The ring standing on a light stone: the tall bezel, the row of small citrines and the openwork of the shank

Collection Rinascimento·Anello·Florentine style

Florentine Style silver ring with 16.50 ct oval citrine quartz and sixteen surrounding citrines

Name: Florentine Style silver ring with 16.50 ct oval citrine quartz and sixteen surrounding citrines
Brand: Anna Gioielli
SKU: A792q
Price: 1380.0 EUR
Availability: InStock

Sixteen and a half carats of checkerboard citrine quartz, and below the setting another sixteen citrines in a row.

€1.380,00 A792q

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

At the center there is a single large stone: an oval citrine quartz, set crosswise along the band, so much so that the two ends of the oval extend beyond the sides of the finger. It is held by a tall, cylindrical silver setting: the wall is satin-finished in fine stripes between two polished wires, and beneath the stone runs a beaded wire. Immediately below the setting runs a continuous row of small citrines, one beside the next, held between beads of metal and closed between two beaded edges. From there down the silver is no longer solid: it is pierced into lance-shaped leaves, and on every leaf the veins are engraved with the burin. The shoulders are high and taper as they descend; inside the band the silver stays smooth.

The central citrine quartz is natural and weighs sixteen carats fifty, that is three grams thirty of stone alone, and its crown has no smooth table but a grid of little squares. Citrine is a quartz, yellow by nature: the trade sometimes calls it topaz, but topaz is another mineral. Around it are another sixteen, small, of the same yellow. The silver at nine hundred and twenty-five thousandths weighs ten grams ninety, and it is the only metal in the piece: it makes the setting, the row of seats, the piercing and the band. There are no diamonds: the light here is not sparkle, it is the yellow that the squares of the checkerboard hold in depth.

The material

Weights and carats as the workshop declares them.

10,90 gramsSilver 925‰

16,50 carats Citrine quartz · oval checkerboard

Metals: Silver 925‰
Style: Florentine style
Technique: Made entirely by hand: the silver case pierced in a leaf pattern and engraved with the burin, the setting drawn up and satin-finished in stripes, the sixteen citrines of the surround set one by one between the beads.

The stones

Citrine quartz

At the center, in the silver setting

Cut: Oval checkerboard
Carats: ct 16,50
Note: Natural

Citrine quartz

Around it, in a row below the setting

Cut: Round
Note: Sixteen stones, weight not declared

Three-quarter view from above: the leaf openwork running around the whole case and the shoulders

The oval citrine quartz seen from the front, inside the silver bezel

The ring on the finger, view from above at an angle

The ring on the finger from above: the oval set crosswise extends beyond the sides of the finger

Close-up: the satin-finished wall of the bezel, the beaded edges and the row of small citrines

In the workshop: the piece clamped at the bench during working

How it is made

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

Openwork: The metal is drilled and then cut out from the inside with a very fine saw blade, until the solid sheet becomes a design of voids. It is a piece of work that allows no second attempt: what is taken away does not come back.
Burin engraving: The burin is a goldsmith's small chisel, pushed by hand. It does not scratch: it lifts a shaving of metal and leaves a clean furrow that catches the light. It is the mark that for five centuries has set the Florentine goldsmiths' school apart.
Repoussé and chasing: Repoussé raises the relief by beating the metal from the back; chasing finishes it from the front, with points that do not cut but move the metal. The work is done on a sheet that has to give just enough and no more: too strong a blow thins it on the other side, and where the metal is already pierced that point can no longer be strengthened.
Checkerboard cut: On the crown the facets do not converge towards a point: they cross in a grid of squares, like a checkerboard. It is a cut that does not look for the sparkle but for the depth of the color, and for that reason it is used on quartzes and on gems where the color is the subject.
Citrine quartz: Citrine is quartz, the same mineral species as rock crystal and amethyst: all that changes is how much iron it holds and how that iron sits in the lattice. Naturally occurring yellow is rare, and most of the citrine on the market is born amethyst and turns yellow in the kiln — a stable treatment, declared in the gem trade, that cannot be told by eye. At the seventh degree of hardness it stands up to daily wear better than almost any other colored stone; but the same firing that gives it its color can also take it away, and strong continuous light or the heat of a nearby flame will drain it. The yellow that goes does not come back.

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.

All the creations by Anna Gioielli