Collection Creazioni in Argento·Anello·Florentine style, lily on an oxidized ground
Men's silver ring with Florentine lily on an oxidized background and faceted spatulated shank
Fourteen grams and fifty-five of silver, and on the shank no two facets are alike.
Drawn and built by hand at the bench, in Tosi.
The setting is a domed oval, and inside it sits the lily of Florence in pale silver, lifted off the ground. The ground around it is oxidized: it is neither enamel nor stone, it is the same silver deliberately darkened, so that the flower stays pale and everything else falls back. The shank is not of even thickness: it starts narrow and smooth under the finger and widens like a spatula until it carries the setting, and across that whole part no plane is like the one next to it — they are irregular faces, mirror-polished one at a time, each catching the light on its own account. Inside, the band goes back to smooth.
Fourteen grams and fifty-five of silver at nine hundred and twenty-five thousandths, and no stone. A ring like this stands on two things only: the drawing of the lily and the light on the metal. The lily has to be kept symmetrical within a few millimeters, because it is a coat of arms and whoever looks at it recognizes it before reading it. The faces of the shank have to be polished right into the edges, where the cloth does not reach by itself, and one face left behind shows as a shadow among the others. Oxidizing is the opposite operation: everything is darkened and then the black is taken off only where the light has to come back, and the point at which the hand stops decides how far the flower lifts off the ground.
The material
Weights and carats as the workshop declares them.
- Metals
- Silver 925‰
- Style
- Florentine style, lily on an oxidized ground
- Finish
- Oxidized ground to the setting, faceted polished shank
- Technique
- Made by hand in the company's goldsmith's studio: the lily left in relief on the oval setting and the ground around it oxidized, the shank widened like a spatula towards the shoulder and worked back into facets, polished one at a time.
How it is made
The words of the trade, one by one, explained to those who do not know them.
- Florentine lily
- The lily of Florence is not the heraldic lily seen in the arms of France: it has two stamens between the petals, and that is the mark that tells it apart. The flower it comes from is an iris, which grew wild around the city. It has been red on a white ground since the thirteenth century — before that the colors were the other way round, and they were swapped when the city split between its two factions. For whoever works it in metal the problem is not the meaning but the symmetry: the central petal, the two curved side ones, the stamens and the band that grips them all sit inside an oval a few millimeters across, and whoever looks at it recognizes the arms before reading the drawing. One petal shorter than its opposite is enough, and it is no longer the lily of Florence: it is a flower.
- Oxidizing
- The silver is darkened deliberately, and then re-polished only where the light has to come back. The black stays in the voids and the recesses, the pale on the raised work: it is a design made by subtraction, and whoever does it decides where to stop the cloth.
- Spatulate shank
- The shank does not go round the finger with the same section: it starts narrow underneath and widens like a spatula as it rises, until the band becomes a full shoulder able to carry the top. It is a shape obtained by adding and taking away metal where it is needed, not by bending a ribbon of constant thickness, and it has to be carried through the same on both sides: a ring is looked at from above, and one shoulder wider than the other shows before the design it carries does.
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 in 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.
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.
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