The pair on white silk, the two blue topazes inside the silver hollow

Collection Creazioni in Argento·Orecchini

Sterling silver almond-shaped dangle earrings with faceted oval blue topaz

It is the only one of the three stones that does not stand out against the silver: it carries on from it.

€270,00 O5803topaz

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

On the lobe rests a satin silver sphere; from there falls a wide ribbon that bends into an almond and is hollowed into a basin, satin inside and re-polished on the rim, crossed by a second thin ribbon left mirror-bright. Inside the basin, on four claws, sits an oval faceted blue topaz. Of all three stones mounted on this same setting it is the one that speaks most to the metal: the blue is cool and pale like the silver around it, and instead of standing out against the ground it carries on from it, so much so that at middle distance you read the shape first and the color afterwards. Beneath the facets the stone stays transparent right through — you can see the satin ground through it. At the bottom the wide ribbon closes into a crescent standing clear of the body, and beside it runs the thin wire that ends in a point.

Forty-five millimeters from the lobe to the point, one centimeter seven wide. The silver is at nine hundred and twenty-five thousandths and weighs seven grams and seventy: the company declares that figure once only, without saying whether it is for one earring or for the pair, and we do not decide it in their place. The body is cast, not cut out: the model is made in wax and the wax is lost in the mold, and it is the only way to get a basin with that undercut. The topaz has a flaw the other two stones in this series do not have: it cleaves along a clean plane parallel to the base, so a knock given the wrong way does not chip a corner off it, it opens it in two. That is why here it sits on four claws that grip it around the edge and leave it free, rather than inside a setting to be pushed over. The carat weight is not declared by the company, and we do not add it.

The material

Weights and carats as the workshop declares them.

7,70 gramsSilver 925‰
Metals
Silver 925‰
Finish
Satin-finished in the hollow and on the sphere, polished on the ribbons
Dimensions
Length with the hook 45 mm · width 1,7 cm
Technique
Lost-wax cast and finished by hand: the hollow left satin and the ribbons re-polished one at a time, the stone set in four claws that grip it around the edge, the post and butterfly back fitted behind.

The stones

Blue topaz

One stone per earring, inside the hollow of the ribbon

Cut
Oval faceted
Note
Declared by the company as «hardstone»; the carat weight has not been declared
The two earrings laid out on a light branch, the stones seen in three-quarter view
Hanging from a branch, one higher than the other, at their full length
Front view on the dark wood: the two almonds side by side and the four prongs
Close-up on the bark: the transparency of the stone against the satin-finished ground can be read
Resting against a white stone, in three-quarter view, with the crescent at the bottom in view
The pair standing on the white stone: the posts and the butterfly backs behind are visible
Side view with the two satin-finished spheres at the lobe in close-up

How it is made

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

Lost-wax casting
The model is built in wax, coated in refractory plaster and then heated until the wax runs out: what is left is a void of the exact shape, and into that void the molten silver is poured. To get the piece out the mold has to be broken, so every casting consumes both the wax and the mold, and the model you started from no longer exists. It is the way to obtain what the saw and the file would not — ribbons riding over one another, undercuts, voids closed on every side — but if the metal does not reach the end of a thin branch the piece comes out incomplete, and it cannot be mended: it is melted down and started again from the wax.
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. Blue topaz of natural origin exists, but it is rare and usually very pale — on a blue, saturated stone the treatment is therefore the rule and not the exception, and it is a declared and accepted practice in the gem trade. For whoever mounts it something else matters: topaz cleaves along a clean plane, parallel to the base. A knock given in the wrong direction does not chip a corner, it opens the stone in two — which is why it is held on claws that grip it around the edge and leave it free, and why on a topaz already in its seat a setting is not pushed over.
Post and butterfly clasp
The post goes through the lobe and behind it a butterfly holds it, two metal wings that grip the post by themselves. It is the simplest clasp there is, and precisely for that reason it has to be done well: the post must be soldered perpendicular to the body of the earring, because if it starts even slightly crooked the piece hangs askew on the lobe and there is no way of straightening it by wearing it. The butterfly, on the other hand, is the part that gets lost: it holds by friction, and friction drops off over the years until one day it no longer holds. You check it by pinching it lightly between two fingers, and when it has stopped resisting you change it — it costs little, and it costs a great deal less than the earring.

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.