Back in the beginning of the 20th century, a powerful member of the royalty met a really beautiful – but modest origins- lady. He fell in love with her almost inmediately. Without much hesitation, he asked her to marry him. So far, this looks like the typical story through the years, but in this case, to Anita Delgado (born in Malaga in 1890) was not fiction, but the summary of her life.
When she still was young, she left her job as a singer in Madrid to get married to the maharajah of Capurthala. Anita was a “cupletista” for a living (kind of traditional singer in Spain). She used to work with her sister. Both were the duet “Camelias Sisters”. Back then she was only 16, but her life radically changed soon enough.
During the King Alfonso the 13th got married, she was hired as a singer. The rajah saw her on his way to the Royal Palace. To him it was a first sight love. According to Elisa Vázquez, princess of Kapurthala’s biographer, the maharajah arrived in an impressive carriage, wearing plenty of jewelry and a turban. But he couldn’t look apart from Anita. After just a few days, one of his assistants came with a petition of marriage. He asked her to go to Paris together with her family to plan the wedding.
She said yes. The scenerio, the French capital became this way into part of this amazing story. It was there where they got married before they moved to Bombay, the trip of her life. The fact that the maharajah already had others wives and sons didn’t matter to Anita.
After the wedding, she oficially was titled the first wife. The couple – that used to frequently travel to Europe – was always followed and admired by photographers of the time.
Anita had a boy, Ajit, and she was living a life of royal parties, receptions, trips and a very strict protocol. The many pictures of the time show a very elegant woman with a remarkable look.
Over those years, the Spanish princess wrote a diary that finally was published: The impressions of my trips to India. Her sister’s death (she still was very close to her) and many health issues – including a miscarriage and a long convalescence far from her husband – ruined what seemed to be a perfect life.
Anita ended up separating from the maharajah and came back to Europe. Over there, she had a very hectic social life, always in touch with intelectuals and celebrities until the II World War.
Anita spent the rest of her days with Gines Rodriguez, who she met many years before when she still lived in Malaga. She always wanted to write her memories, but death came in 1962 and she couldn’t make it.
The legacy of her memos, photos, missives and other documents went to her niece Victoria, who trust Elisa Vazquez to be the oficial biographer of Anita’s life. Her fascinating life has also inpired the writer Javier Moro, author of Indian Passion.
Merle Oberon was the alias of Estelle Merle O’Brien Thompson, a British actress who was born in Tasmania by the beginning of the 20th century. She is the first protagonist of our new section “Collectors of Jewelry of the History”
Merle Oberon was living in India until she was 17, when she moved out to London on the purpose of becoming a successful actress in cinema.
Her better good luck came when the productor and director Alexander Korda found out about her by chance back in 1930. He made her shine as one of the big ladies in British theatres during the 40’s. The ended up getting married and he was one of the first ones who started giving her away really expensive jewelry.
Merle Oberon wearing the necklace that Napoleon Bonaparte gave to Baroness Haussmann.
One of the very first pieces she acquired was an old necklace in diamonds and emeralds that apparently was a gift from Napoleon the Third to the Baroness Haussmann. It’s said that was his way to thank her for the role of her husband in the new and more modern Paris. Thanks to the alterations made in Paris, this city became in just two decades into the most modern capital in the world. Merle worn the piece in movies like The Divorce of Lady X and Of Love And Desire. Later Merle Oberon removed two tears to the necklace in order to make them earrings.
In 1939 after her marriage, Alexandre got her one of the pieces most beautiful in her collection (at least, it is to me): a Cartier’s piece made with three flowered-formed brooches. The one in the middle, the biggest one, has a charming detail on it: the pistils are diamonds with some movement which adds beauty to the whole piece. These brooches were originary designed to be worn as hair clips but Merle preferred to let them be brooches or even cameos. Sadly after she died the three pieces were sold separately.
There’s a curiosity here that you’ll love to know: a few years later, the Princess Elizabeth of England would get a especial wedding gift from the Prince Philip of Greece: a tiara with three identical flower-formed clips designed by Cartier. Elizabeth II removed them to wear them separately and she did so in many occasions.
Merle Oberon wearing the Cartier’s three-flowered clip that was supposed to be a hair clip in the origins. Photocourtesy of Fine Art America
However, the most amazing piece within her collection is a necklace of diamonds and 29 emeralds from the Baroque that Korda gave her in 1939. The piece fitted her very nicely due to her exotic beauty. The necklace has a very original design for the time especially because of the sensual and elegant form the emeralds are linked.
The story of this piece is very curious indeed and show how humans always want badly what others have. It seemed the necklace meant to be acquired by the designer Elsa Schiaparelli. However Merle saw it in a store in Paris and when she asked the seller about it, she was said the piece had another admirer. Merle didn’t believe the man and thought it was a strategy to sell it to her. After a few days she realized the seller was right when she passed by the store and the jewel had gone. Her mysterious rival was in a fitting room trying on the piece.
The day after Merle went back to the shop to see if the necklace was still there and she saw how Elsa Schiaparelli leaving the place. She came back so devastated that her husband went out, straight away to the jeweller’s and after asking for the piece he surprisingly got it. The stunning 29 emerald will shine in her exotic neckline from that moment onwards.
Merle enjoyed that necklace until she died.
Cartier 1938, 29 stunning Baroque emeralds like tears, linked with platinum and diamonds, 44 cm long and finished in 2,642,500 CHF. This is one of the Cartier’s necklace most photographed ever.
A set of two clips designed by Cartier with flowered diamonds, one with the pistil in diamonds and the other with rubies. They might be worn together of separately. Other option was making a bracelet with them. Merle had this bracelet in the movie Til We Meet Again in 1940.
A brooch with saphires and diamonds by Cartier, also detachable to wear as a clip. The piece was set with an oval saphire and petals in diamonds. The stem (also in diamonds) was sold separately. Merle worn this piece many times, not only the clip but also the brooch as a short necklace. I’m sure Merle loved Cartier’s jewelry and the versality of his work.
By the end of the 50’s and 60’s she acquired and changed a big amount of jewelry. She spent a time living in Rome where she got a Bulgari’s brooch with diamonds and rubies. Bulgari also created for her an elegant bag in a non-conventional design (acorn).
Van Cleef&Arpels was other of the preferred Merle’s designers during the 70’s. Among her collection is a set of a brooch, earrings and a necklace with turquoises and diamonds in pink that could be transformed into a brooch and a bracelet.
Merle also had a small but good collection of rubies that included an spectacular necklace by David Webb who also made for her a ring and earrings with a big oval ruby in the center.
Most of these pieces were sold in an auction in New York back in 1980, exactly a year after she passed away.
Merle Oberon had a really beautiful and huge jewelry collection.
Today I bring to you one of those exhibits that you’ll easily retain in your mind forever. The fineness and beauty of a Cartier’s historic jewel, being able to admire it and almost feel it is with no doubt one of my biggest pleasures in life. If on top of that you make that a plan to travel to New York on vacations… what else you can ask for?
The show, under the name Cartier: Marjorie Merriweather Post’s Dazzling Gems brings together the most famous pieces of one of the main Cartier’s clients during the first half of the 20th century: Marjorie Merriweather.
The exhibit takes place in a rustic and very charming atmosphere with a touch of vintage air, placed within the gardens of the Hillwood museum. The building recreates the architecture that was common in the Adirondack Mountains, upstate New York, where our protagonist used to have her summer holidays.
The museum brings its special shows to this building in order to allow the visitor to enjoy a deepest experience of Hillwood.
Who was Marjorie Merriweather Post?
Meter foto: Marjorie Merriweather wearing Cartiers jewelry – Hillwood museum exhibit – by Vintage By Lopez-Linares – Copy
She was considered an icon in the history of America. She was the founder of General Foods and a leading socialite who lived from 1887 to 1973. When she was 27 she became into the wealthiest woman in the States after inherit her father’s fortune valued in $250 million.
The collection of jewelry, vintage furniture, porcelains, paintings and tapestries that Marjorie ended gathering during her long life is impressive and includes pieces from Faberge and Cartier, among other prestigious designers. The distinguish jewels that Marjorie requested from Cartier are the ones you can visit now in the Hillwood Museum.
Among the displayed jewels a brooch stands out. It’s considered one of the Cartier master pieces, made with seven carved Indian emeralds, tiny diamonds, platinum and enamel. It was designed back in 1928 by the renowned jeweler for her appreciated customer Marjorie Merriweather Post.
It’s also worth mentioning the necklace the designer did for her with pearls, diamonds and platino or the astonishing one with sapphires, among many other pieces worthy of the most demanding art collector.
With no doubt, Marjorie had a very good taste for jewelry and fashion in general, like she proved with such an amazing collection, that you can visit until the end of 2014 in Washington DC.
Aderezo: a harmonious set made up of various pieces, normally containing a necklace, ring, bracelets and earrings.
In France, two types of jewelry suites can be distinguished: “Grande Parure”, consisting of a tiara, brooch or jewel for the breast area, earrings, necklace and two identical bracelets; and the “Petit Parure”, consisting of a necklace, earrings and brooch.
We call any matching jewelry combination a suite, which would usually be made up of a necklace, earrings, a bracelet and a ring.
They are sets on which more work is invested than usual, seeing as gems must be found that coordinate in both color and texture.
It is more common to talk of jewelry suites for the female gender, however, we can also find masculine ones consisting of cufflinks, a tie clip, and key ring or pendant.
The last reproduction we did of a Baroque style suite consists of a necklace, bracelet and earrings. This suite is made from brass and semi-precious stones, and entirely handmade by our expert goldsmiths.
To know of all the misadventures and paths that a portrait has passed through during the last 525 years is not by any means simple, but in the case of this extraordinary work by Ghirlandaio we are more fortunate. We know of all the journeys that this masterpiece has made due to the fact that they are all perfectly documented. I assure you that it has been more than exciting for me to follow his clues all over the world.
It remained in the Palazzo Tornabuoni in Florence, its first home, until it passed into the hands of the Pandolfini family. Later it formed part of Princess Sagan and Baron Achille Seillière’s Collection in France. We know that in 1878 it was found in Brighton in Henry Willet’s collection, and that at the beginning of the twentieth century it was in the hands of Rudolf Kann. However it didn’t last very long with Kann as seen as in 1907 the American millionaire J. Pierpont Morgan, the founder of the J.P. Morgan bank and one of the most important art collectors in history, obtained the masterpiece. It is said that his desire to possess this art work was due to the memory of his first wife’s youth and beauty that the painting inspired, she died of tuberculosis at a very young age when they had been married for just under four months.
The image that is shown by the painting is from this period, here we can appreciate the painting exhibited on an easel in the entrance of a grand living room and surrounded by other great works of art. The room is the “West room” of 219 Madison Avenue, the Morgan family’s home in New York. Following J.P Morgan’s death, his son sold the painting in 1935 together with the other pieces from Baron Tyson’s collection, the father of Carmen Cervera’s husbands.
Baron Tyson brought it back to Europe where it remained in his favourite villa for many years, one of the Baron’s residencies in the city of Lugano (Switzerland). I can’t even imagine the sensation that you would have to feel on entering the living room of your house to find yourself face to face with a similar marvel…
But who was Giovanna? Her unmarried name: Giovanna degli Albizzi, the eighth daughter of a Florentine trader who, madly in love, married Lorenzo Tornabuoni on the 15th June in 1486. This was something relatively unusual for the period, in which marriages were made for convenience and not for love. Her wedding lasted for three days, full of parties, dances and banquets, being one of the most documented of the time. We know that Giovanna was married in white showing off a splendid hairstyle with costly adornments. She arrived at Palazzo Tornabuoni accompanied by her father where she was received by her father in law. The guests were made up of the Florentine cream of the crop. The guest of honor was: Dn. Iñigo López of Mendoza, Ambassador of Spain.
After the banquet all the guests moved to the Square that was in front of the San Michele church, and there, upon a stage richly decorated for the occasion, the dance took place. The bride and groom would pass the wedding night in a room in the Palazzo Tornabueoni, elegantly decorated for the occasion. The celebrations lasted for two more days and on the second day Lorenzo de Médici, cousin of Lorenzo Tornabuoni and one of the most influential men of the time, joined the banquet. To follow there were jousts and tournaments that Naldo Naldi narrated with the luxury of all of the history’s details.
Giovanna and Lorenzo had a son straight away. However, the joy in the house would not last long. Giovanna died scarcely a year and a half later than the wedding, when she became pregnant with her second son. The loss of his beautiful wife and the son that he was awaiting left Lorenzo in desolation, it was soon after that he commissioned the posthumous portrait. This was something very usual in this period.
Giovanna’s portrait is spectacular. It doesn’t surprise me that its previous owners fell in love with her as soon as they saw her. To have the privilege to enjoy this masterpiece in your own house must be something unimaginable…
Giovanna is beautifully portrayed, maintaining an upright and confident posture and transmitting a noble pose of serenity. Her firm gaze losing itself into infinity makes us imagine that it could be directed towards a window through which the light penetrates, a light that illuminates her face, her breast and her rich clothes but that leave her hands in a soft shadow.
The great contrast of colours obtained by Ghirlandaio is impressive: the blacks with the yellows, golds, reds and oranges. At first the work was framed in gold, or at least it was indicated to be so in an inventory of the Palace Tornabuoni in 1498. It speaks of a portrait of Giovanna, hung in Lorenzo’s bedroom in a golden frame. However, the mould that currently frames it is almost black, greatly highlighting her golden hair and the red tones of her clothes.
The portrait possesses a hypnotic power… I can assure you that it is hard to take the gaze away from her. Her gaze empowers her.
As it was to be imagined, my eyes went straight towards her broach: A beautiful piece of jewellery that Ghirlandaio knew how to draw with delicacy and care, hanging it over her breast by an extremely thin silk thread.
Whilst looking at her I wished that she would turn around so that I could contemplate her full beauty…
I Left the Tyson with a firm purpose to reproduce this beautiful piece that hung from her neck. This is precisely what makes me bring Giovanna Tornabuoni’s necklace to our Vintage space today.
If you live in Madrid or you are thinking about coming, make sure you set aside a moment to visit this magnificent portrait, considered to be the Tyson collection’s “Jewel of the Jewels” and one of the most emblematic masterpieces of the Italian Renaissance.
Finally I attached a video of the great conference that Guillermo de Solana gave about this piece
Coro & Corocraft was born from the hands of Emanuel Cohn and Carl Rosenberger, establishing itself in Broadway,New Yorkas a boutique in 1901 by the name of Coro & Rosenberger.
Soon after, and thanks to the success obtained from their exclusive jewellery line, they became so famous that they decided to open their own factory. It was here that they started their brand’s expansion and, in its time of greatest splendour, its employees reached 3500.
With Adolf Katz’ arrival as design manager in 1924,Coro’s Golden period began. His demanding style and exceptional talent were decisive at the hour of launching the brand at an international level. During the more than forty years that he occupied the post of the company’s manager, Katz was an icon of design and innovation.
The top-quality line, Vendôme, created by him in 1944 was his most exclusive brand and was distributed in luxury shops in all the big capitals of the world. Its success was so resounding that it became a subsidiary brand in 1953, and its pieces were sported by the majority ofHollywood’s greatest stars of the time. During this period Vendôme’s pieces were highly demanded by collectors.
Adolf Katz was a genius regarding his design and innovation. Delicate broaches and flowers with movement were created by his hands, a great innovation for the time, such as his famous enamels and his legendary “duets”, pairs of broaches that you could wear together or dismount them to wear separately. Due to these types of broaches and because of the type of fastener used,Corohad a lawsuit with Trifari. Katz had registered the patent of his fastener in 1931; however the similarity to the ‘clipsmate’ by Trifari meant that this company would begin a legal campaign againstCoro, trying to establish an artwork copyright for the jewellery design. Trifari won the case in 1954.
Between 1930 and 1950 the “Jelly Bellies” caused a huge impact. The impact was due to some little animal broaches with tummies made a colourful stone, a crystal in the shape of a cabochon, or a new plastic material called ‘Lucite’ (discovered by Dupont in 1937 and that gave way to a great revolution in the world of jewellery, as it easily substituted stones such as chalcedony and moonstone).
Another designer that contributed greatly toCoro’s fame was Gene Verecchio who started to work in 1930 and remained in the company for thirty three years. It is also worth noting his highly personal “duets” of camellias and owls. The pieces from the Thirties and Forties are the most valued by collectors.
Following the death of the two founders, Rosenberger’s son, Gerald, inherited the company, he died in 1967. His descendants sold 51% of the company to Richton International Corp. In 1979 the company fell into bankruptcy and only maintained the production inCanadauntil 1992, the year in which the last factory was definitively closed.
For all these years the name of Coro & Craft signified a milestone of quality and design, reflecting the latest fashion trends during nearly six decades.
Don’t you think it would be exciting to wear a piece designed byCoro?
They seem incredible to me, combined with a resounding black suit or with a night blue dress for a special occasion.
I assure you that it is worth passing by the shop if only to hold one of our collection’s delightful pieces in your hands. When you have one of these duets in your hands, I assure you that you will realize why the women from the Forties were so crazy about these pieces. They are of a masterful beauty.
When we choose a piece of jewellery for our shop, it is because it transmits something special and magical to one of the three of us. It seems incredible, yet we usually coincide in our choices. It is curious that being so different we always coincide at the hour of choosing the pieces that are to enter in our space.
Although there are some pieces that we fall in love with more than others, each one has its fetish piece that will never be sold and that captivates us at first sight.
Today I want to talk to you about one of my favourite pieces. It is a bride’s tiara by Miriam Haskell. It inspired me as soon as I saw it; it appeared to be of such a sublime delicacy and exquisiteness. When I held it for the first time, the first thing I thought was, why would somebody want to rid themselves of such a proud and delicate piece? It was surely a special commission for some youth in the Thirties. I am sure that she would have fallen in love with the jewel at first sight, just as I did.
For those of you that do not know Miriam Haskell, I will tell you that this design and business visionary was born in 1899 under the wing of a family of Jewish immigrants fromRussia. Her family managed to reach a rather well-off position for the time. Miriam studied at theChicagoUniversityfor 3 years before moving toNew Yorkwith 500 dollars in her pocket, most probably lent to her by her family.
Soon after arriving she managed to establish herself at the Mc Alplin Hotel, which in these times was the biggest hotel in the world, holding a capacity for 2500 people. The hotel was situated right in the heart ofNew York City. There she opened a small shop where she sold jewellery from the famous designers of the period.
Miriam immediately decided to launch her own firm and contracted the services of Frank Hess, a young window dresser with an unusual aesthetic sense and taste for the time. Frank would rapidly become the brand’s Creative Director. He had a rather complex personality and his shyness made him feel more comfortable working in the workshop between sketches and stones, than attending the uncountable clients that visited his shop desiring to be attended by him personally. He was a very peculiar character, known for his tall top hats and his silver handled cane. He was very demanding with his employees.
On the other hand, Miriam was a vey attractive, elegant and intelligent woman and when she was in the role of the brand’s public relations, she was in her element. In this way they complemented each other perfectly.
They managed to become a great success in a very short time. In 1930 they were already rubbing shoulders with the most select and influential people in the artistic and social circles, so much in Europe as in Hollywood and New York. Women of the scale and influence of Joan Crawford, Lucille Ball or the Duchess of Windsor wore Miriam Haskell’s designs at these great parties.
In the Fifties Miriam fell into a deep depression, her state meant that the company fell into her brother’s hands. She never went back to work and retired soon after the end of the war, it is said that she was influenced by the horrors of the war itself and didn’t manage to overcome the disasters that she had lived. Frank continued to work in the company until he retired in 1960.
Currently, it is rather difficult to find pieces from the brand’s first period and the prices tend to be rather high.
Although the company continues making marvellous pieces of jewellery, many of them inspired by Miriam and Franks great collections, for me, they do not match up to the delicacy and sensitivity of the pieces made by them in those golden years. They made a magnificent “tandem” and knew how to transmit their enthusiasm and illusion to all the women of the time.
I will leave you a link to the brand’s current page so that you can judge for yourselves: www.miriamhaskell.com
The following photographs that I have attached for you are hand coloured prints by the artist Larry Austin. They are illustrations made between 1930 and 1940 and were used to promote the brand in shops and jewellers from all over the world. In them we are able to appreciate the beauty of some of the most sophisticated pieces.
Had you ever heard anyone speak of Miriam Haskell before?
The appearance of those faces embossed over a light brown tortoiseshell has always grabbed my attention. However, it wasn’t until I married and was given an incredible set of earrings and broach by my mother-in-law, belonging to her family since 1860, that I could truly appreciate the beauty of these pieces that I had within my grasp. This set of jewellery had passed through five generations of women and now it had arrived in my hands, to my great surprise and emotion.
I found it so curious that the faces on the earrings were facing one another! I asked myself what the origin could be, or how a technique so old could continue to capture the attention of so many women throughout history. (Personally, they inspired me).
Have you ever asked yourself where these cameos appeared for the first time, or how they were made? These are some of the questions that I asked myself when I had these earrings in my hands.
According to the dictionary, a cameo is simply, “an embossment obtained from a precious stone”. Yet for me, it is a lot more than only this. It is incredible to think that the procedure with which they are made was already employed by the ancient Greeks whom, in their time, had taken it from the Persians during the incursions carried out by their armies under the command of Alexander the Great.
Later on the technique arrived in the hands of the Romans, who used it for decoration and jewellery. Needless to say that to find a piece from this time is very rare, as seen as they only appear in highly specialized auctions. For example, we know that nobles frequently wore rings with cameos, made from (not too big) emeralds and rubies. We also have to our knowledge that the Roman emperors frequently used them as badges on their clothes. Can you imagine Octavian Augustus sporting an agate cameo on his imperial toga…? Is it not incredible!?
At the end of the second Century d. C. this fashion disappeared, and many years passed until this technique returned to dazzle in the Italian Renaissance in the hands of the greatest collectors of the time, such as Lorenzo De Medici. Its influence was even seen to arrive at the French court, where Francis I displayed pieces of this type on numerous occasions. Of course, it also arrived inEngland, where Henry VIII, in his passion for these types of jewels, created his very own workshop in order to make them. During this period, antique pieces of jewellery from the Roman times were frequently sought after and they were transformed in order to make them into the most fashionable jewels of the moment. Due to the Roman pieces being mounted over very simple gold bases, they were usually dismounted in order to use them at a later time for bigger broaches; mounted over precious stone and gold bases, to decorate velvet capes and hats or to show off the neckline of some great lady of the court.
At the root of the Discovery of America, a great deal of more exotic materials entered into Europe to make the mentioned pieces, such as tusks, jade, amber or giant shells. However the industry’s most important discovery was the Tuberous Cassis shell. These shells were extremely adequate for the job, as seen as they already consisted of layers of various different tones and colour, this allowed profound and transparent embossments to be made that had been unknown until this moment. The technique was developed inItaly, or more concretely inSicily, but from there it passed rapidly to the area ofNaples, spreading itself promptly throughout the rest of the country. In a few years many Italian artists started to work inFrance andEngland, distributing this practice rapidly throughoutEurope during the sixteenth and seventeenth century.
In the Napoleonic period the cameos were mainly decorated with neoclassical elements, frequently displaying mythological subjects or representing philosophers, emperors or nobles and other characters from the clergy in the Roman times. The surrounding frames, usually made from gold, were an achievement of fineness and exceptional detail known as the Roman seal setting. These cameos were often mounted in bracelets with three or four little pendants that were known as ‘slaves’.
The cameo’s fame spreads throughout the most popular social classes thanks to the fact that the “shell” was a material much cheaper than those that had been used up till this moment; this popularized its use and production, limiting the privilege to wear the precious stoned cameos to high society.
For me one of the most beautiful European royal tiaras comes from this period: “Josephine Bonaparte’s tiara”, which we were able to see displayed by the Princess Victoria ofSwedenon the day of her wedding not long ago. A spectacular piece with a matching set of earrings that were sported with a breathtaking simplicity and elegance.
Thus we arrive at the nineteenth Century; the period to which the set belongs that was given to me. It is from this period that the most records and heritage have remained with us, as seen as numerous workshops were proliferated, as many inItalyas inFranceandEngland, in order to make the cameos in “shell”. However, materials such as Onyx, lapis lazuli, coral agate or ivory were also used. These were more expensive so they were used in lesser quantities.
During the first Victorian and Romantic period, Minerva, Medusa and Bacchante’s cameos became very famous.
Between 1860 and 1880, the Italian artisans made bold hardstone (cameos in yellow gold with decorated frames), in which the motifs returned to being extremely classic and bordering on erotic.
During the twentieth Century, cameos made from paste and crystal were proliferated. The production of standard gold 9 carat cameos or silver with marquisate were also very common.
In the shop, we have focused on the reproductions in silver gilt. This way it will make it easier for you to find earrings or a ring inspired by the Roman style mounts. Or perhaps a silver gilt broach with a set of earrings in the purest Renaissance style.
I love the Victorian style lace necklaces with cameos and pearls. This being one of the other areas in which we have specialized.
In the photographs illustrated in this article, you can appreciate some of the pieces that we have in the shop at the moment in greater detail.
I have the great luck to be able to wear, at special occasions, these earrings and broach that were given to me by my beloved mother-in-law, which you can also see in one of the photographs that I have attached.
And what do you think? Do you like the cameos?
Can you imagine yourselves as Anne Boleyn, displaying earrings of this style?
Or perhaps you are more inclined towards the velvet and lace from the period of QueenVictoriaofEngland?
