Blue topaz
At the center of each corolla
- Cut
- Round faceted
- Color
- Pale blue
- Note
- Two stones, declared natural. Carat weight not stated
Collection Fiore d'Inverno·Orecchini
Fiore d'Inverno earrings in silver with blue topaz and blue enamel inside the corolla
Thirteen millimeters of blue enamel per lobe, and at the center a very pale blue topaz
€140,00
OA132blue
Drawn and built by hand at the bench, in Tosi.
Two silver corollas thirteen millimeters wide, each raised from a single sheet and hollowed into a shallow cup, with the rim left wavy and polished. Inside, the enamel is blue and it is not a flat blue: it follows the circles left by the sheet, goes deep in the grooves and lightens where the metal rises, so the color draws the folds instead of covering them. At the center, in a notched setting, a round faceted blue topaz of a blue much paler than the enamel: against that dark ground it is the first thing you see. Behind, the corolla stays rough and unenameled, pierced under the setting.
Five grams thirty of 925‰ silver, and a flower of thirteen millimeters per lobe: it is the small corolla of the collection, the same as on the earrings with the rhodolite and with the citrine quartz. In here, though, there is enamel, and the enamel dictates the order of the work — the glass is fired before the stone goes into its seat, because a topaz will not stand the temperature that melts it. The fitting is an open shepherd's hook: the hook passes behind the lobe and closes by itself, with no screws to lose. The studio does not state which of the enameling techniques the blue belongs to, nor the carat weight of the stone. Presentation box included.
The material
Weights and carats as the workshop declares them.
5,30
gramsSilver 925‰
- Metals
- Silver 925‰
- Finish
- Blue enamel inside the corolla, polished outline
- Dimensions
- Flower diameter about 13 mm
- Clasp
- Open shepherd's hook
- Technique
- Made entirely by hand.
The stones
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 into a shallow cup and left irregular at the rim, with the folds starting at the center and going outwards. The wavy rim is not corrected twice — stretched silver does not come back — so the first fold is the one that stays. In the middle of the cup is the only point that has to stay flat: it is the seat of the stone, and if the cup has moved there the setting does not sit.
- Enamel
- Enamel is glass: ground to a powder, laid on the metal and taken to several hundred degrees until it melts and becomes one surface with the piece. Before the fire it is a wet powder that a breath will move; afterwards it is not retouched, because correcting one point means sending all the color already fired back onto the fire as well, and at every pass you risk the bubble, the cooling crack and the color that shifts. The families have their own names and are recognized by how the metal holds the color: champlevé, when the color sits in hollows cut into the sheet; cloisonné, when it sits inside small walls of wire soldered to the ground; cold enamel, when in place of the glass there is a resin that hardens without fire. They are different techniques, and they are not attributed by eye.
- 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 practice that is declared and accepted in the gem trade. For whoever mounts it another thing counts: topaz cleaves along a clean plane, parallel to the base. A blow given in the wrong direction does not chip a corner, it opens the stone in two — that is why it is held on claws that take it on the outline and leave it free, and on a topaz already in its seat a setting is not tapped back down.
- Shepherd's hook fitting
- The hook passes behind the lobe and closes by itself. It goes on in one movement, it has no screws to lose and it carries the weight without pulling.
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 piece leaves the bench made to order: sizes and details are agreed 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.
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.
Della stessa famiglia
Due modi di cercare quello che somiglia a questo.
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Fiore d'Inverno silver earrings with iolite, 13 mm sandblasted corollas
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Fiore d'Inverno earrings in blackened bronze with garnet, 18mm corollas
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Dalle stesse mani
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Fiore d'Inverno Earrings in silver with peridot and green enamel, 13 mm corollas
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Fiore d'Inverno earrings in silver with amethyst and yellow enamel inside the corolla
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