The five silver corollas seen in three-quarter view, the citrine quartz on top

Collection Fiore d'Inverno·Anello·Floral motif drawn from winter flowers

Fiore d'Inverno ring in silver with five overlapping corollas, citrine quartz and four colored stones

Five silver corollas on different planes, and in each one a colored stone that is not repeated.

€470,00 AA251

Drawn and built by hand at the bench, in Tosi.

Five silver corollas mounted one above the other, and none on the same plane. The largest is at the top and carries the citrine quartz, orange and faceted, in a setting that follows the wavy rim instead of correcting it. The other four rise and fall around it, smaller, and each holds a single stone set to one side and not at the center of the cup: the blue-violet of iolite, the pale blue of topaz, the green of peridot, the dark red of ruby root. Inside each corolla the surface stays matt and marked by folds that run from the center outwards; at the rim the silver returns to polish, and that line of light runs along all the waves without ever breaking.

Twenty-five grams of 925 silver, and an overall size of thirty-six millimeters by twenty-eight: the ring covers the knuckle and projects beyond the finger on both sides. The corollas are not soldered into one block — the studio states that they move — and each discharges its own weight onto the band through a single attachment. The seats of the stones are the only flat point left: in a cup hollowed by hand the flat is lost, and it has to be found again exactly where the setting has to sit. The studio declares neither the carat weight nor the cut of any of the five gems.

The material

Weights and carats as the workshop declares them.

25,00 gramsSilver 925‰
Metals
Silver 925‰
Style
Floral motif drawn from winter flowers
Finish
Polished outside, matt inside the corolla
Dimensions
36 × 28 mm (overall size)
Technique
Made entirely by hand in the maker's goldsmith studio.

The stones

Citrine quartz

At the center of the largest corolla

Color
Orange
Note
Faceted stone. Carat weight and cut not declared

Iolite

On one of the four smaller corollas

Color
Blue
Note
Carat weight and cut not declared

Blue topaz

On one of the four smaller corollas

Color
Light blue
Note
Carat weight and cut not declared

Peridot

On one of the four smaller corollas

Color
Green
Note
Carat weight and cut not declared

Ruby root

On one of the four smaller corollas

Color
Red
Note
Carat weight and cut not declared
Side view: the corollas project beyond the band on both sides
Close-up: polished wavy edge and matt inside of the corolla
The group of five flowers seen from above, with blue topaz and ruby root
The ring in profile, the smooth band beneath the group of corollas
The corollas on different planes, none at the same height
Close-up of the bezel of the citrine quartz at the centre of the largest corolla
Three-quarter view from above, the corollas overlapping one another
The small stones set to one side and not at the centre of the cup
The reverse of the ring: the smooth backs of the corollas and the join to the band
The ring on the finger, the room it takes on the phalanx
The ring on the finger seen from the other side, the corolla with the citrine in close-up

How it is made

The words of the trade, one by one, explained to those who do not know them.

Corolla from a single sheet
The corolla is not an assembly of petals: it is a single sheet, hollowed until it becomes a low cup and left irregular at the rim, with the folds running from the center outwards. A wavy rim cannot be corrected twice — stretched silver does not go back — so the first fold is the one that stays. In the middle of the cup there is the one point that has to remain flat: it is the seat of the stone, and if the cup has moved there the setting will not sit.
Moving settings
The corollas are not soldered into one block: each sits on its own attachment with a calculated amount of play, and the group settles onto the hand instead of staying still. The margin is narrow on both sides — too loose and the corollas knock against each other, and on polished silver the mark of a knock cannot be taken out without re-polishing the whole rim; too tight and the movement disappears, which was the reason the piece was mounted this way in the first place.

I don't look at what others are doing: I would rather create in my own style. That is what makes our jewelry recognizable.

Fabio Gori — Anna Gioielli, Tosi

Made for you

Every ring is made to the size of the person who will wear it: we settle it together before the work begins.

The goldsmith's workshop is also the place where made-to-measure jewellery is created and family pieces are restored: if you have an idea, or something you want brought back to how it was, that is where it starts.

Ask for a made-to-measure piece
Made by
Anna Gioielli

A goldsmith's workshop in Tosi, on the slopes of the Pratomagno: Anna opened it in 1988, her sons Fabio and Francesco carry it on. Piercing, repoussé, chasing and burin engraving — the Florentine school, with the workshop in full view of the shop.