FEATURE ARTICLE

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Besides the fact that some of the all-natural materialshave become very limited or completely unobtainablefrom the mine sources, while others are getting harder

to find uncut on the market or their prices have risen dramat-ically as is the case with turquoise, sugilite, gaspeite andocean jasper, a new trend in lapidary materials has enteredthe market: natural enhanced lapidary materials.

The traditional way of enhancing gemstones has been bydying or resin-stabilization in order to simulate a more ex-pensive and rare version of the same material, or to makesoft and fragile materials harder so that they can survivethe lapidary processes of cutting and polishing. Today, manyof the natural gem materials have been color enhanced tolook like some other natural material, and the results are“simulants” or “look-a-likes.” Although they are imitatinganother material, they are not “imitations” as are glass andplastics, because they are of natural origin. Another en-hancement that we have seen in recent years in drusygemstones, besides dying, has been coating with metals,such as gold, platinum or titanium.

But the most recent breed of enhanced lapidary materialscomes in the form of fancy compressed blocks, comprisedof natural gemstone ingredients, metals, shells and resins,some in stunning colors and unimaginable mineral combina-tions never seen before. They are compressed with resinunder heat and pressure and are durable to be used into jew-elry. Many of these enhanced gem materials are very attrac-tive with bold and eye-catching patterns, striking colors andunique designs—our natural world with a face lift!

Coupled with a lower price point, which makes them an ap-pealing alternative to the all-natural expensive gemstones,these gemstones cut from fancy compressed blocks havebecome an instant hit among lapidaries and jewelry design-ers. Figure 1. A great advantage the compressed blocks pro-vide is that there is very little waste when slabbing them;even-sized slabs are easy to cut, compared to natural piecesthat are irregular in shape, with inclusions, cracks and flawsthat the lapidary has to take into account and work aroundthem. There is no need for any special orientation of therough block material, which accounts for less labor and sub-

sequently for less final cost, except for the desired thicknessand pattern. The slab is then easily shaped into geometric orfree-form cabochons.

There are two main problems surrounding these stones. Oneis the lack of disclosure. Although the original wholesalerdealers or lapidaries may have disclosed information aboutthe nature of the rough, cabochons or beads, somewheredown the line, or especially with online sales of second andthird parties, information gets lost or blurred. The secondproblem is that appraisers are not familiar with these prod-ucts, and consider all of them as “junk,” placing them in thesame category as glass or plastic imitations. They should un-derstand the origin of these materials, their properties andtheir current market value.

One of the reasons for disclosure, besides honesty, is for thelapidary, designer, metalsmith, or the final client or collectorto know how to take care of the jewelry set with these typesof finished stones. How well will the stones wear once setinto jewelry, especially into rings which take more abuse, orwould they be best set in pendants and brooches? Will theyendure a cleaning in an ultrasonic machine, the torch of thejeweler, or a swim in the pool?

ENHANCED LAPIDARY MATERIALSFANCY COMPRESSED BLOCKS: THE LATEST TRENDHelen Serras-Herman FGA

We all love using natural untreated gem materials for our lapidary projects and jewelry artwork. We like theorganic feel, the symphony of colors, the diversity of textures, the quality and the uniqueness, grateful toMother Nature for creating all these beautiful rarities.

FIGURE 1. Blocks by Colbaugh Processing.

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While many dealers of high-end gemstones and literaturewithin the gemological world are focused on disclosure ofenhancements of expensive faceted rubies, emeralds or di-amonds, the cabochon and bead market almost slides qui-etly under the disclosure radar. It is a huge market thataffects a large percentage of sales in the commercial jewelryart and craft world.

According to the Federal Trade Commission (FTC) Guides forthe jewelry industry, with the exception of normal fashioning(cutting and polishing) it is the seller’s responsibility at all lev-els of commerce to clearly disclose to the buyer at the timeof the sale whether the stone is natural or not. The sellermust also provide all pertinent information about any en-hancement process when A) the treatment is not permanentand its effects are lost over time, B) the treatment createsspecial care requirements for the gemstone to retain the ben-efits of the treatment, and C) the treatment has a significanteffect on the value of the gemstone.

A great source of information is the Gemstone InformationManual, 12th edition, published by the American Gem TradeOrganization (AGTA), available to all on the Disclosure pageat http://www.agta.org/info/index.html. There are sixteen‘Gemstone Enhancement Codes’ supported by AGTA, andwhen selling any gemstone, bead, or jewelry, one of thesecodes must be applied.

A vast majority of cabochons on the market today are treatedwith the fracture filler Opticon™, or polished with wax duringthe final step, facts rarely disclosed. Although I understandthat no dealer wants to put a sign in their booth stating thattheir stones are all treated, lapidaries and jewelry artistsshould let their customers know about their stones’ treat-ments and advise them of how to take care and protect thefinished products.

My research for these types of gemstones started back in2014 while I was looking at the booth of Keith Horst of A & KGems and Minerals at a gem show in Arizona. Keith is a mas-ter lapidary and teaches lapidary at the Yavapai College inPrescott, Arizona. He is recognized in the trade for his stun-ning cabochons, drusy cabs and unique natural surfacefreeforms. I have great admiration for his work especially hismasterfully cut matched pairs for earrings. Looking throughKeith’s inventory many bizarre gemstones drew my attention.We started pairing the simulant pieces with natural gem-stones, and a “natural vs. enhanced” story began to develop.After that initial encounter, I began looking for and findingmore “look-a-like” gem materials at other booths.

There are two main groups for these fancy compressedblocks. One type comprises of small, natural nuggets of qual-ity turquoise from Kingman, Arizona, which are compressedwith resin into blocks, yet the outline of each nugget is still

FIGURE 2. Natural Kingman turquoise compressed.

FIGURE 4. Turquoise infused with bronze, finished.

FIGURE 3. Natural turquoise, infused with bronze.

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visible. These compressed turquoise blocks (Figure 2) are cre-ated by Colbaugh Processing, Inc. (http://www.colbaugh.net/),a very-well known company that mines the only active minefor turquoise in Arizona: the Mineral Park Mine at TurquoiseMountain a few miles north of Kingman. The company isheaded by Marty Colbaugh, the grandson of the original mineowner, S.A. “Chuck” Colbaugh, who first mined turquoisethere in 1962.

I had the opportunity to talk with Marty at his booth in Tucson,and he openly discussed the treatments used in his materi-als. I am very thankful to him for being very open in dis-cussing and disclosing all treatments. He was very emphaticthat the all-natural turquoise blocks start with high-gradeturquoise nuggets, and do not contain any dyes.

Besides the all-natural turquoise blocks, he also creates com-pressed blocks of natural turquoise nuggets infused withbronze (Figure 3 and 4) or zinc that offer a very unique lookwith tendrils of bright shiny metal, simulating naturalturquoise with golden matrix inclusions from the Kingmanmine or the Hachita mine in New Mexico. Figure 5. Thesehave become extremely popular for use as cabochons andknife handles.

The latest trend that Colbaugh Processing offers is a varietyof dyed turquoise blocks, with or without infused bronze (forgold color) or zinc (for silver color), which are imitating anothernatural gem material. All blocks purchased directly from Col-baugh Processing weigh approximately 2.20 lbs and are cur-rently sold for $80 per pound.

One variety called Mohave green turquoise (Figure 6) is a brightgreen dyed turquoise infused with zinc, simulating the rare brightgreen gaspeite [(Ni,Mg, Fe) CO3] fromAustralia. Figure 7.Gaspeite’s electriclime green to neonapple green color isdue to its nickel con-tent. Slabs of naturaluntreated gaspeiteare rarely available,and today may rangein the $2 to $3 pergram at retail shows,while the Mohavegreen turquoise maysell for only $0.50 pergram. Most gaspeitecabs and beads aretreated. Besides theblocks, it is offered di-rectly by ColbaughProcessing as bead FIGURE 5. Turquoise Sky, Hachita mine.

FIGURE 6. Mohave green turquoise blocks.

FIGURE 7. Natural gaspeite.

FIGURE 8. Turquoise with abalone cabs.

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strands ranging from $23 to $52 and pendants for $30 each.

In addition to the turquoise blocks, natural azurite/malachiteand apple coral are also compressed in blocks and offered forsale. The most recent varieties of compressed blocks are theall-natural color spiny oyster shell from Baja, Mexico, withbronze matrix, and spiny oyster with turquoise, currently avail-able for $80/lb, as well as purple spiny oyster and turquoisecombination. I also just saw at Keith Horst’s booth at thePrescott Gem & Mineral show, cabs of turquoise withabalone shell and abalone shell with bronze. Figure 8. Thecabs were truly stunning with the scintillating iridescent col-ors of the shells. Their price range is $20-$40 each.

The second type of compressed blocks are those made bycrushed-into-powder natural materials, often low-qualityturquoise, dyed, compressed and stabilized, and sold in ablock form or slabs. They are manufactured and sold by FredThiele of Natural Expressions, Inc®, with whom I had the op-portunity to talk with and photograph his materials. His com-

pany in Gilbert, Arizona, is known for selling natural and man-made gem material crushed into powder or into small chipsthat customers use for inlay projects in wood or pottery(http://stores.ebay.com/nichebox-rocks). He also makes ablock from crushed pieces of natural dinosaur bone (Figure9), as well as a man-made version of dino bone (Figure 10and 11) in yellow or red, selling for around $100 per block, nottoo inexpensive.

MOHAVE PURPLE TURQUOISEThe Mohave purple turquoise, offered by Colbaugh Process-ing, is probably the most famous of these fancy compressedblock materials. Figure 12, 13 and 14. Although there is nosuch thing in nature as purple turquoise, it imitates the veryrare natural combination of purple sugilite with blue richterite(an amphibole group mineral). In matter of fact, Marty Col-baugh said that he was actually asked to create such an imi-tation by one of his customers, and thought it to be a crazyidea.

Sugilite (Mohs H 5.5-6.5) is a pink to purple cyclosilicate min-eral with the complex chemical formula KNa2(Fe, Mn,Al)2Li3Si12O30. It is most commonly found in a massive form,not single crystals. Figure 15. It mainly comes from the Wes-sels Mine in Northern Cape Province in South Africa, althoughit was first found in Japan by petrologist Ken-ichi Sugi (1901-1948). An interesting fact is that the Japanese name, Sugi, ispronounced with a hard “g” as in geese, but the mineral iscommonly pronounced with a soft “g” as in “gene.” And that“mispronunciation” has become the norm. (http://www.min-dat.org/min-3822.html).

Sugilite colors include lavender, purple, lavender-pink, and darkpurple. The brighter the purple color and the more translucent(gel) sugilite is the rarer the material is considered. The priceof sugilite has increased multifold in recent years. A decadeago, sugilite rough ranged between $1 per gram and $5 pergram for the top gel material. Now $50 per gram and higherare prices asked by vendors. In rare occasions, bright blue

FIGURE 9. Natural dino bone block.

FIGURE 10.Man-made dino blocks.

FIGURE 11.Man-made dino bone cabs.

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veins of richterite are associated with sugilite and make astunning color combination. In rare occasions, bright blueveins of richterite are associated with sugilite and make astunning color combination, that very color arrangement thatMohave purple turquoise is imitating.

The Mohave purple turquoise is made from natural turquoisefrom Kingman compressed with resin, dyed and stabilized. Theresult is a material with brilliant purple color, often with someof the original natural blue turquoise color still visible as theharder turquoise does not take the dyes very well. Those, I findthe most intriguing. It is also offered with bronze infusion in-clusions with a golden webbing visual look, or zinc infusionwhich gives it a silver color. Mohave purple turquoise has nowbecome very popular, and it is sold as blocks, slabs, cabochonsand bead strands. Slabs at retail vendors are sold for about 50cents per gram or more, and finished cabs range $15-$40 each.

Sharlene Hellberg, a talented gem artist based in Kingman, Ari-zona, carves the Mohave purple turquoise. Figure 16. Whenshe asked Colbaugh Processing about any special precautionswhile working the material, she was told to treat it like any otherstabilized turquoise. She says though, that the material has adifferent odor, and I would probably guess that the bronze infu-sion may be the cause. Nonetheless, the bronze infusion doesnot seem to cause any problems for sanding or final polishing.

On the Colbaugh Processing website, there is a warning toavoid ultra-sonic cleaners with the pink soap solution as theymay cause white spots on the purple color. They also cautionto avoid excessive heat, long periods of soaking in water andexcessive chemicals. They also state that, if Mohave purpleturquoise is treated correctly, the color will remain the same,and it will not fade or bleed.

SIMULANT SONORA CHRYSOCOLLAThe simulant Sonora chrysocolla imitates one of the most well-

FIGURE 12.Mohave purple turquoise blocks.

FIGURE 13. Mohave purple turquoise cabs.

FIGURE 14. Mohave purple with abalone.

FIGURE 15. Mohave purple turquoise carving.

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known and desired newnatural gemstones, theSonora chrysocolla, alsoknown as Sonora Sun-set or Sonora Sunrisechrysocolla, or chryso-colla cuprite.

The natura l Sonorachrysocolla is a copper-based rock composed ofblue or green chrysocollaand red cuprite, a copperoxide mineral. (Coverphoto.) It may also con-tain the orange-red chal-cotricite, blue brochantite,and black veins of iron ortenorite. It has beenmined since 2006 at theMilpillas Mine that hasproduced stunning azu-rite-malachite crystals—the copper mine near thetown of Cuitaca inSonora, Mexico, verynear the famous coppermine in Cananea. It is reported, however, that since 2011 allcopper ore at the Milpillas mine has been exhausted.

The hardness of the Sonora chrysocolla is around Mohs 3-4.Great quantities of rough have come out and may still be avail-able, but it is getting harder to find good quality rough material,with even portions of the ingredients. What made the materialfamous was a symmetry and proportional balance betweenthe blue, red and black colors. The brilliant red-only rough ma-terial and designer cabs are referred to as “crimson cuprite.”

The man-made simulant version of Sonora chrysocolla hassimilar coloration, mostly turquoise blue and bright red. It ismade of 80% natural stone powder, dyed, compressedunder heat and pressure and stabilized with 20% resin, andis sold in the form of a block, slabs and cabs. It is manufac-tured and sold by Fred Thiele of Natural Expressions, Inc® inArizona. Whi le Sonora chrysocolla cabs may range from$40 to over $100 each, the simulant cabs may sell for only$15-40 each. Figure 17, 18 and 19.

AZURITE WITH MALACHITEA compressed block combination of small natural nodules ofazurite and malachite, compressed with resin into blocks (Fig-ure 20), is also created by Colbaugh Processing, Inc. As withtheir other blocks, it is offered with bronze infusion, whichcreates a stunning golden webbing pattern, or without thebronze infusion which has a more natural look. Theazurite/malachite block simulates the natural occurrence of

azurite habitually found together with malachite, which isoften a pseudomorph replacement of azurite. The two naturalminerals make a stunning visual arrangement when cut to-gether as a gemstone, often with a combination of drusy andpolished surfaces. Figure 21 and 22.

Azurite is a deep blue-colored copper mineral, with chemicalformula Cu3(CO3)2(OH)2. Azurite crystals are formed as darkblue prismatic crystals, but more commonly azurite is foundin a massive, nodule or stalactitic form. It is very soft, only

FIGURE 19. Sonora chrysocolla simulant cabs.

FIGURE 16. Sugilite carving.

FIGURE 17. Sonora chrysocolla, natural-simulant.

FIGURE 18. Sonora chrysocolla simulant blocks.

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3.5-4 on the Mohs scale. Azu-rite mineral specimens fromthe legendary Bisbee andMorenci mines are the mostsought after.

Man-made imitation blockscome in a similar color-combi-nation, but start with pow-ered stone material. Figure 23.They are available on the mar-ket from Fred Thiele of NaturalExpressions, Inc®. Slabs inapproximately 5”x2” sizessell for around $20-$25 each.

A FINAL WORDWe have only discussed afew enhanced lapidary materi-als in this article, but it is obvious that there is a fair amountof them on the market today, with a growing list due to tech-nological advances and demand from the public. Even thoughthey may not be my personal preference for a gem materialor for other “purist” carvers and lapidaries, they are afford-able and attractive, which makes them a good alternativechoice to all-natural expensive gem materials. All of us lapi-daries, jewelry artists, appraisers and collectors should un-derstand these gem material options, and be able to explaintheir properties and value to our customers. u

ACKNOWLEDGEMENTSI am very thankful to Keith Horst of A & K Gems and Minerals, Marty Colbaugh of Colbaugh Processing Inc,and Fred Thiele of Natural Expressions, Inc®, for allowingme to photograph their materials and for sharing theirknowledge with me.

Helen Serras-Herman, MFA, FGA, is an acclaimed gemsculptor with over 34 years of experience in unique gemsculpture and jewelry art. Her award-winning artwork has been exhibited world-wide and published in over 200 trade magazines and books. See her work atwww.gemartcenter.com and her business Facebook page at Gem Art Center/Helen Serras-Herman

FIGURE 20. Compressed azurite-malachite.

FIGURE 21. Natural azurite-malachite carved.

FIGURE 22. Azurite-malachites.

FIGURE 23. Man-made azur-malachite.