Triade Bianca

Faust Cardinali La Triade Bianca, 2022 Silver, 18kt yellow gold , hand-carved antique ivory , rubies ring 6 x 5 x 3 cm Unique and signed “« l’objet trouvé » – the hand carved piece of ivory was a liturgical accessory from the Atelier Chéret / Paris. In 1991 I had a studio in that historic space. 30 years later I bought the piece from Claude Chéret and immediately thought of a sculpture – a ring: the bull symbolises power and fecundity, the eagle the authority, virility, the government, victory and courage, Our Lady… we know. For me, the White Triad is a sculpture – like a sort of arch (of triumph?) where inside the heart, embossed in gold, pulsates and three drops of ruby guarantee its life. A kind of tree, where light filters through, ivory is like flesh or fabric. A ring to wear in more than special ceremonies.”

Faust Cardinali Little Riddick, 2022 Silver, 18kt yellow gold , bronze, diamonds, citrin quartz, opal, sapphire, garnet, aluminium ring Unique and signed Make it Yours ♥   Cardinali combines harmoniously and expressively materials like aluminium that he carves using a self-invented technique with gold, silver, precious stones and everyday materials like burned bread that he transforms into fossils. The result are small wearable sculptures containing hidden messages that come to our earth with a “metallic” sensibility to attach themselves to the body.

Giampaolo Babetto Anello, 1995 18kt white gold and pure amethist ring Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Giampaolo Babetto Anello , 2022 18kt yellow gold ring Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Giampaolo Babetto Anello , 1983 18kt white gold, niello and pigment ring Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Giampaolo Babetto Anello , 1983 18kt white gold ring Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Giampaolo Babetto Anello , 1983 18kt yellow gold ring External Ø 4.4 cm Unique and signed Giampaolo Babetto’s work reflects contemporary art movements such as concrete art, minimal art, kinetic or pop art in a unique, purist and plastic manner. His pieces are immediately recognisable by its simple design. He is inspired by the architecture of his homeland, by Palladio’s villas, and by the geometries in which he finds poetry. His jewellery is innovative in concept. Made up of different abstract elements, broken down into modular units, or rendered moveable through the use of ingenious links, Babetto’s works are like small architectural pieces or small sculptures. Babetto prefers working in gold due to its stable malleability and its warm sheen which he combines with unconventional materials such as plastic or glass, ebony, dusting the internal surface with a velvet-like pigment in luminous primary colours of reds or blues or using enamel and age-old niello-based techniques. These materials are used as highlights and contrasts in works of increasingly pure and essential geometrical forms that have come to characterise the Padua School.  

Anish Kapoor Disc ring, 2012 18kt white gold ring 3 x 3 x 0.6 cm Edition of 15/75 Numbered and signed Edition Louisa Guinness Gallery “I have made jewellery for many years. it is a way of making small objects that are like sculpture on the body.” – Anish Kapoor Anish Kapoor was one of the first artists approached by the Louisa Guinness to make jewels. He was excited to explore a new medium. His first work, Large Water Ring, was executed in two versions – white and yellow gold – for the gallery’s debut exhibition, ‘Past and Present: Jewellery by Contemporary Artists’, in 2003. The following year, Round and Tear rings were followed by Square, Rectangle and Crescent rings. The scale was the most challenging aspect for Kapoor when it came to considering jewellery. He was sure of the effect he wanted to achieve but unsure of how to achieve it. An expert at thinking in three dimensions, and about the possibilities of polished metals Kapoor nonetheless went through a painstaking process involving several prototypes to produce the ‘right’ effect in small scale. He was particularly concerned about the concave internal form; if the viewer did not appear upside […]

Anish Kapoor Water Ring, Form I, Medium, 2011 22k yellow gold polished exterior with rose gold interior ring 3 x 3 x 1 cm Edition 3 of 10 Numbered and signed Edition Louisa Guinness Gallery “I have made jewellery for many years. it is a way of making small objects that are like sculpture on the body.” – Anish Kapoor Anish Kapoor was one of the first artists approached by the Louisa Guinness to make jewels. He was excited to explore a new medium. His first work, Large Water Ring, was executed in two versions – white and yellow gold – for the gallery’s debut exhibition, ‘Past and Present: Jewellery by Contemporary Artists’, in 2003. The following year, Round and Tear rings were followed by Square, Rectangle and Crescent rings. The scale was the most challenging aspect for Kapoor when it came to considering jewellery. He was sure of the effect he wanted to achieve but unsure of how to achieve it. An expert at thinking in three dimensions, and about the possibilities of polished metals Kapoor nonetheless went through a painstaking process involving several prototypes to produce the ‘right’ effect in small scale. He was particularly concerned about the […]

Anish Kapoor Water Ring (Square), Form IV, Large, 2004 22k yellow gold polished exterior with dark green enamel interior 4 x 4 x 1.4 cm Edition 3 of 10 Numbered and signed Edition Louisa Guinness Gallery “I have made jewellery for many years. it is a way of making small objects that are like sculpture on the body.” – Anish Kapoor Anish Kapoor was one of the first artists approached by the Louisa Guinness to make jewels. He was excited to explore a new medium. His first work, Large Water Ring, was executed in two versions – white and yellow gold – for the gallery’s debut exhibition, ‘Past and Present: Jewellery by Contemporary Artists’, in 2003. The following year, Round and Tear rings were followed by Square, Rectangle and Crescent rings. The scale was the most challenging aspect for Kapoor when it came to considering jewellery. He was sure of the effect he wanted to achieve but unsure of how to achieve it. An expert at thinking in three dimensions, and about the possibilities of polished metals Kapoor nonetheless went through a painstaking process involving several prototypes to produce the ‘right’ effect in small scale. He was particularly concerned about […]