di Emanuele Cannoletta
Suspended in a surreal atmosphere, the Lunamante Workshop is a place where the slow progress of craftsmanship makes ideas and dreams come true. Said workshop takes inspiration from every form of art; from poetry to music, from painting to theatre. It was born in Sanremo in 2019 from the passion of Emanuele Cannoletta, who was inspired by tradition and influenced by local history, after graduating in architecture and graduating at the Academy of Goldsmith Arts in Florence. Emanuele wanted to create a place where he could fully express his creativity.
An atelier of handmade jewelry, where the material comes alive thanks to memories, passions and emotions that turn into works full of feeling and meaning. Emanuele inherited his passion for jewellery from his grandfather Antonio and his small workshop on the first floor of the ancient Roman road that crosses the city of Sanremo.
Fascinated by oblivion, Emanuele seeks the balance of his works in the fusion of opposing aesthetics, combining ancient techniques and unusual materials with modern technologies. He personally takes care of the design and the realization aspect of each work, that is born from his personal research, starting with the design and continuing with the following artisan processes. His works range from ancient metallurgical techniques, derived from the Far East, to the lines of manual arts such as calligraphy and sculpture, combined with the use of materials that deviate from the usual, with the aim of creating contemporary objects that have a unique and inimitable character.
Goldsmiths and jewellers since 1949, the members of the Cannoletta family have lived and interpreted national and international jewellery trends for more than 70 years. Each production is accompanied by official certifications that testify its completely handcrafted production. Some of Emanuele’s creations have also been exhibited by the Academy of Arti Orafe at the International Jewellery Fair in Inhorgenta Munich. The fair has already collected numerous awards and recognitions in just a few years. Recently the “Wood Life Poetry” line is available. At a time when the call of pain of our planet is being felt, this collection combines a feeling with every jewel, so that each of us can identify with the message it contains.
The freehand engraving technique allows any type of drawing or image on precious metal.
This technique is developed through the use of steel blades specific for this work, called burins. It is possible to trace on metal marks with different aspects and depths, which give rise to shades and shading. In this way the image is permanently reproduced and takes on a highly artistic appearance.
Freehand engraving can be divided into two main categories:
- The decorative engraving, aimed at embellishing jewellery through shapes and decorations or through the creation of textures and patterns
The figurative engraving, with a decidedly more pictorial appearance, shows drawings, images and even photographs on metal.
The artistic processing of waxes allows the creation of a very wide variety of the most common shapes and jewels.
Starting from a rough block of synthetic wax, we proceed with the sculptural processing of the shapes until we obtain a finished object which will be immersed in liquid chalk to obtain a mould.
At this point the molten metal is poured into the plaster mould in order to recreate perfectly the shape previously sculpted in the wax.
This technique is very fast and allows the prototyping of a large quantity of jewellery, however, it is not able to reproduce the highest and most refined techniques of classical goldsmithing.
It is common that it is used to create basic shapes that are then decorated or finished with the addition of more complex techniques.
This technique of Korean origin permits the superficial embellishment of jewels through the application of pure gold leaves.
This procedure, usually used on silver, exploits the thermal-mechanical capabilities of metals to join a very thin pure gold leaf on a less precious metal surface.
It is therefore possible to enrich each jewel with shades of intense yellow or to create interesting plays of shapes and colours.
What is really interesting is that the union between gold leaf and the less precious metal takes place WITHOUT THE USE OF WELDING MATERIAL.
Coating is a chemical process that causes controlled oxidation of the metal.
Our laboratory uses this type of technique mainly on copper, causing an oxidation that changes its colour, making it a spotted blue with particularly intense shades.
To preserve its appearance, the jewel is then protected by a transparent synthetic paint. This technique can however be removed by blows and scratches and is therefore not recommended for rings and bracelets.
Watermark is a technique of jewelry decoration widely used in the history of jewelry.
It consists in weaving two or more very thin metal wires in order to obtain a very small metal rope useful to create shapes and decorations.
The filigree does not provide any kind of soldering agent for the joining of its wires, it can be composed of wires of different metals or different colours and can have a round section or be flattened.
One of the most difficult and sought-after techniques in the field of jewellery, mokume gane comes from Japan and literally has the meaning of “Metal with the appearance of wood”.
Originally used for the decoration of the katanas, it consists in forming a small block of mixed metals arranged in layers and joined together by autogenous welding.
Once obtained, the block can be worked in different ways (deformed, hollowed, laminated, etc.) in order to obtain different effects.
The resulting effect is given by the alternation of the different metals that make it up, which, emerging in layers, generate very suggestive coloured patterns.
A similar result to this technique can be obtained through a different procedure in the field of steel working and is called “Damascus”.
The technique of cantilevering or chiseling consists in the realization of three-dimensional shapes obtained from the deformation of the metal by “pushing”.
Using the chisels (specially forged steel rods of different shapes and sizes), the goldsmith hammers a sheet of metal until it is deformed in order to obtain relief figures with a distinct identity.
Just like the shapes created by the waxwork, the chiselled works are usually enriched later with more complex techniques.
This particularly unknown technique is used to superficially transform the metal, creating irregular ripples that are particularly evident.
The technique involves a long preparation of the metal which is heated and immersed in acid several times until a sheet superficially composed of a layer of pure metal is obtained.
Once this characteristic has been obtained, the processing is carried out by applying a very powerful flame that will lead the metal to melt ONLY SURFICALLY giving life to the cross-linked weft.
The creation of the decoration is therefore not controlled by the goldsmith, it is instead to be considered a natural reaction of the metal that is transformed by the contact with fire.
**ATTENTION: The cross-linking is made ONLY on 820/1000 silver with a thickness of 0.6mm.
This ancient technique, presumably of Etruscan origin and part of the Sardinian artisan tradition, involves the surface application of small metal grains joined to the jewel by autogenous welding (without a soldering agent).
This technique, particularly complex to master and very sought-after, provides an irrefutable mastery in the use of fire and allows to decorate the surfaces of jewelry in an elegant and refined way, giving an aesthetic with a very classic taste and a pleasant sensation to the touch.
Absolutely the most common and used surface decoration technique, involves the use of the hammer to generate an irregular texture that gives the jewel a strong artisan character.
The fretwork is the technique that allows “cut” the metal according to the will of the craftsman.
It allows the borders of a jewel to be defined and in addition the fretwork becomes particularly precious when it is thin and dense. In this case it takes the Roman name of “opus interassile”