Sterling silver, chosen for its brilliance and durability, offers a perfect setting to showcase the lapis lazuli stone.

The latter, known for its deep blue color sprinkled with golden glitter, brings a touch of nobility and mystery to the whole.

Lapis lazuli, a stone of wisdom and truth, has always been sought after for its aesthetic properties and soothing virtues.

Ring in 925/1000 silver (8.9 grams) and 750/1000 gold (2.1 grams) folded the regularities of the "brutalized" metal stand out and are highlighted by the dark patina applied.

Anthony Barrouyer creates here a ring set with a triple-turn moonstone 0.7cm wide.

Héphaïstos Collection is a set of different models but where the same technique is used for each unique piece, rings with very marked and visible metalwork, raw, forged shapes, a blackened patina, with apparent roughness, double, triple, wide, hammered rings, in short a return to the first metalwork the "forge" style.

The sterling silver amethyst ring is more than just a piece of jewelry; it is a work of art, a designer treasure that combines the timeless elegance of silver with the mystical beauty of amethyst.

This combination is not only visually striking, but it also carries with it a wealth of meaning and symbolism.

Amethyst, with its captivating purple hues, is often associated with wisdom, clarity of mind, and serenity.

It is believed to promote inner tranquility and peace, making this ring a meaningful choice for those looking to bring a little calm into their hectic lives.

Ring in 925/1000 silver (8.5 grams) and 750/1000 gold (1.4 grams) folded the regularities of the "brutalized" metal stand out and are highlighted by the dark patina applied.

Anthony Barrouyer creates here a ring set with a triple-turn moonstone 0.9cm wide.

Héphaïstos Collection is a set of different models but where the same technique is used for each unique piece, rings with very marked and visible metalwork, raw, forged shapes, a blackened patina, with apparent roughness, double, triple, wide, hammered rings, in short a return to the first metalwork the "forge" style.

To create this ring in solid silver 925/1000 (36.2 grams) I used the lost wax casting technique.

The tray measures 2.3 cm with a simple appearance but with worked and harmonious shaping and finishes.

The silver is patinated, aged reinforcing the effect of the final hammering.

We can see that the metal has been brutalized, but the polishing gives it a soft shape with unique reflections.

I sculpted it entirely in wax using a saw as the only tool in order to melt it into silver.

Before applying the patina so that my work has even more relief, I hammered it.

To create this ring in solid silver 925/1000 (52.6 grams) and gold 750/1000 (3.8 grams) I used the lost wax casting technique.

The tray measures 1.9 cm with a simple appearance but with worked and harmonious shaping and finishes.

The silver is patinated, aged reinforcing the effect of the final hammering.

We can see that the metal has been brutalized, but the polishing gives it a soft shape with unique reflections.

I sculpted it entirely in wax using a saw as the only tool in order to melt it into silver.

Before applying the patina so that my work has even more relief, I hammered it.

To create this ring in solid silver 925/1000 (28.8 grams) I used the lost wax casting technique.

The tray measures 2.3 x 2.3 cm with a simple appearance but with worked and harmonious shaping and finishes.

The silver is patinated, aged reinforcing the effect of the final hammering.

We can see that the metal has been brutalized, but the polishing gives it a soft shape with unique reflections.

I sculpted it entirely in wax using a saw as the only tool in order to melt it into silver.

Before applying the patina so that my work has even more relief, I hammered it.

To create this ring in solid silver 925/1000 (17.6 grams) I used the lost wax casting technique.

The tray measures 3 cm x 2 cm with a simple appearance but with worked and harmonious shaping and finishes.

The silver is patinated, aged reinforcing the effect of the final hammering.

We can see that the metal has been brutalized, but the polishing gives it a soft shape with unique reflections.

I sculpted it entirely in wax using a saw as the only tool in order to melt it into silver.

Before applying the patina so that my work has even more relief, I hammered it.

To create this ring in solid silver 925/1000 (44.9 grams)

Before becoming a jewel I sculpted it entirely in wax a technique that allows me to create my jewels in complete freedom and without any constraint in order to melt it in silver.

I then applied the patina so that my work has even more relief.

To create this ring I used the lost wax casting technique.

The tray measures 2.5 x 2 cm set with a Turquoise Matrix.

It was a sacred stone for the Egyptians, Persians, Tibetans, Indians, Mayans, Aztecs and Incas of sky blue, blue green, apple green color when it is altered.

The "turquoise blue" shade is rare.

It is called Turquoise Matrix when the stone is furrowed with veins or brown, gray or black clouds.

Before becoming a jewel I sculpted it entirely in wax using a saw as the only tool, using a different cutting angle each time, I made different layers in order to melt it in silver.

I then applied the patina so that my work has even more relief.

To create this ring I used the lost wax casting technique.

The tray measures 2.5 x 2.5 cm set with a Turquoise.

It was a sacred stone for the Egyptians, Persians, Tibetans, Indians, Mayans, Aztecs and Incas of sky blue, blue green, apple green when it is altered.

The "turquoise blue" shade is rare.

Before becoming a jewel I sculpted it entirely in wax using a saw as the only tool, using a different cutting angle each time, I made different layers in order to melt it in silver.

I then applied the patina so that my work has even more relief.

To create this ring in solid silver 925/1000 (57.1 grams) I used the lost wax casting technique.

The tray measures 3 cm with a simple appearance but with worked and harmonious shaping and finishes.

The silver is patinated, aged reinforcing the effect of the final hammering.

We can see that the metal has been brutalized, but the polishing gives it a soft shape with unique reflections.

I sculpted it entirely in wax using a saw as the only tool in order to melt it into silver.

Before applying the patina so that my work has even more relief, I hammered it.