2ct Blue Sapphire Ring, 18K Yellow Gold and Platinum

We have been working on building a setting for a 2ct Ceylon blue sapphire ring. The gem is a little dark, but it is almost a perfect oval, which means that it is an ideal candidate for an east-west setting.

No diamonds on this one – we wanted this ring to be simple but stately. The idea was to give it a feeling of history, back to a time when we did not overthink things, and we had no distractions.

Despite the sapphire being dark, we decided to close off the bezel, like in old Georgian rings. How do you still maintain the lustre and brilliance of a dark gemstone in a closed back setting?

One way is to set the gem a little bit higher, so that light could enter the stone sideways. But you also don’t want the gallery to look too high – that small difference of where you place the ring band on the bezel is what would make or break the stateliness of this ring.

Another thing we did was to use 8 prongs. Not 4 or 6, but 8. And we didn’t want to use plain old wire tube prongs – we made them triangular. This was the part that took the longest time to build.

A simple ring is not really simple, because it has to be simple without being boring. This ring would fail if any part of it is even slightly off the mark. Proportion is everything.

See the completed work here.

Antique Jewellery Restoration – Art Deco Platinum Aquamarine Ring

Restoration - Art Deco Platinum Aquamarine Ring

This art deco platinum aquamarine ring has been passed down through 3 generations of March babies. Over time the aquamarine gem has chipped significantly on two of its corners. The chips are too big to be polished off without greatly diminishing the size of the gem.

The original prong setting is elegant and delicate, but does little to protect an already chipped stone. We thought that the best course of action here is to build a new frame to wrap and secure the gem. We hand cut milgrain details into the frame to match the overall style of the ring.

Here is the completed ring.

Restoration - Art Deco Platinum Aquamarine Ring

I am always astonished at how much a little bit of care can do for an old ring. Some work, some cleaning, some polishing, and we reveal a clean, sparkly, table cut intense blue Santa Maria aquamarine. You hardly notice the chips now, even though they’re still there.

Custom Wedding Bands – Wheatsheaf

The wheatsheaf is an old symbol of togetherness and harvest. These custom wedding bands are classical, yet unconventional to modern eyes. Each band has an additional element of 9 hand fired gold beads.

The challenge in making these bands was turning the wheatsheaf twists into a seamless band. We could avoid this problem by casting the ring with the help of computers, but jewellery is less about perfection than it is about soul.

The human touch imbues objects with a spirit I cannot explain. Our wheatsheaf series are never the same for any couple. They embody a vision of your future and our wishes for that future.

See the completed work here.

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Art Deco Jade Engagement Ring

An art deco jade engagement ring that is traditional and yet not.

It is unusual to find apple green jade cut into such tiny cabochons. We will use these cabochons to surround the jade centrepiece to bring out its darker green.

A traditional cluster setting in this case would overwhelm and make the ring too chunky. We decided to place the accent jade cabochons 90º from the main gem. To do this, we forged a pair of teardrop shaped frames, one slightly smaller than the other, and mounted them together.

A pair of diamonds, set in stepped, milgrain platinum mounts, sit on each shoulder of the ring. You may not think anything of it, but creating a pronounced stepped effect requires quite a bit of adjustment and great skill.

See the completed work here.

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Dis-placement

This is one in a series of three rings. The colours examine the idea that harmony differs from individual to individual. Sometimes harmony becomes boring or taken for granted, if there are no alternatives of perspective. A single perspective is not reality. Perhaps because reality can’t be one perspective.

Two out of three of these rings will be laid out in an unexpected array of colours, and only one will ‘soothe’. Together, we are reminded that there is beauty and harmony in displacement.

See the completed work here. There is still one more ring in this ‘trilogy’.

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Platinum Engagement Ring, 2ct Cushion Cut Diamond

There are two main requirements for this ring – a matte, greyish, antique type finish, and a high setting.

We chose to build this ring in platinum for two reasons – for the greyish finish of raw platinum, and to match the old style cut of the diamond (it would likely have been set in platinum in its time).

While you can already sort of see the completed ring mount here, the ring is only halfway done. This is why the prongs seem so long and the ring looks “raw”.

There is still detailing work to do, without which the ring is incomplete. At this stage, it is also time to decide if the detailing and finishing you had in mind would go with the ring.

See the completed work here.

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1920s Filigree Diamond Ring

This is an 18K white gold 1920s filigree diamond ring mount. It looks quite worn, but it is a finely detailed ring made entirely by hand. Well worth restoring!

The bridges on both sides of the ring were broken after decades of wear. To guarantee a comfortable, solid fit for years to come, we used a thin piece of gold wire to restore the bridge.

We acquired a .63ct old brilliant cut diamond. We forged a new frame to mount the diamond onto the ring.

See the completed work here.

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Sunstone Diamond Ring, 18K Yellow Gold & Platinum

This modified emerald cut sunstone is faceted into a twist on the top, unlike a traditional emerald cut gem. We’re setting it into a ring.

A classical wheatsheaf braid is central to the band. The wheatsheaf is also a symbol of togetherness. Flanking the sunstone are two VS F color baguette diamonds set into platinum frames.

Proportion is everything! The longitudinal layout of the setting flows endlessly through the ring, from the stone through to the band.

Adding our hallmarks turned out to be a pretty complicated process for this ring. We couldn’t stamp directly on the band, so we ended up fabricating a brand plate and two small discs to countersink into the band.

See the completed work here.