The heart seen from the front on a white background, hanging from the purple silk cord

Collection Creazioni in Argento·Pendente·Lozenge motifs

Hammered silver heart pendant with two-tone purple enamel diamonds, silk cord included

Eight grams and ten of hammer-beaten silver, and the enamel lozenges in two purples: the light and the dark are enough to make the little cubes stand up.

€180,00 P566AR

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

A domed silver heart, hammer-beaten across the whole surface: the light does not run over it, it breaks inside it, and every hollow sends it back on its own account. On the front the plate stays solid — the lozenges are not voids going through, they are cells of color that the metal holds, and nothing passes through the heart. The cells sit three by three around the same vertex, so that each set of three reads as a small cube seen from the corner and the whole face becomes a row of cubes resting against one another. What builds them is not the relief, it is the color: of the three lozenges of each cube one is closed with a dark purple enamel, almost indigo, and the other two with a pale lilac, and it is the two tints that decide which face is in light and which in shadow. The silver ribs between one lozenge and the next stay in relief and hold the beating; where three cubes touch, the metal left over draws a six-pointed star. Towards the edge the pattern breaks off: some cells are left cut in half, some close into a round drop, and around it runs a band of beaten silver with no color. The reverse is not enameled and not pierced: it is a single dome of hammered silver, still in design and moving in surface. The bail is a plate bent into a cone, wide below and narrow at the top, mirror-polished — it is the only part of the piece over which the light runs whole; underneath, a single small ring holds the heart and lets it swing on the silk cord.

Eight grams and ten of silver at nine hundred and twenty-five thousandths for a heart of twenty-six millimeters by thirty-four, measured with the bail: the company writes the weight beside the hammered silver and lists the cord separately, so how much the two ends weigh is not said. At the neck there is no chain: there is a purple silk cord, thirty-nine and a half centimeters, closed at the ends by two silver end caps. The company names it among the materials together with the pendant, and it is included in the price; the silver chain is added on request, and that one is not. The purples are two and you can see them, but which enamel it is is stated nowhere, and we do not write it: the families are different processes from one another, and from a photograph they cannot be told apart. The color is in any case the fragile part: the pendant comes off before detergents and solvents, and it does not go into an ultrasonic bath. The silk even more so, because it is a fiber and not a metal — it fears water, perfumes and rubbing, and unlike silver it cannot be re-polished: it is replaced, and the heart stays. Presentation box included.

The material

Weights and carats as the workshop declares them.

8.10 gramsHammered silver 925‰
Purple silk cord with silver ends, 39.5 cm — included Silk; the fineness of the silver ends is not stated
Purple enamel in two tones The enamel family is not stated
Metals
Silver 925‰
Style
Lozenge motifs
Finish
Hammered silver · polished bail
Dimensions
Heart 26 × 34 mm (including the bail) · silk cord 39.5 cm
Technique
Made entirely by hand: the heart domed and hammer-beaten on both faces, the lozenge mesh closed one cell at a time with purple enamel in two tones, the bail bent into a cone and mirror-polished. Purple silk cord with silver ends included; the silver chain is added on request and is not included.
In three-quarter view: the polished loop bent into a cone and the small ring that carries the heart
The heart resting against the light stone, with the beaten silver band running around the edge
The back of the heart: a single dome of hammered silver, with no enamel and no holes
The pendant set on a dry branch, with the silk cord running down behind
Close up on the wood: the dark enamel and the light lilac that build the small cubes, and the six-pointed stars between one cube and the next
The heart in full light: the raised silver ribs between one cell of enamel and the next

How it is made

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

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 wet powder that a breath will move; afterwards it cannot be retouched, because correcting one spot means sending all the color already fired back into the fire, and at every pass you risk a bubble, a cooling crack and the color turning. 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 plate; cloisonné, when it sits inside little walls of wire soldered onto the ground; cold enamel, when in place of the glass there is a resin that hardens without fire. They are different processes from one another, and they are not attributed by eye.
Enamel in two tones
Two colors on the same piece are not fired together: the first is laid on and taken to the fire, and when the second is laid on the first goes back into the fire again. Whoever works it therefore chooses first the tint that will take the most passes, because at every firing the color already fired can bubble, crack or turn. And the difficulty does not end there. Here the two purples are not an ornament: they are the shadow and the light that make the lozenges read as cubes. It only takes one cell picking up the tone of the other, or the same tone coming out heavier in one place than in the rest, and at that point the cube flattens and the design goes out.
Silk
Silk is the thread of a silkworm, not a goldsmith's material: it cannot be soldered, it cannot be polished and under the flame it burns instead of heating. On a piece that uses it the metal is finished entirely first, and the cord goes in last into the silver end caps, which close cold around it: from that moment nothing more is soldered on the pendant. It is also the only part that ages — it absorbs sweat and perfume, it frays where it rubs against the bail, and when it gets wet it shortens and hardens — while the silver can always be re-polished. You watch where it enters the end caps, and that is where it has to be replaced: before it gives way, not after.

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.

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.