Eisenberg

The Eisenberg Company was founded in Illinois, Chicago, in 1914 by Jonás Eisenberg, an Austrian immigrant who arrived to the United States around 1880.

At the beginning the company only produced high quality women’s clothing; however every one of its dresses came accessorized with a very special piece of costume jewellery. These accessories were brooches hand sewn onto the dress by the company with Swarovski crystals imported from Austria, as well as rock crystal and fake pearls.

The idea was a novelty at the time and managed to change the company’s history.

This detail, which every one of its designs included, created a different look to the rest of the dresses that were being sold at the time, and before long Eisenberg’s designs were nearly more famous for the accessories that they sported than for the actual model itself. His brooches were so sought after that people started stealing them off the clothes. The clients wore the dress’s brooches to show them off on their own pieces of clothing.

This made the company rethink certain things, finally leading to Eisenberg’s first collection of brooches in 1930. Soon after, the collection expanded and started to include necklaces, bracelets and earrings.

Eisenberg has never been a cheap brand. Its pieces have always been distinguished for their quality, design and high price. In the Fifties the prices for the pieces of jewellery were already marked around 10 to 30 dollars.

The first collections of the “Eisenberg Originals” were great designs and loaded with stones. However, in the Forties, due to a restriction on metals during the war, Eisenberg used sterling silver and the pieces became lighter and more detailed. There were rumours during wartime that the diamonds were smuggled into the United States, hidden as precious stones from Eisenberg jewellers, yet this has never been proved.

From 1940 to 1972, Ruth M. Kamke was the chief designer. She practically created all the pieces from the “Eisenberg Ice” and “Eisenberg Originals” brands.

Eisenberg designed so many necklace, earring and bracelet sets in the Forties that they currently reach extremely high prices on the Vintage market.

His motto during the Forties:

“The jeweller’s of the future, so clear and radiant like an iceberg under the light of the sun.”

The Legacy of the House of Alba

On Friday afternoon I went to visit the “El Legado Casa de Alba” (The Legacy of the House of Alba) Exhibition. We were lucky enough to enjoy a private visit with Maria of Cuenca. A real luxury to be able to have the experience of listening to her exclusively and an absolute delight to wander through the exhibition rooms with her.

The exhibition has reunited about 150 works from the Liria Palace. Many of them are being exhibited to the public for the first time in history in what we could call the most important cultural exhibition of the year.

By opening this exhibition the House of Alba Foundation has wanted to make known the extremely important work that it carries out in order to maintain and conserve one of our country’s most important private collections.

If I must choose only one piece from the exhibition it would be the “White Duchess” by Francisco de Goya. This painting fascinates me, I had been wanting and hoping for the chance to see it in real life.

It was months ago that I requested a visit to the Liria Palace and I am still awaiting a reply. Amongst my greatest desires is that of being able to enjoy this painting in its original location; to wake up in the morning, enter one of the living rooms of your house and admire this work by Goya, it must be something difficult to describe.

The painting is magnificent. Doña Maria del Pilar Teresa Cayetana de Silvia and Alvarez of Toledo, the XIII Duchess of Alba, was one of the most attractive women of the Enlightenment in Madrid. Her beauty has been sung about by poets and musicians; it was said of her that she was so beautiful that when she walked down the street the whole world looked out at her from their windows and even the children left their toys and games in order to admire her.

Doña Cayetana had a strong temperament and was well known throughout the Madrid suburbs for dressing as a ‘maja’ (xviii and xix century inhabitants from certain areas in Madrid who dressed in resplendent costumes) in order to participate in traditional festivals. She was a strong defender of actresses, poets, painters and bullfighters, she even managed to cause dispute over the favours of handsome young men with other courtesans, including the Queen herself. She was a real character of her time, an assertive and restless woman with whom Goya fell in love with from the very first moment he met her.

Goya knew how to capture her assertive, restless and daring personality that she possessed for the time she lived in. An elegant dress of white gauze was chosen with a red ribbon around the waist, a coral collar and various ribbons of the same colour over her chest and in her hair. The bows reminded me of those flowers that the Duchess of Alba used to wear for all her public outings, I think this was a gesture towards her ancestors. Her hair is loose and curly, something that would have been unthinkable for a high bourgeoisie Lady like her, something perhaps more appropriate for the courtesans of the period. To her right is her lapdog with a coquettish little red ribbon around his paw as a symbol of fidelity. Possibly the same fidelity that the painter professed.

Other works of art worthy of mentioning are “The Virgin of Granada”, a unique painting belonging exclusively to the hands of Fra Angelico, never before exhibited in public.  Or well known documents such as Christopher Columbus’ autograph letter collection, the most extensive one we know, just like the first edition of Don Quixote.

Other pieces that really caught my attention were those related to Maria Eugenia of Montijo. One was a marble bust of which I attach a photo in bronze (I haven’t found any of those belonging to the House of Alba). What particularly grabbed my attention about this work of art was the broach worn on the neckline, as seen as I have two very similar models in the shop.

As a summary of the exhibition I leave you with the words of D. Carlos Fitz-James Stuart and Martínez of Irujo, Duke of Huéscar“Our intention is to share the works and pieces that make up the Casa de Alba Foundation’s collection with an audience that is increasingly familiar with and interested in culture and history. This exhibition enables us to present various works and documents that have survived the ups and downs of history and that form the greatest treasure of our family’s legacy. “

The exhibition is an authentic journey through Spain’s history, guided by the hands of one of the most noble and title-holding families of the world, I don’t recommend you miss it.

It is open until the 31st of March

Video:  The Legacy of the House of Alba

 

Those little things…

Those little things… Small details that are capable of brightening my day and topping up my excitement.

Stories that coincidentally reach my hands. Stories unknown and unrevealed until this moment that make me think, remember certain moments and fill me with tenderness. Stories that I will never forget.

I bought this wedding dress in an auction in England. I had spent years looking for a 20’s wedding dress and I was fascinated by this one as soon as I saw it hanging. I bidded for it immediately and managed to buy it. The wait for it to arrive in my arms seemed eternal… It was delivered to me in Madrid in a simple old cardboard box. However my greatest surprise was when I opened the box to find a photograph of a bride and groom from the 20’s. I don’t have the slightest doubt that it is the bride showing off the dress that I had just received. A studio photograph made soon after the wedding, as was traditional in this period.

Why would anyone rid themselves of such a jewel of a dress? Why send the wedding photograph to the dress’ buyer?

I look at the faces in the photo and imagine the illusion in their smiles that they had both felt at that moment. An illusion that I share today, having the dress in my possession so many years later, and the ability to know who it was that got to enjoy it before I did.

One thing clear to me is that I will never get rid of either of these trophies.

Right now the dress is being displayed in my shop window whilst I show its veil, photograph and old box (why not?) to anyone interested in it.

Would you also like to enjoy this historical legacy?

Images:

María Vintage

Verrocchio

Andrea of Verrocchio, born Andrea di Michele di Francesco de’ Ciono, known simply as Verrocchio, was born in Florence in 1435 and died in Venice in 1488. His father was a roof tile and tile manufacturer although he would later become a tax collector.

Andrea started working as a goldsmith in Giulio Verrocchi’s workshop, from whom it appears he took his nickname, soon becoming one of the most important sculptors of his time.

He had a famous and active workshop in Florence from which as many sculptures as paintings and goldsmith works came; however, nowadays the only well-documented facet of Verrocchio’s work is his sculptures.

Modeller and carver, his conserved works are made from marble, terracotta, silver and bronze. Leonardo da Vinci, Perugino, Ghirlandaio, Sandro Botticelli and Miguel Ángel were amongst his students.

Between the years of 1474-1475 the Baptism of Christ was produced, currently conserved in the Uffizi. Leonardo da Vinci, who was very young at the time, helped in this masterpiece. Leonardo had been Verrocchio’s student since 1467. Leonardo finished off the landscape and painted the angel on the left hand side, exceeding the quality in the rest of the painting. According to Vasari, Verrocchio couldn’t overcome this criticism and didn’t wish to ever touch paint brushes again, he was in indignation because a young boy knew more than him.

Leonardo Da Vinci’s angel in detail

Christ’s Baptism in Google Art Proyect

In 1478 Verrocchio started what was to be his most famous work, an equestrian statue of Bartolomeo Colleoni, who had died three years earlier. The masterpiece was commissioned by the Venetian Republic. It was the first intent to produce a group in which the horse appeared to have its legs in the air. The statue is featured for Colloeoni’s facial expression and the magnificent representation of movement.

Verrocchio created a wax model in 1480, and in 1488 he finally moved to Venice to attend the group’s foundry. Nevertheless he died that same year before finishing the masterpiece, which was finished by his disciple Alessandro Leopardi.

However from all his pieces of work my preferred one would be a sculpture that he completed around 1478, a winged cherub with a dolphin, currently found in the Palazzo Vecchio and which was originally meant to be a fountain in Villa Médicis in Careggi. It appears to have been commissioned by Lorenzo de Medici.

The child’s movement is graceful, happy and playful; it measures a height of 68cm.

The statue was used as a centrepiece of the primary patio of Vecchio Palace between 1550 and 1568, where it crowned the fountain designed by Vasari.

We have permitted ourselves to reproduce the piece as a necklace and earrings, an original way of preserving the everlasting charm of this small angel and being able to enjoy it up close.

Necklace and earrings inspired by Verrocchio’s masterpiece.

The Icon that inspired Marilyn.

Jean Harlow died on the 7th July 1937; the actress was born into the heart of a middle-class American family, daughter of a dentist and of a housewife, she was converted into American cinema’s first “Blonde Bombshell” of the Thirties and an authentic sex symbol, much before Marilyn acquired her world fame.

Jean’s mother was so protective that their mother-daughter relationship was nearly converted into something unhealthy. Following her parent’s divorce, her mother managed to obtain custody over Jean who would not see her father more than once more during her life.

Her mother used to call her “Baby” instead of by her forename. This ended up confusing the young girl so much that she didn’t know her real name until she started school.

Jean was famous for completely ignoring the strict American morals of the period.

 

Some of her most famous sayings:

• “I like to wake up each morning with a different man”

• “I find underwear uncomfortable and besides my female body parts need to breathe”.

• “I am not a born performer; nobody knows that better than I do. I may have hidden talent but I also have to work hard, listen carefully, repeat everything over and over again until I manage to get through a scene”

• “Men like me because I don’t wear bras. Men like me because I don’t seem like a girl who would steal their husband. At least not for long…”

19 curiosities about her short career:

  • At the height of her success, many of her female fans dyed their hair platinum blonde like her, even Howard Hughes organized a competition in which the hairdresser that got the closest to the actress’s tone of blonde would receive a prize of 10,000$.
  • At 21 years of ageHarlowsigned a contract with Metro Goldwyn Mayer, after paying Hughes 30,000$. It was at this point thatHarlowbecame a superstar.
  • During the filming of “Red Dust” her second husband, Paul Bern, was found dead in their house, with rumours following that Jean Harlow had murdered him. The MGM executives didn’t take long to resolve the case of his death, assuring thatBern’s death had been a result of suicide, alleging that he had suffered from impotency as the motive. This didn’t harmHarlow’s career in any way, in fact she became even more popular than before.
  • She was idolised by Marilyn Monroe. Curiously, both of them played the lead roles in their respective last films (Saratogaand The Misfits) with Clark Gable.
  • The only colour sequence that exists of Jean Harlow is in her first film “Hell’s Angels”, a drama about the First World War in 1930. A rare and extremely expensive (for its time) eight minute sequence.
  • She was the first actress in cinema to appear on the front cover of “Life” magazine in May 1937, just a month before her sudden death.
  • She always carried two talismans: one chain on her left ankle, which you can see in many of her films, and a dressing table mirror in her dressing room. She would always check her reflection in it before filming.
  • She never wore underwear and always slept naked.
  • She followed a strict diet so as not to put any weight on, on a base of vegetables and salads.
  • She used to put ice on her nipples before filming a scene so that she would appear sexier.
  • She was known as the original “blonde bombshell” much before Marilyn.
  • In 1937 a few days before finishing the filming of “Saratoga” she died of a kidney infection derived from a scarlet fever from which she had suffered when she was a small child and that had nearly taken her life.
  • In order to finish the filming she was substituted by Mary Dees, who was exclusively filmed from behind. Her voice was dubbed by Paula Winslowe. This fact meant that “Saratoga” became the biggest box office success of 1937.
  • The film did not only suffer the calamity of the actress’s death; Lionel Barrymore tripped over a light cable and broke his hip for the second time; this confined him to a wheelchair for 10 years. Following a significant weight loss he was able to walk again, however with many difficulties.
  • Jean’s epitaph simply says “Our Baby”, just as her mother used to call her.
  • She was buried in the gown she wore in the film “Libeled Lady”.
  • The singer Gwen Stefani embodied Jean Harlow in a brief role in “The Aviator” by Martin Scorsese.
  • Following the legend the famous dog “Rin Tin Tin” died in her arms in 1932.
  • The American singer Madonna pays tribute to her, just as she did to other great stars of the time, in the song Vogue 1990.

At Vintage by López-Linares want to dedicate our June Icon to Jean Harlow.

She was Marilyn’s favourite actress, the true icon that inspired her, the one that she copied and admired throughout her likewise short cinematographic career.

So deep was her admiration for her that she was her inspiration during her whole life. I think that this fact helped Marilyn become and stand out as the icon from amongst the others icons.

Sequence from her last film “Saratoga”

In this sequence we can see how the actress Mary Dees substitutes Jean without letting her face be seen.

Images @doctormacro

 

 

 

Maria Eugenia of Montijo, a fine example of a Twenty-first Century Woman in the middle of the Nineteenth Century.

On the 5th May 1826: María Eugenia Palafox Portocarrero and Kirkpatrick, Countess of Teba and better known as Eugenia of Montijo was born in Granada, in the area of ‘la Magdalena’,. She is our “Vintage Icon” for May.

She is the daughter of Cipriano Palafox and Portocarrero, ‘Grande de España’, and of Maria Manuela Kirkpatrick and Grevigné, the granddaughter of the fourth Countess of Montijo, Maria Francisca of Sales Portocarrero.

An inheritance distances Eugenia from her natalGranadaand drives her into the world of wealth and privilege that her mother had always dreamed of for her daughters. It is in 1830 when her family inherits the Montijo title for which they are known, and move toMadrid.

Maria Eugenia was a beautiful, cosmopolitan and passionate young girl, being due to this thatSpain’s “best catches” fell at her feet. All apart from the only one she loved, the Duke of Alba, who preferred her sister Paca, who was nearly as beautiful as her but more sensible and mature, and managed to capture him ending in their marriage in 1845.

Maria Eugenia of Montijo and her sister Francisca

Hurt by her own love, Eugenia sets herself up to conquest the proud Napoleon III and capture the Imperial crown ofFrance. In order to do this she moves to France with her mother, a tremendously ambitious woman.

They say that she managed to conquest the Emperor in her bid to conserve her virginity, and his desire to be the first to take it. The Emperor asked Maria Eugenia “the way to her bedroom” she answered decidedly: “By passing through the chapel, sire”. This was how she managed to capture the Empress’ Crown and become one of the most influential women of her time.

 

The chronicles say that the Emperor was already unfaithful to her during the honeymoon; however it seems that it didn’t really matter to her. She wasn’t all that in love with him; she married him in order to gain the power and status that would convert her into the Empress of France.

Maria Eugenia didn’t waste any time during her days inFrance, she contributed greatly in convertingParisinto the City ofLight. Amongst other things she also promoted the city’s drainage works. She was an amazingly advanced woman for her time, she fought for women’s rights, succeeding in the Legion of Honour being rewarded for the first time to a woman and she advocated for women’s suffrage. She financed the opening of theSuez Canalat an international level and supported Luis Pasteur’s investigations, those which would lead to the discovery of the vaccine against rabies…In other words, a fine example of a Twenty-first century woman found in the mid Nineteenth century.

A tremendously coquettish and vain woman, she discovered the Genius fashion designer Worth and dictated the fashion during decades. She designed the crinoline, the perfume, the ‘Chatone’ necklaces and the make-up.

 

In 1870 following the collapse of the Second Empire she moved toEngland, this was where her husband would pass away three years later. After his death, the Empress did not keep up her efforts to create a political party or gain sufficient support for her son to get the French throne back. Her labours were in vain. In 1879 the Prince died fighting forEngland. The Empress was broken hearted but would still outlive her son by 40 years, dying finally inMadridin 1920 at 94 years of age.

Maria Eugenia of Montijo is buried in the Imperial crypt together with her husband and son.

 

 

In her will she named her inheritor to be Hernando Stuart Fizt James and Falcó, the brother of the Duke of Alba, Count of Montijo and Duke of Peñaranda.

Currently thecountyofMontijois found in the possession of Jacobo Hernando Fitz-James Stuart and Gómez, the grandson of an uncle to the current Duchess of Alba.

There are two interesting books written about the Empress’ life:

“La pasión Imperial” by Pilar Eyre, and “Eugenia de Montijo” by Genevieve Chauvel.

Finally I will leave you a link to a stunning report about Maria Eugenia’s palaces, who the French call “The Marie Antoinette of the Third Empire”. It is in French but the images are so pretty that it is worth watching.

 

 

Giovanna Tornabuoni

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

 

[iframe width=”450″ height=”274″ src=”http://www.youtube.com/embed/gUVzgJQTxos”]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Will the Tradition for Veiled Brides Return?

The tradition of the bride entering her wedding ceremony with a veil covering her face, so habitual in the Fifties and Sixties, disappeared little by little, until today when we find it extremely rare to see a veiled bride at a wedding.

When this tradition came into fashion it became popular to see the brides entering into church wearing veils. They excitedly walked down the aisle on the arm of their godfather, whilst all the guests contemplated their entry in admiration. Waiting at the altar, you would find the impatient and nervous groom. However, just before handing the bride over to her future husband, the godfather would reveal the bride’s face. The bride, now without veil, would dazzle in her abundant happiness during the rest of the ceremony, the groom being the first to admire her in all her splendour.

 

At the beginning, the brides kept the veil on until the priest pronounced the two most waited for words to the groom: “You may kiss the Bride”. In this moment, the now-husband would lift the veil covering his bride; he would place it carefully over her shoulders and kiss her. What a transcendental moment for a woman! Can you imagine the amount of times that the groom would have had to be explained how to arrange the veil in order for it to be placed favourably for the bride?

With the passing of the years the tradition changed slightly, as seen as it wasn’t very becoming for the bride to remain veiled during practically the entire ceremony. Her face remained covered and the photographs taken weren’t very flattering.  

The wedding photos that delight me, yet at the same time seem to me to be flattering for the bride, are those in which you see the veiled bride stepping out of her wedding car. This star-studded moment, in which the bride places her foot on the ground as she steps out of the wedding car, unveiling the best kept secret of the occasion: the wedding dress. The moment in which so much dedication and so many illusions and efforts are publicly shown is full of emotion and sensations for all women. In this moment all the brides are brimming with happiness. The photographs leave a record of all the hard work for later, in order to achieve the most dazzling day possible. This is why I love to see the brides entering whilst covered by a veil, for me, this adds a halo of mystery and glamour to the moment.  

 

I would love to see this tradition come back. On some occasions I have mentioned it to some of the brides that have approached out Vintage space, in search of some special and different piece for such a significant day. I must say that I have had the pleasant surprise in having one of the brides agree with me that it would be beautiful to see the return of this tradition.

What about you, would you like to enter wearing a veil on your wedding day?

 

 

Coro, the “Duet’s” Master

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.

We are waiting for you!

 

 

 

 

 

A Tiara designed by Miriam Haskell from 1930

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?