Marte ring in silver with a heart-shaped blue topaz, overall view

Collection Marte·Anello

Marte ring in perforated band silver with 13.90 carat heart-shaped blue topaz

Ten grams twelve of pierced silver, and at the center a heart-cut blue topaz of thirteen carats ninety.

€430,00 AA211t

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

At the center there is a heart-cut blue topaz, faceted above and below and almost as wide as the band that carries it: the light goes into it, bounces off the pavilion and comes back out in splinters, and the blue stays pale even in the depths. Three silver claws finished in balls hold it, two on the lobes and one at the point. Below, the band rises towards the stone and it is not smooth: it is pierced with voids that never repeat, sinuous, of different widths, dark in the recesses and polished back on the edges. The voids go right through, and from inside the ring you see the light through the metal. It is the drawing of the collection named after Mars, and here it goes all the way round the finger, not only over the top.

Ten grams twelve of silver at nine hundred and twenty-five thousandths, and a topaz of thirteen carats ninety. The heart rests on three claws only, and to carry it the band has to stay thick even where the voids cross it: those ten grams are almost all there. The voids are not stamped, they are opened one at a time, and every solid part removed is material that does not come back. The topaz is stated by the company to be a natural stone. The presentation box is included, and on request the same model can be made in gold.

The material

Weights and carats as the workshop declares them.

10,12 gramsSilver 925‰
13,90 carats Blue topaz · heart, faceted
Metals
Silver 925‰
Technique
Made by hand in the company's goldsmith's studio. On request the same model can be made in gold.

The stones

Blue topaz

At the center, between three ball-tipped claws

Cut
Heart, faceted
Carats
ct 13,90
Note
Stated by the company to be a natural stone
The topaz heart from the front, between the three ball prongs
Side view: the openwork of the band and the faceted profile of the stone
The inside of the band: the openings pass right through
The ring seen from the point of the heart, the band rising towards the stone
The ring resting on a piece of wood, the heart in close-up
The facets of the crown against the light, on the wood
The ring worn, three-quarter view
The ring worn, the heart from the front on the finger

How it is made

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

Faceted heart cut
The heart outline is cut before the facets, and from there on there is no going back: everything that follows has to stay inside that shape. The hard point is symmetry about the axis running between the two lobes — the eye forgives a crooked facet, not a crooked heart, and half a millimeter of difference between one lobe and the other shows at once. Underneath, the pavilion follows an outline that is not round, so the facets cannot all be the same: they have to be calculated one by one so the light comes back across the whole shape and does not go out in the cleft between the lobes.
Blue topaz
Topaz is an aluminum silicate, and in nature it is almost always colorless. The blue seen in jewelry almost always comes from a treatment: the colorless rough is irradiated and then heated, and the color that comes out is stable and does not fade. Naturally occurring blue topaz exists, but it is rare and usually very pale — on a saturated blue stone the treatment is therefore the rule and not the exception, and it is a declared and accepted practice in the gem trade. For whoever sets it, something else matters: topaz cleaves along a clean plane, parallel to the base. A knock in the wrong direction does not chip a corner, it opens the stone in two — which is why it is held on claws that take it round the outline and leave it free, and why a setting is never tapped down again on a topaz already in place.
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.

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 same design can be made in gold.

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

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