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I don't know if this suggestion will be entirely helpful, but when painting jewelry, often I've found that the level of detail and inherent wide value range can create a focal point in your painting where you didn't intend one. So, I try to make it very soft.
The method I like to use is to model the jewelry in a narrower value range, leaving out one or two steps of both the darkest and lightest values. Then paint back in wet with the darkest values so the edges will be super soft, leaving lights and catch lights for last. I like the ropy cremnitz white too, but last time I used flake and a little stand oil, and worked the highlights in tiny adjacent dots. (Thank you, Jan Vermeer!)
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