The pendant resting against light wood: the silver corolla with the polished rim, the blackened ground and the citrine quartz at the centre

Collection Fiore d'Inverno·Pendente

Fiore d'Inverno pendant in silver with checkerboard citrine quartz, blackened corolla, and polished edge

Name: Fiore d'Inverno pendant in silver with checkerboard citrine quartz, blackened corolla, and polished edge
Brand: Anna Gioielli
SKU: PA231QC
Price: 195.0 EUR
Availability: OutOfStock

Twenty-three grams sixty of silver in a single corolla, blackened inside and polished at the rim

€195,00 PA231QC

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

A wide, irregular silver corolla, the wavy rim left polished and the ground blackened and sandblasted, run through by folds that start from the center and go outwards like the veins of a petal. Inside, in a round setting with a moving outline, sits a citrine quartz: the crown is cut in a checkerboard, a grid of squares that keeps the color compact instead of breaking it into sparks. Above the corolla the bail opens into three silver leaves, and the setting is pierced at the back, so that from behind the stone can be seen through, next to the hallmarks.

Twenty-three grams sixty of silver, all in a single piece: the corolla is not an assembly of petals but a single sheet, hollowed until it becomes a low cup. The black inside and the light at the rim are not two different materials but the same surface treated in two ways, the sand underneath and the cloth on top, and where one ends and the other begins is decided by the hand that stops. At the center of the cup remains the one point that has to be flat, because that is where the setting sits: if the sheet has moved exactly there, the stone will not go in straight.

The material

Weights and carats as the workshop declares them.

23,60 gramsSilver 925‰

Metals: Silver 925‰
Finish: Sandblasted and darkened inside, polished border
Technique: Made entirely by hand in the maker's goldsmith studio: the corolla hollowed out of a single sheet, the ground sandblasted and blackened, the rim and the setting brought back to polish, the stone closed in a seat pierced at the back.

The stones

Citrine quartz

At the center of the corolla

Cut: Checkerboard
Note: Single stone, orange in color, in a round bezel pierced at the back; carat weight not declared

Tilted front view: the open cup of the corolla and the round bezel that closes over the stone

Macro of the stone: the crown cut in a checkerboard, a grid of squares inside the bezel with its uneven edge

The pendant from the front on a white background, the folds of the blackened ground running from the bezel

The pendant hanging and shot from above, with the whole wavy rim in view

The back: the silver hallmarks and the pierced bezel, through which the bottom of the stone can be seen

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 until it becomes a low cup and left irregular at the rim, with the folds running from the center outwards. A wavy rim cannot be corrected twice — stretched silver does not go back — so the first fold is the one that stays. In the middle of the cup there is the one point that has to remain flat: it is the seat of the stone, and if the cup has moved there the setting will not sit.
Sandblasting: A jet of very fine sand takes the shine off the metal and makes it velvety to the touch. Here it is used on the inside, in contrast with the border left polished.
Checkerboard cut: On the crown the facets do not converge towards a point: they cross in a grid of squares, like a checkerboard. It is a cut that does not look for the sparkle but for the depth of the color, and for that reason it is used on quartzes and on gems where the color is the subject.
Citrine quartz: Citrine is quartz, the same mineral species as rock crystal and amethyst: all that changes is how much iron it holds and how that iron sits in the lattice. Naturally occurring yellow is rare, and most of the citrine on the market is born amethyst and turns yellow in the kiln — a stable treatment, declared in the gem trade, that cannot be told by eye. At the seventh degree of hardness it stands up to daily wear better than almost any other colored stone; but the same firing that gives it its color can also take it away, and strong continuous light or the heat of a nearby flame will drain it. The yellow that goes does not come back.

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.

All the creations by Anna Gioielli