were exchanged over long distances, incorporated in public and private rituals, and sometimes were buried with the dead. Today’s mirrors are made from glass or plastic sheets coated with silver or an- other reflective material. While glass was never manufactured in the ancient Americas, dark volcanic glass – obsidi- an – was sometimes ground flat and polished to produce a reflective sur- face. -
Lapidary Journal Jewelry Artist March 2012
INDEX TO VOLUME 65 Lapidary Journal Jewelry Artist April 2011-March 2012 INDEX BY FEATURE/ Signature Techniques Part 1 Resin Earrings and Pendant, PROJECT/DEPARTMENT of 2, 20, 09/10-11 30, 08-11 Signature Techniques Part 2 Sagenite Intarsia Pendant, 50, With title, page number, of 2, 18, 11-11 04-11 month, and year published Special Event Sales, 22, 08-11 Silver Clay and Wire Ring, 58, When to Saw Your Rough, 74, 03-12 FEATURE ARTICLES Smokin’*, 43, 09/10-11 01/02-12 Argentium® Tips, 50, 03-12 Spinwheel, 20, 08-11 Arizona Opal, 22, 01/02-12 PROJECTS/DEMOS/FACET Stacking Ring Trio, 74, Basic Files, 36, 11-11 05/06-11 DESIGNS Brachiopod Agate, 26, 04-11 Sterling Safety Pin, 22, 12-11 Alabaster Bowls, 54, 07-11 Create Your Best Workspace, Swirl Step Cut Revisited, 72, Amethyst Crystal Cross, 34, 28, 11-11 01/02-12 Cut Together, 66, 01/02-12 12-11 Tabbed Fossil Coral Pendant, Deciphering Chinese Writing Copper and Silver Clay 50, 01/02-12 Linked Bracelet, 48, 07-11 12, 07-11 Stone, 78, 01/02-12 Torch Fired Enamel Medallion Site of Your Own, A, 12, 03-12 Easier Torchwork, 43, 11-11 Copper Wire Cuff with Silver Necklace, 33, 09/10-11 Elizabeth Taylor’s Legendary Wire “Inlay,” 28, 07-11 Trillion Diamonds Barion, 44, SMOKIN’ STONES Jewels, 58, 12-11 Coquina Pendant, 44, 05/06-11 Alabaster, 52, 07-11 Ethiopian Opal, 28, 01/02-12 01/02-12 Turquoise and Pierced Silver Ametrine, 44, 09/10-11 Find the Right Findings, 46, Corrugated Copper Pendant, Bead Bracelet – Plus!, 44, Coquina, 42, 01/02-12 09/10-11 24, 05/06-11 04-11 Fossilized Ivory, 24, 04-11 -
OPAR CFP Advances in the Studies of Obsidian Sources and Artifacts Of
THE BLACK GOLD THAT CAME FROM THE SEA. ADVANCES IN THE STUDIES OF OBSIDIAN SOURCES & ARTIFACTS OF THE CENTRAL MEDITERRANEAN AREA COORDINATING EDITORS Franco Italiano, Istituto Nazionale di Geofisica e Vulcanologia, Sezione di Palermo, Italy. Franco Foresta Martin, Laboratorio Museo di Scienze della Terra Isola di Ustica, Palermo, Italy; Istituto Nazionale di Geofisica e Vulcanologia, Sezione di Palermo, Italy. Maria Clara Martinelli, Polo Regionale delle Isole Eolie per i siti culturali, Parco Archeologico e Museo Luigi Bernabò Brea, Lipari, Messina, Italy. DESCRIPTION Open Archaeology invites manuscripts for the Special Issue on The Black Gold That Came from the Sea. Advances in the Studies of Obsidian Sources and Artifacts of the Central Mediterranean Area. This Special Issue collects most of the contributions presented at the international workshop on the same subject which took place in Palermo, Italy, on 10-12 June 2019. The topics are: archaeometric studies of obsidian sources and artifacts; new methods of obsidian sources discrimination; genesis of the Central Mediterranean obsidian outcrops exploited during the Prehistory; obsidians as an edutainment tool; a section is dedicated to studies of characterization of ancient glasses. HOW TO SUBMIT The authors are kindly invited to submit their contribution via online submission system Editorial Manager available at http://www.editorialmanager.com/opar/ It is important that authors include a cover letter with their manuscript, making it clear that the manuscript is dedicated to Special Issue on The Black Gold That Came from the Sea. Advances in the Studies of Obsidian Sources and Artifacts of the Central Mediterranean Area. The cover letter should explicitly state that the manuscript (or one with substantially the same content, by any of the authors) has not been previously published in any language anywhere and that it is not under simultaneous consideration or in press by another journal. -
With a Short Neck and Angular Should
LOW HIGH Lot Description Estimate Estimate Chinese archaistic bronze wine vessel (pou), with a short neck and angular shoulder with 1 three ram's head form handles, the body with taotie on a dense ground, raised on a tall foot, 8"h $ 300 - 500 (lot of 2) Chinese archaistic bronzes, the first a pouring vessel on tripod supports with taotie 2 pattern, body with inscription; the other an ox form guang lidded vessel, with a bird motif on the body,10.75"w $ 300 - 500 (lot of 3) Asian bronze items, consisting of a Himalayan ritual dagger (purba) and a ghanta 3 (bell); together with a Chinese archaistic bronze bell, with raised bosses, with wood stand, bell: 8.25"h $ 300 - 500 (lot of 5) Chinese hardstone plaques, consisting of two butterflies; one floral roundel; one 4 fan and one of bird-and-flowers, 2.75"w $ 150 - 250 5 Chinese hardstone bangle, reticulated with bats and tendrils, 2.5"w $ 300 - 500 (lot of 2) Chinese hardstone pebbles, the first carved of a bamboo stalk; the second, of a 6 mouse and sack, largest: 2"w $ 400 - 600 7 (lot of 2) Chinese hardstone figural carvings, featuring one young attendant; and the other of an immortal with a lion on his shoulder, with wood stands, carving: 3.125"h $ 300 - 500 Chinese bronze zoomorph, featuring a recumbent beast with a reticulated body with a bird 8 pattern, 4"w $ 200 - 400 Chinese patinated bronze censer of ding-form, the rim flanked by upright handles and the 9 body cast with floral scrolls, raised on tall tripod supports, with wood stand and lid, censer: 5"h $ 300 - 500 (lot of 5) Chinese -
Neycraft Centrifugal Casting Machine to Be Free from Defects in Material and Workmanship for a Period of Two Years from the Date of Sale
CRUCIBLE SLIDE LEVER COUNTER BALANCE WEIGHT SILICA CRUCIBLE WINDING & LOCKING WARRANTY INVESTMENT FLASK KNOB FLASK RECEIVER WARRANTY: Except with respect to those components parts and uses which are described herein, ASSEMBLY DENTSPLY Neytech warrants the Neycraft Centrifugal Casting Machine to be free from defects in material and workmanship for a period of two years from the date of sale. DENTSPLY Neytech’s liability under this warranty is limited solely to repairing or, at DENTSPLY Neytech’s option, replacing those products included within the warranty which are returned to DENTSPLY Neytech within the applicable warranty period (with shipping charges prepaid), and which are determined by DENTSPLY Neytech to be defective. This warranty shall not apply to any product which has been subject to misuse; negligence; or accident; or misapplied; or modified; or repaired by unauthorized persons; or improperly installed. INSPECTION: Buyer shall inspect the product upon receipt. The buyer shall notify DENTSPLY Neytech in writing of any claims of defects in material and workmanship within thirty days after the buyer discovers or should have discovered the facts upon which such a claim is based. Failure of the SAFETY SHELL buyer to give written notice of such a claim within this time period shall be deemed to be a waiver of such claim. MOUNTING BASE DISCLAIMER: The provisions stated herein represent DENTSPLY Neytech’s sole obligation and exclude all other remedies or warranties, expressed or implied, including those related to MERCHANTABILITY and FITNESS FOR A PARTICULAR PURPOSE. LIMITATION OF LIABILITY: Under no circumstances shall DENTSPLY Neytech be liable to the buyer for any incidental, consequential or special damages, losses or expenses. -
Spring 1982 Gems & Gemology
SPRING 1982 Volume 18 Number 1 TABLE OF CONTENTS EDITORIAL 1 The Gems & Gemology Most Valuable Article Award Richard T. Lid~licoat,Ir. FEATURE 3 The Jade Enigma ARTICLES \ill M. Hobbs 20 Jade Forms from Ancient China Evelyn Tucker 32 Some Observations on the Treatment of Lavender Jadeite Iohn I. Koivula NOTES 36 Cultured 314 Blister Pearls AND NEW Robert Crowningshield TECHNIQUES 39 The Natural Formation and Occurrence of Green Quartz Xhomas R. Paradise REGULAR 43 Editorial Forum FEATURES 44 Gem Trade Lab Notes 50 Gemological Abstracts 58 Gem News ABOUT THE COVER: The jadeite necklace and earrings illustrated here give some indication of the beauty and mystery of this material. The identification of jade and some of its simulants is comprehensively examined in the article by ]ill Hobbs. The motifs that the Chinese have used for centuries to carve jade-for example, these earrings have been formed in the shape of a pi, a symbol of heaven-are reviewed in the article by Evelyn Tucker. The natural green jadeite beads are 30 inches (75 cm) long; the largest bead is 9.5 mm in diameter. The natural green jadeite earrings are 25 mm in diameter. Courtesy of the Crystalite Corporation. Photograph s?Y81 Harold and Erica Van Pelt-Photographers, Los Angeles, CA. Composition for Gems & Gemology is by Printed Page Graphics, Fullerton, CA. The color separations are by Effective Graphics, Compton, CA. Printing is by Waverly Press, Easton, MD. "1982 Gemological Institute of America. All rights reserved. ISSN 001 6-626X EDITORIAL Editor-in-Chief Managing Editor Editor, Gem Trade Lab Notes STAFF Richard T. -
Welcome to Christ Church Cathedral's 'How Did They Do That?' Family Trail
Welcome to Christ Church Cathedral’s ‘How Did They Do That?’ Family Trail Christ Church has teamed up with local makers to create a fascinating self-guided trail which explores the huge amount of work and the many materials and methods that were used to create the Cathedral building and its priceless collection of artefacts. Ever wondered how to make stone look like fur, how to carve wood or the secret to making coloured glass? Here’s your chance to find out, with help from the ex- perts. You can follow this trail in any order you like around the Cathedral. Directions to each object can be found at the start of each section. Where to find Chapel of St things... Laud North Quire South Transept Transept Crypt Entrance Carved pulpit Strongbow’s Entrance Tomb Baptistery Welcome Desk Stained Glass Windows These can be found all over the Cathedral — just look up! Stained glass windows tell stories. They were originally used to teach people who couldn’t read about the Bible. With sunlight shining through them, casting bright colours around the Cathedral, they provided quite a show. Almost like an early form of cinema, before films were even thought of… What is glass and how is it made? Glass is basically molten sand (silica). As obsidian it occurs naturally in volcanos. About 7,000 years ago people discovered that by adding soda ash or potash and lime to sand they could melt it themselves at a much lower temperature. How can you make different coloured glass? Coloured glass is produced by adding min- erals or metal oxides to the glass mix. -
INCLUSIONS in AQUAMARINE from AMBATOFOTSIKELY, MADAGASCAR Fabrice Danet, Marie Schoor, Jean-Claude Boulliard, Daniel R
NEW Danet G&G Fall 2012_Layout 1 9/27/12 11:31 AM Page 205 RAPID COMMUNICATIONS INCLUSIONS IN AQUAMARINE FROM AMBATOFOTSIKELY, MADAGASCAR Fabrice Danet, Marie Schoor, Jean-Claude Boulliard, Daniel R. Neuville, Olivier Beyssac, and Vincent Bourgoin grams of translucent to transparent beryl were pro- duced, as well as several tonnes of opaque material In January 2012, aquamarine crystals containing for industrial use. While only a very small percentage interesting inclusions were extracted from the Am- was suitable for faceting, several hundred aqua- batofotsikely area northwest of Antsirabe, Mada- marines in the 1–35 ct range have been cut. In April gascar. These specimens displayed various types 2012, one of the authors (FD) traveled to the locality of eye-visible and microscopic inclusions, and and obtained representative samples. some had an unusual form. Raman microspec- troscopy identified reddish brown plate lets as Location and Geologic Setting. The workings are lo- hematite, while ilmenite was found as black cated less than 1 km north of Ambatofotsikely (a village platelets, black needles, and distinctive dark gray now locally known as Ambatofotsy Carole), 22 km dendrites. Similar inclusions are known in beryl north-northwest of Ankazomiriotra, and 74 km north- from Brazil, India, Mozambique, and Sri Lanka. west of Antsirabe. The deposit is centered at coordinates 19°27.662¢S, 46°27.450¢E, at an elevation of 1,010 m. The site is accessed by a paved road (RN 34) from ining activity near the central Malagasy village Antsirabe to a point 16 km west of Ankazomiriotra. of Ambatofotsikely was first documented nearly From there, a trail extends 15 km to Ambatofotsikely. -
KIRANJYOT RENU RANA FILE NO. CCRT/SF-3/163/2015 ADDRESS; D 1051 NEW FRIENDS COLONY NEAR MATA MANDIR EMAIL: [email protected] MOBILE: 98101 67661
KIRANJYOT RENU RANA FILE NO. CCRT/SF-3/163/2015 ADDRESS; D 1051 NEW FRIENDS COLONY NEAR MATA MANDIR EMAIL: [email protected] MOBILE: 98101 67661 PROGRESS REPORT 1 WHAT IS SCULPTURE Three-dimensional art that can stand on its own is known as a sculpture. Sculptures vary in sizes, and may be small enough to fit in the palm of a hand or large enough that they can only fit in a large outdoor space. Some sculptures are representative, and may look like a famous person; others may be abstract. The materials used in sculpture vary, and anything from ceramics, cement, recycled materials, paper or synthetics may be used to produce this particular type of art. By definition, a sculpture differs from other structures in that it does not have an intrinsically utilitarian purpose. HISTORY & ORIGIN Sculpture was used mainly as a form of religious art to illustrate the principles of Hinduism, Buddhism, or Jainism. The female nude in particular was used to depict the numerous attributes of the gods, for which it was often endowed with multiples heads and arms. Important milestones in the history of sculpture include: the Buddhist Pillars of Ashokaof the Mauryan period, with their wonderful carved capitals (3rd century BCE); the figurative Greco- Buddhist sculpture of the Gandhara and Mathura schools, and the Hindu art of the Gupta period (1st-6th century CE). In brief, the flow of the growth of sculpture is as follows: Indus Valley Civilization (c.3300-1300 BCE) Mauryan Sculpture: Pillars of Ashoka (3rd Century BC Ajanta Caves (c.200 BCE - 650 CE) Under the Kushans, sculpture from Gandhara and Mathura art went on to influence artists across India, Elephanta Caves (c.550-720) Pallava and Pandya Sculpture from South India (600-900) Ellora Caves (c.600-1000) Chandela Stone Sculpture in Central India (10th-13th century) Chola Bronze Sculpture of South India, Sri Lanka (9th-13th century) Famous Sculptures that impressed and inspired me 1) TheAshoka Pillars 2) SanchiStupa 3) Ajanta Caves 4). -
The Journal of Gemmology Editor: Dr R.R
he Journa TGemmolog Volume 25 No. 8 October 1997 The Gemmological Association and Gem Testing Laboratory of Great Britain Gemmological Association and Gem Testing Laboratory of Great Britain 27 Greville Street, London Eel N SSU Tel: 0171 404 1134 Fax: 0171 404 8843 e-mail: [email protected] Website: www.gagtl.ac.uklgagtl President: Professor R.A. Howie Vice-Presidents: LM. Bruton, Af'. ram, D.C. Kent, R.K. Mitchell Honorary Fellows: R.A. Howie, R.T. Liddicoat Inr, K. Nassau Honorary Life Members: D.). Callaghan, LA. lobbins, H. Tillander Council of Management: C.R. Cavey, T.]. Davidson, N.W. Decks, R.R. Harding, I. Thomson, V.P. Watson Members' Council: Aj. Allnutt, P. Dwyer-Hickey, R. fuller, l. Greatwood. B. jackson, J. Kessler, j. Monnickendam, L. Music, l.B. Nelson, P.G. Read, R. Shepherd, C.H. VVinter Branch Chairmen: Midlands - C.M. Green, North West - I. Knight, Scottish - B. jackson Examiners: A.j. Allnutt, M.Sc., Ph.D., leA, S.M. Anderson, B.Se. (Hons), I-CA, L. Bartlett, 13.Se, .'vI.phil., I-G/\' DCi\, E.M. Bruton, FGA, DC/\, c.~. Cavey, FGA, S. Coelho, B.Se, I-G,\' DGt\, Prof. A.T. Collins, B.Sc, Ph.D, A.G. Good, FGA, f1GA, Cj.E. Halt B.Sc. (Hons), FGr\, G.M. Howe, FG,'\, oo-, G.H. jones, B.Se, PhD., FCA, M. Newton, B.Se, D.PhiL, H.L. Plumb, B.Sc., ICA, DCA, R.D. Ross, B.5e, I-GA, DGA, P..A.. Sadler, 13.5c., IGA, DCA, E. Stern, I'GA, DC/\, Prof. I.