Alan

What collectors call "aventurine" isn't a rare or special additive - its caused by an over-rich colorant mix. In other words - that color batch was mixed wrong. It can happen in any type.

Agreeing. I'm usually in most of them.

The term was (apparently) coined to describe the "wire-like" distribution of color in the marble.

Here: Link

Someone really ruined the batch that day!

What marble type is it a hybrid with?

In most things in life (archaeological research seemingly not an exception) to acquire a thing (in your case - access and cooperation) - one need to define a "win-win" in the eye of the collection curator or the responsible archaeologist. Curators and archaeologist IMO want different things. I think it best for you to pause and develop essentially what could be called a classic Business Plan (as brief as it might be) to define to both yourself and OTHERS: 1) What your goals are 2) Your plan of how you will accomplish them 3) The resources you need to accomplish those goals 4) The places those resources exist and who the "gatekeepers" are 5) Their gain (win-win) from that cooperation 6) Your strategy for gaining that cooperation (advocates, Letters of Introduction, opinion-shapers, collection donors etc) Some gatekeepers want homage. Some want tangible intellectual capital (which your results will create). Others are swayed by donor money/donor wishes. I would give thought to a multi-dimension approach to securing cooperation. If one plan fails - have a back-up. Ask senior people in the field "Who knows curator/archaeologist Bob Smith?". Try to avoid going in cold - its too easy to say know. Try to secure the advocacy of a connected person - and have a call or letter proceed your request. Be prepared to define the gain to the field/institution that comes from your work. Of course you would make a copy of your vetted work available to them and acknowledge their assistance in the work (note that in the request). Your thesis advisor(s) can probably tell you who is connected to whom. If a collection is funded by a donor - see if you can connect to that donor (without the curator feeling you went around them). I would give some serious thought how your work can and will support related areas of archaeological work and study. Don't appear to be stand-alone and insulated. The more impactful they believe your work to be - the more likely they will be supportive of it. Hope this helps. Alan

I posted in the linked thread.

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Guess: 71,000 Disclaimer: No marbles were harmed in the creation of this baseless estimate.

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A movie reference.

I use Firebox with DownloadHelper plugin for capturing media from "problem" pages. My link

He wrote a letter about receiving the box as a child and how he lost track of them - only to discover them many years later in his family's trunk. When I saw how choked up he was when he was going to sell them - I declined to buy them. He clearly had a lot of childhood memories in that box. Only after he insisted and another 3 months passed did I agree to take them. (Unfortunately, I have chosen to remove this ID content due to unchecked behaviors by others on this board. Moderators choose to humor it, but I will not. My apologies to those who will not benefit from it in the future.)

In their native habitat. I was fortunate enough to purchase this box from the elderly gentleman who originally received them as a gift when he was 7 years old.

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Steve is probably buying up Cyan Slag futures as we speak.

IMO - the "Lutz" in machine mades is actually a chemical reaction in the glass, not a purposeful additive as had been suggested. ETA: I am referring to VINTAGE machine mades. Humble pardon to my Jabo friends - whose talent in applying lutz is well-recognized.

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(Unfortunately, I have chosen to remove this ID content due to unchecked behaviors by others on this board. Moderators choose to humor it, but I will not. My apologies to those who will not benefit from it in the future.)

What do you mean? I've seen many women dressed like that had mustaches.

The truth is out.