The three bezels set in a triangle: the orange glass paste above, below it the light green and the larger dark green

Collection Creazioni in Argento·Anello·Three round settings grouped in a triangle on an open ribbon shank

Silver ring with three dark green, light green and orange glass pastes, open shank with two bands

Name: Silver ring with three dark green, light green and orange glass pastes, open shank with two bands
Brand: Anna Gioielli
SKU: AA143
Price: 180.0 EUR
Availability: InStock

Twenty millimeters by eighteen of head, and three round glass pastes: fused and faceted glass, not natural stones.

€180,00 AA143

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

Three round glass stones sit grouped in a triangle on the head of the ring, twenty millimeters long and eighteen wide. The orange is at the top, on its own; below, side by side, the two greens — on the right the largest of them all, dark and deep green, on the left a lighter and smaller green. The three settings touch and none is at the same height as the others. Each stone sits in a silver cup whose rim is cut into wide flat tabs, folded onto the girdle by hand: from above they read as a ring of short petals around each color. The cups are open at the bottom, and turning the ring you see the points of the three stones. The silver is polished everywhere, there is no oxidized part. Under the head the shank opens into two flat ribbons separated by a long slot, which come back as one piece under the finger.

Eight grams sixty of silver at nine hundred and twenty-five thousandths, for a head of twenty millimeters by eighteen: almost the whole width of a finger. The stones are glass pastes — glass fused, colored through the body and then cut and polished on the same lap as gemstones — and the company states neither their measurements nor their carat weight; we do not add them. Glass sits around the fifth degree of hardness, two degrees below quartz: house dust contains sand, and sand scratches it, so the ring comes off before the hands go into work and is put away on its own, not in the same compartment as the others. Made by hand in the company's goldsmith's studio; the presentation box is included.

The material

Weights and carats as the workshop declares them.

8,60 gramsSilver 925‰

Metals: Silver 925‰
Style: Three round settings grouped in a triangle on an open ribbon shank
Finish: Polished
Dimensions: Ring 20 × 18 mm (length × width)
Technique: Made entirely by hand in the company's goldsmith's studio. The shank opens into two flat ribbons separated by a long slot; each glass paste sits in a silver cup with the rim cut into wide tabs, folded by hand onto the girdle of the stone. The cups are open at the bottom and from below you see the points of the three stones.

The stones

Dark green glass paste

The largest of the three, below beside the light green

Cut: Round faceted
Note: Fused and polished glass, not natural stone; measurements and weight not stated

Light green glass paste

Below, beside the dark green

Cut: Round faceted
Note: Fused and polished glass, not natural stone; measurements and weight not stated

Orange glass paste

At the top, alone above the two greens

Cut: Round faceted
Note: Fused and polished glass, not natural stone; measurements and weight not stated

The ring seen from above: the silver tabs folded over the girdle of each stone and the slot of the shank behind

Side view: the two flat ribbons of the shank separated by the long slot and the height of the three cups

The back of the ring: the three cups, open at the bottom, let the points of the stones be seen

The ring worn: the head, twenty millimeters by eighteen, covers nearly the whole width of the finger

How it is made

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

Glass paste: Glass paste is glass: fused silica, colored through the body with metal oxides, cast or pressed into shape and then cut and polished on the same lap used for gemstones. It is not a stone and does not pass itself off as one: it is recognized by looking at it against the light, from the air bubbles left sealed in the pour and from the trails left by glass that was moving as it cooled. It is a material as old as jewelry — the Romans made pastes from it to imitate emerald, Murano and Bohemia built two industries on it — and the color, being in the body and not on the surface, does not wear away with use. Whoever mounts it, however, is working a material softer than quartz, around the fifth degree: house dust contains sand, and sand scratches it. And glass does not cleave, it chips: a setting tab pushed with one blow too many does not leave a mark, it takes away a piece of the girdle, and that piece cannot be put back. It is closed cold, a little at a time, and on a stone already in its seat you do not go back.
Tab setting: The setting does not end in a continuous rim or in thin claws: the cup is cut all round into wide flat tabs, eight or nine per stone, and each is folded onto the girdle by hand. Being wide they hold the gem more firmly than a claw and cover less of its side than a closed rim, but they all have to be brought down to the same height and with the same pressure: one lower than the others shows at once, because it is the round of the setting that goes crooked, and a push harder than necessary chips the stone underneath. You go round in turns, closing opposite pairs two at a time, and you never finish one side entirely before the other.
Open ribbon shank: The band does not arrive whole under the head: before rising it opens into flat ribbons separated by long slots, which come together as one piece under the finger. It serves to take out weight and to let a wide head breathe, but it shifts the load — the metal that was spread over the whole width now passes through thin strips, and the grip of the hand works on the two points where the ribbons open and close again. Those are the points to leave thicker, and they are also the ones where the file seems to be asking to thin down, because that is where the design reads.

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 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