About

Company overview

Dear Valued Client,
Hope you are fine and doing well. We would like to show you our fine special jewelry lines.
We are specializing in unique jewelry. If you are interesting in them, please feel free to contact us for more information.
We exhibit our lines in Las Vegas JCK Fair every year. Thank you for giving us this opportunity to serve you. We are looking forward to hearing your good news.
Yours sincerely,
Enric Torres, Creator of Fine Jewelry

Our History

Our history begin nearly 100 years ago when Mr. Agapito, started to work as a jeweler. He was very popular because of his passion and complete dedication to his job.

He developed very selective and spectacular pieces, which were present in the most important jewelry stores in Barcelona, Cuba and New York. That was the beginning of what we know today as ENRIC TORRES.

We are speaking about 1911, when Modernism or Art Nouveau influenced Europe. A tendency that was expressed in all manifestations of art: jewels, furniture, painting, and literature…..

Barcelona was the Spanish capital of Art Nouveau thanks to Antoni Gaudi´s  creations: The Modernist cathedral: Sagrada Familia, the famous park: Park Güell, and the two famous buildings: La Pedrera and Casa Batlló.

Mr. Agapito started his own business in 1946 and Jose, his soon, started to work with him in 1953. In 1960, this family of jewelers entrepreneurs, decide to go further and created their own collection of jewelry. Starting from Barcelona and growing with the city they went door-to-door, offering their exclusive jewelry and expanding to the rest of the world.

Our creations reflect the influence of the historical tendencies, from our small workshop, which nowadays has become an important workshop.

These tendencies come from the Victorian Art at the end of the century XVIII and the beginnings of the XIX, with romantic pieces of jewelry using ancient precious carved gems, the Art Nouveau at the beginning of XX century was inspired by natural elements like animals, and flowers used translucent enamel called “Pliqué a Jour” and finally, the Art Deco, from 1920 to 1930 with creations based on geometrical lines.

The reason for the success of the third generations of the craft workshop is doubtless, the development of these three styles. We continued going around the world bringing our jewelry as a visiting card but with passion, illusion and love for our job reflected in our jewelry.

Many countries have fallen in love with our creations.

We make timeless jewelry, which is not limited by fashion, and we can be proud of being the only workshop around the world specializing in these three styles, but mainly having Art Nouveau as a banner.

The modernist jewelry is considered an object of decoration but also a mysterious and mystical object. Its topics are women and nature fusing together: The flower-woman, the dragonfly-woman, the mermaid, the nymph…..

The lines are fluid and floral and the shapes are sinous, showing a mysterious world full of fragile flowers and little insects.

The designs  of ENRIC TORRES are created using complicated varieties of enamels.

As we did at their beginnings, every piece is still handcrafted, so the jewelry becomes masterpieces, selective and exclusive. Every one of these pieces takes many hours of careful and delicate handwork. Every outline of the design, the quantities of gold, enamel and precious gems must be exactly calculated to get the perfect balance in every piece of the collection.

All formulas are ancient and secret, but we can see the process of creation, which is completely handcrafted. We can appreciate the sensitivity and art of the gold workers:

First of all, the details of the design are inspired by the Modernist world. After that, we make from that design a silver figure in soft material that we can shape until achieving that perfect idea. Once this is done we make the mould from which we will obtain the definitive piece.

In the mould, we inject the gold and once the piece is extracted, starts the process of retouching and welding all the pieces to constitute the jewel.

Now is the time for the handcrafted and complicated process to enamel the piece at fire.

The expert works the enamel and place it a soft coat of salt glass on the gold or between the holes created by the artist.

That´s the way of getting the translucent effect, the great variety of colors and the definition effects, making every one of these pieces an exclusive and different piece of art.

After that, we proceed to the decoration, mounting the gems carefully and finally polishing the jewel and give it the characteristic luster.

In ENRIC TORRES, we believe in the perfection and this is the commitment we have with our customers.

Finally we deliver the jewels with the same love that we put in the whole process.

All jewelry is guaranteed with a certificate of true art and handmade pieces and which are used only precious metals such as yellow and white gold 18 carat stones like diamonds, emeralds, rubies, sapphires, pearls.

To enjoy an ENRIC TORRES´s jewel is a privilege. Having this jewel the privileged owner will have in her hands all the sensitivity and wisdom of the gold workers, and also the design of Barcelona of Gaudí and the exquisite Art Nouveau.

We don´t sell jewels, we sell art.

Because, nowadays, ENRIC TORRES, Barcelona and Art Nouveau are the same idea.

Enamels History

Vitreous enamel

Vitreous enamel, usually just called enamel, also porcelain enamel in U.S. English, is a material made by fusing powderedglass to a substrate by firing, usually between 750 and 850 °C (1380 and 1560 °F). The powder melts, flows and then hardens to a smooth, durable vitreous coating on metal and also glass orceramics, although the use of the term “enamel” is often restricted to work on metal. The fired enameled ware is a fully laminated composite of glass and metal. The word enamel comes from the High German word smelzan (tosmelt) via the Old French esmail. Used as a noun, “an enamel” is a usually small decorative object, coated with enamel coating.

Enameling is an old and widely-adopted technology, for most of its history mainly used in jewellery and decorative art, but since the 19th century applied to many industrial uses and in everyday day consumer objects, especially cooking vessels.

The ancient Egyptians applied enamels to pottery and stone objects and sometimes jewellery, though the last less often than other ancient Middle Eastern cultures. The ancient Greeks, Celts, Russians and Chinese also used enamel on metal objects.

Enamel was also sometimes used to decorate glass vessels during the Roman period and there is evidence of this as early as the late Republican and early Imperial periods in the Levantine, Egypt, Britain and the Black Sea. Enamel powder could be produced in two ways; either through the powdering of colored glass, or the mixing of colorless glass powder with pigments such as a metallic oxide. Designs were either painted freehand or over the top of outline incisions and the technique probably originated in metalworking. Once painted, enamelled glass vessels needed to be fired at a temperature high enough to melt the applied powder, but low enough that the fabric of the vessel itself was not melted. Production is thought to have come to a peak in the Claudian period and persisted for some three hundred years, though archaeological evidence for this technique is limited to some forty vessels or vessel fragments.

Enamel was at its most important in European art history in theMiddle Ages, beginning with the Late Romans and then theByzantines who began to use cloisonné enamel in imitation of cloisonné inlays of precious stones. This style was widely adopted by the “barbarian” peoples of Migration Period northern Europe. The Byzantines then began to use cloisonné more freely to create images, which was also copied in Western Europe. The champlevé technique was considerably easier and very widely practiced in theRomanesque period. In Gothic art the finest work is in basse-tailleand ronde-bosse techniques, but cheaper champlevé works continued to produced in large numbers for a wider market. From Byzantium or the Islamic world the cloisonné technique reached China in the 13-14th centuries; the first written reference is in a book of 1388, where it is called “Dashi (‘Muslim’) ware”. No Chinese pieces clearly from the 14th century are known, the earliest datable pieces being from the reign of the Xuande Emperor (1425–35), which however show a full use of Chinese styles suggesting considerable experience in the technique. It remained very popular in China until the 19th century and is still produced today. The most elaborate and highly-valued Chinese pieces are from the early Ming Dynasty, especially the reigns of the Xuande Emperor and Jingtai Emperor (1450–57), although 19th century or modern pieces are far more common. The Japanese also produced large quantities from the mid-19th century, of very high technical quality.

From more recent history, the bright, jewel-like colors have made enamel a favored choice for designers of jewelry and bibelots, such as the fantastic eggs of Peter Carl Fabergé, enameled copper boxes of Battersea enamellers and artists such as George Stubbsand other painters of portrait miniatures. Enameling was a favorite technique of the Art Nouveau jewelers.

Enamel was first applied commercially to sheet iron and steel in Austria and Germany in about 1850.DSCN0125 Industrialization increased as the purity of raw materials increased and costs decreased. The wet application process started with the discovery of the use of clay to suspend frit in water. Developments that followed during the twentieth century include enameling-grade steel, cleaned-only surface preparation, automation and ongoing improvements in efficiency, performance and quality.

Techniques of artistic enameling

Basse-taille, from the French word meaning “low-cut”. The surface of the metal is decorated with a low relief design which can be seen through translucent and transparent enamels. The 14th century Royal Gold Cup is an outstanding example.

Champlevé, French for “raised field”, where the surface is carved out to form pits in which enamel is fired, leaving the original metal exposed; the Romanesque Stavelot Triptych is an example.

Cloisonné, French for “cell”, where thin wires are applied to form raised barriers, which contain different areas of (subsequently applied) enamel. Widely practiced in Europe, the Middle East and East Asia.

Grisaille, French term meaning “in grey”, where a dark, often blue or black background is applied, then a palescent (translucent) enamel is painted on top, building up designs in a monochrome gradient, paler as the thickness of the layer of light color increases.

Limoges enamel, made at Limoges, France, the most famous European center of vitreous enamel production. Limoges became famous for champlevé enamels from the 12th century onwards, producing on a large scale and then from the 15th century retained its lead by switching to painted enamel on flat metal plaques.

Painted enamel, a design in enamel is painted onto a smooth metal surface. Grisaille and later Limoges enamel are types of painted enamel. Most traditional painting on glass and some on ceramics, uses what is technically enamel, but is often described by terms such as “painted in enamels”, reserving “painted enamel” and “enamel” as a term for the whole object for works with a metal base.

Plique-à-jour, French for “braid letting in daylight” where the enamel is applied in cells, similar to cloisonné, but with no backing, so light can shine through the transparent or translucent enamel. It has a stained-glass like appearance; theMérode Cup is the only surviving medieval example.

Ronde bosse, French for “in the round”, also known as “encrusted enamel”. A 3D type of enameling where a sculptural form or wire framework is completely or partly enameled, as in the 15th century Holy Thorn Reliquary.

Stenciling, where a stencil is placed over the work and the powdered enamel is sifted over the top. The stencil is removed before firing, the enamel staying in a pattern, slightly raised.

Sgrafitto, where an unfired layer of enamel is applied over a previously fired layer of enamel of a contrasting color and then partly removed with a tool to create the design. Serigraph, where a silkscreen is used with 60-70in grade mesh.

Counter enameling, not strictly a technique, but a necessary step in many techniques, is to apply enamel to the back of a piece as well – sandwiching the metal – to create less tension on the glass so it does not crack.

WHY CHOOSE US

Passionate:

We love what we do, some might say a bit too much, and we bring enthusiasm and commitment to every project we work on.

We care about our clients and can often be found working out of hours to get everything ‘just right’!

Put simply, if you want a team who cares about your jewels choose Enric Torres

Experience:

As ENRIC TORRES barcelona company we have been trading since 1986 however we’ve been exporting since 2004.

Service:

Personalised and premium service. Our priority is to offer you a high level of personalised service tailored to your individual needs.