The ring from the front: the white pearl set into the openwork silver dome

Collection Marte·Anello

Marte dome-shaped perforated silver ring with freshwater pearl and four six-point diamonds

Eight grams sixty of silver hollowed into craters around a freshwater pearl, and six hundredths of a carat in four gold settings.

€450,00 AA234

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

The pearl sits inside the dome, not on top of it. The silver grows around it hollowed into craters and pierced right through, and closes onto its rim with small points that hold it at the sides: it stays set in almost halfway, white and broad, with a cold sheen that runs from one side to the other as the hand moves. The oxidizing has left the black in the recesses and the light only on the raised work that stands proud, as in all the Marte pieces, and no void looks like the one beside it. Around the pearl four yellow gold settings, the size of pinheads, each hold a brilliant, and they are all the gold in the piece. Underneath, the dome is empty: looking at it from the finger you can see the back of the pearl through the holes. Behind, the shank goes back to being smooth and narrow.

Eight grams sixty of silver make the dome and the band; twenty hundredths of a gram of eighteen carat gold make the four settings, less than a fortieth of the metal, put only where it holds a stone. The four brilliants add up to six hundredths of a carat in all: tiny stones, which mark the four points around the pearl and do not compete with it. The pearl is stated to be natural and freshwater — it comes from a river or lake mollusc, not from the sea — and it remains the softest part of the piece: it sits around the third degree of hardness, it scratches with a fingernail and it fears acids, so it goes on last, after the perfume, and is put away dry.

The material

Weights and carats as the workshop declares them.

8,60 gramsSilver 925‰
0,20 gramsYellow gold 18kt 750‰
0,06 carats Diamonds · four around the pearl, in gold settings
Metals
Silver 925‰ and yellow gold 18kt 750‰
Technique
Made entirely by hand. The dome is hollowed into craters and opened with irregular voids one at a time, then oxidized and polished back on the raised work only; the pearl is set into the silver nest and held by the points closed onto its rim, and the four gold settings are soldered onto the silver all around.

The stones

Freshwater pearl

At the center, set into the pierced dome

Note
Natural white pearl

The diamonds

Natural. Position, cut, carats, colour and clarity.

Four around the pearl, in gold settings 0,06ct Brilliant Natural diamonds, total

Certificate Certificate of authenticity and guarantee · gift box

Three-quarter view: the side of the dome cut with irregular openings and the thin shank
The pearl at the centre of the silver nest, with a gold bezel and its brilliant at the top
The piece tilted: the pearl projects beyond the edge of the dome
Close-up of the pearl and of the burnished craters all around
Side view: how high the dome rises above the band
The dome seen in full, with the gold bezels set around the pearl
The inside of the dome: the back of the pearl shows through the openings
Three-quarter view from the left: the openwork of the side and the profile of the shank
The piece seen from behind: the dome is hollow and the pearl looks out from inside
Profile: the pearl resting on the edge of the dome and the shank tapering
On a piece of wood: the grazing light brings out the black in the recesses and the light on the raised parts
Side view with the whole openwork of the shank in the light
From behind: the smooth, narrow shank behind the hollowed dome
The brilliants in gold bezels, one at each point around the pearl
The pearl and the silver craters in full light
The ring on the finger, in profile: how high the dome rises above the hand
The ring on the finger, seen from above
Close-up on the finger: the size of the pearl against the knuckle

How it is made

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

Irregular voids
In geometric piercing the error is measured against the module that repeats; here there is no module, and every void has to be decided as it is opened. The risk shifts: not that a link comes out crooked, but that at some point the solid part is left too thin, and the piece gives way exactly there. Whoever does it holds together two things that pull in opposite directions, an outline that has to look random and a thickness that has to hold.
Oxidizing
The silver is darkened on purpose, and then polished back only where the light has to return. The black stays in the voids and the recesses, the light on the raised work: it is a drawing made by subtraction, and whoever does it decides where to stop the cloth.
Gold and silver on the same piece
Silver melts at a lower temperature than gold and oxidizes quickly under the flame. Setting the two metals on the same piece means heating just enough for the solder to take without sinking the silver, and cleaning the joint before the black of the flame is sealed in under the gold.
Pearl
The pearl is the only gem produced by a living animal, and it is not a mineral like the others: it is aragonite — calcium carbonate — held together by conchiolin, an organic substance the mollusc lays down between one layer and the next. That organic part is its weak point. On the hardness scale a pearl sits around three: it scratches with a fingernail, and the metal of another piece of jewelry marks it at the first contact. But the scratch is not the worst damage: being a carbonate it dissolves in acids, and sweat, perfume, hairspray and vinegar corrode the surface until the sheen goes out. It goes on last, after the perfume, and comes off first; it is cleaned with a barely damp cloth and put away dry, never shut in a bag where no air passes. And the thread or cord that holds it is watched too: it is the part that ages first, and it should be replaced before it gives, not after.
Brilliant cut
Fifty-seven facets calculated so that the light entering from above comes back out the same way. It is the cut that makes a diamond sparkle, and the reason a badly cut diamond stays dull.

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 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.