Anita Delgado: The Spanish princess of Kapurthala

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.


The Vintage by Lopez-Linares “Floss”

Over the past few months I’ve been thinking of adding to our Historic Jewelry collection a line of vintage headdresses. However it’s not easy at all since I’m looking for very special hair ornaments. Maybe I’m too demanding… But our space is very special and unique.

A couple of months ago I found by chance this picture, and I love the headdresses from the very first look.

It’s just what I was looking for!


An elegant, timeless and easy-to-wear piece that could be decorated with the many vintage accessories we have in our space. Our collection of brooches, earrings, ribbons, laces or buttons is so huge that headdresses might be a fantastic way of showing them.

The ideal image is a beautiful miniature in watercolour over ivory by the English artista Reginald Easton and represents Bessie Florence “Floss” Scarlett Gibson.

The lady is sat in front of a beach, wearing a dress in beige color over a white shirt and a bow in brown. The perfect combination is the rose she wears in her breast and her head dressed with a little headdress in sheep skin fabric and decorated with a brooch with diamonds. That piece has been the inspiration for most of our haddresses.


The story behind this lady is a bit sad though. She was the only daughter of the Honorable Ruth Hester Frances Scarlett. After her mother passed, Floss was adopted by her aunt Jane Gibson. She and her husband never had the chance to give birth.

In February 1871, Floss got married with the Coronel Leopold James Scarlett, a member of the Scoth Guard. The couple had six sons and a daughter.

During her life, Floss got her heart broken several times, since she ouslasted her husband and four of her sons. The youngest dead in an Australian submarine in 1914, whe he only was 29.


She spent the last years of her life almost totally isolated in the Penenden House in Boxley. Her daughter Ruth and her sons Hugh and Percy ouslasted her.

We’ve called this collection Floss, after this beautiful and brave woman who lived her maturity in England, during the 20’s.

The Vintage by Lopez-Linares “Floss” take us back to an era when women had to fight for her better life.


Shoes: centuries of Pleasure and Pain

The V&A Museum in London will show this year exciting exhibitions that we from Lopez-Linares Vintage Jewelry would love to recommend if you happen to live nearby. The one that specially caught our attention was Shoes: Pleasure and Pain, a must for fashion and accessories lovers both, vintage and from current times. The exhibition will be open from the 13th June until 2016. Plenty of time to plan a visit!

Through over 250 pairs of shoes, the display will show the different styles over the centuries, from the Ancient Egypt up to nowadays. Dress our feet has always been a symbol of status, identity, taste and sexual preference. This expo will deeply study this obsession and how shoes have been a powerful indicator of the character and status of those who wore them, in each era.

sandalia egipcia - expo Shoes Pleasure and Pain - VA Museum

However it won’t be a chronological show. “It’s not an encyclopaedia of shoe designer (…) It will look at how humans have encased their feet in elaborate and highly ornamental footwear usually with little consideration for comfort, functionality or suitability”, the organizers say.

The oldest shoe in the exhibition is this one in the image, dated from the Pharaonic Egypt (beginning of the Roman Empire). The insole is gilded with pure gold and shows signs of wear, apparently by someone with a very high social and economic status.

Shoes from the Medieval era are the second star of this fair. The one we’ve chosen to show you in this image have been made with punched kid leather over carved pine, dated around 1600.


From the 18th and 19th century are these bridal shoes. The first were created in gold and silver over Indian wood, and dated in the 1800’s. The second image you see are shoes in pale blue, made in silk satin with silver lace and braid, from the 1750 decade.

Shoes: Pleasure and Pain will be organized around these three pillars:

  1. “Transformation”: Shoes considered legend thanks to the regional folklore of the time where they were worn, like the many versions of Cinderella’s shoe.
  2. “Status”: In this part of the show the correlation between impracticability and lack of comfort and the need of wear them.
  3. Seduction: The last of the aims of someone who decides to wear uncomfortable shoes is the sexual attraction. The exhibition will show here the shoes that over the centuries have been worn with the only purpose of courtship.

This is with no doubt an exposition you can’t miss, especially if you live around or are planning a visit to London from June 2015. Here is the link to the exhibition for further information you need:

Web: Victorian&Albert Museum – Shoes: Pleasure and Pain

Zapatos de seda de 1750 - expo Shoes Pleasure and Pain - VA Museum


Filippo Lippi and his Madonna pearl brooch

Let me show you today a jewel inspired in one of the Filippo Lippi’s most emblematic paintings. A small pearl brooch that the Madonna wears in Madonna and Child. It’s a 135 cm. tempera on panel the Renaissance artist created about 1645. Today it’s part of the Palatina Galery Collection, in Florence.

Filippo Lippi’s story

He was from a very humble family. In 1421 he joined the Santa Maria del Carmine monastery in Florence, very close where his family lived.

Therefore, the young friar had the chance to admire the frescos that within the 1420’s decade, Masolina and Masccio painted in the Brancacci chappel, in the close church. That experience was crucial to encourage Lippi to pain. Some said once the Masaccio’s spirit was dancing inside Filippo Lippi.


It was in 1434 when Filippo left the monastery to move in to Padua.  By the end of the decade he had already his own studio in Florence, where he could show his talent soon enough. In a letter from April 1st 1438 to Piero de Medici, Domenico Veneziano mentions Filippo Lippi and Fra Angelico as the best artists in the world (by the time).

Filippo made many religious paintings with smart and elegant symbolism: the “Pietá” (piety) theme and the Annuntiation as well as portraits. From 1440 Filippo evolved to a courtly sytle, with brighter colores, soften lines, more complex and more spacious around his main characters. That was the style wished by those who ordered a painting from him, mainly the Medici family and close friends. He also painted the communion table for Cosimo il Vecchio (before 1459).


Between 1452 and 1466 Filippo focused on his most ambitious project: the frescos of the Prato Cathedral. During his stay in Prato he fell in love with Lucrezia Buti, who lived in the Santa Margarita convent. Through the Cosimo de Medici intervention he got Lucrezia out of the convent in order to marry her. The couple had a child, Filippino, who followed his father’s steps as a reknown artist.

In 1467, when he was ordered the fresco “Scenes of the life of Virgin Mary” he moved to Spoleto with the whole workshop. He worked on this project until his death in 1469. Later, where Lippi was buried, Lorenzo il Magnifico made a monument to the artist, designed by his son Filippino.

Among his pupils and contributors were Fra Diamant, Filippino Lippi and Sandro Boticelli.




María Vintage Photography

“Janus a principio ad finem”

A Still Life is the modern name for the “dead nature” art: a painting or a picture that represents animals, flowers and other objects that may come from the Nature (fruits, groceries, plants, stones or shells) or built by the human being. The purpose of this part of Art is producing an effect of calmness and confort by using a special composition and playing with lights.

And this is exactly what I’ve decided to study this year.

The still life paintings have a long story behind, since the Egypt era, when they were used to decorate tombs. The Egiptian’s believed these groceries would be real beyond life. Later, Plinio the Old painted animals and shoe shops, barbers or other kind of places. That’s why he was called “the artista of the common things”.

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We also find still life art in the old Rome, in mosaics from Pompeii, for instance. During this time it was a tradition to use a skulls in paintings as a symbol of mortality and fugacity.

From 1300 onwards, Giotto and his supporters resumed the still life through religious paintings, although it was a minor habit until the Rennaissance.

With Leonardo da Vinci, the still Life art was separated from the religious meaning. Leonardo studied the Nature through his watercolor system. Jacopo de’ Barbari stepped forward with his Partridge, gauntlets, and crossbow bolt  (1504). Religious relations had already been diminished in size.

During the 16th century the interest for Nature considerably rised including great spreads of still life material with figures and often animals, due to the New World disconvery. Natural objects began to be appreciated as individual objects of study and collections.

bodegones-barrocos-maria vintage-vintage by lopez linares (4)

In the 17th century, Caravaggio played an important role, since he was one of the first artists who painted dead nature as a Wall art. He also applied his naturalism art to the still life. His Fruitbasket (1595–96) is the first painting using only dead nature.

My inspiration this year will be the still life masters from Caravaggio onwards: Frans Snyders, Osias Beert, Clara Peeters, Jacob van Es, Willem Heda and Pieter Claesz, Samuel van Hoogstraten, Cornelis Norbertus Gysbrechts, Georg Flegel, Juan Sánchez Cotán, Zurbarán, Blas de Prado, Mateo Cerezo o Antonio de Pereda, Juan van der Hamen, Juan de Espinosa, Antonio Ponce, Francisco Barrera or Ignacio Arias, Francisco de Burgos Mantilla, related to Velázquez; Pedro de Camprobín and Pedro de Medina, Alejandro Loarte, Juan van der Hamen,  Valbuena, Tomás Yepes or Juan Fernández

Also genius at flowery still life like Jan Brueghel the Old and Daniel Seghers in Flanders, Mario Nuzzi or Margarita Caffi in Italy and Spain, Pedro de Camprobín, Gabriel de la Corte, Juan de Arellano and his son-in-law Bartolomé Pérez de la Dehesa, will join me during this 2015.

These artists were inspired by the Greek sleights of hands, which I’m willing to study in detail in order to try to reproduce the work with my Nikon, my illumination equipment and the many old objetcts I’ve been gathering at home over the years.

I’ll be inspired by the “vanity” painting, the one where fruits and flowers mix with books, jars, coins, jewels, paintings and devices, always accompanied by symbolic pieces. I’ll use the meaning of decadence by picturing dead nature scenes. Each month will be different, but always with a given style behind, a style and an inspiration that I won’t say until the end of the year, so you can guess.

bodegones-barrocos-maria vintage-vintage by lopez linares (5)

12 Baroque still lives, 12 still even (according to how they called them back in the 17th century in the Netherlands. I rather will call them this way, instead of “dead nature”. It has a special meaning to me and gets much better what I’m lookinf for.

Many evenings studying, reading calmly and composing photographs are ahead. I’ll focus on lights and shadows. I’ll be entering in a world I love.


Images: María Vintage Photography

Richard Avedon

One more month with my project “The Magic Lens”. Time passes by so quickly!

Our protagonist this month has been my friend Araceli Calabuig who chose Richard Avedon as our master photographer to replicate in July. And Monica Giannini has been one more time my adorable model. Without her this challenge wouldn’t have been possible.

Richard Avedon was the photographer who made us witnesses of 70 years of history. He was a revolutionary fashion specialist who made his models myths of the history. After his work, fashion photography never was the same. The best fashion magazine are inspired in his artwork yet today.

From his life’s work I choose the elegance and essense of his portraits. He knew how to suprise with something that looks so easy like having someone posing with a white background. Hamphrey Bogart, Marlon Brando or Marilyn Monroe were some of his many models.

I’ve read the way he used to get the essense of his protagonists was easy and very effective at the same time: exhaust them, not only psychology but also physically. Sometimes, over four hours of work in front of the camera was enough for the model to show the real personality.

Richard Avedon was a great artist able to surprise not only by capturing the luxury and glamour. His work with social class injustice has been the cover of many newspapers worldwide.

Richard Avedon passed out in October 2004 as a result of a brain hemorrage he had when he was working. From then onwards he has been beating records. One of his photographs, the most emblematic, was sold for as much as 840,000 euros a few years ago.

Let me show you now the images Monica and I selected and copy, during a very hot summer evening. A white background, a non-stop spotlight and a huge wish of learning and learning… I hope you like them!
















Toni Catany

June ended and I’d like to close this month with this very special post.

My photographic proyect in El Objetivo Mágico (The Magic Lens), where we have to replicate a different master of photography every month, has had Tony Catany as a protagonist. And he is my favourite artist. I chose him for this work, and the time came when I had to start digging deeply in his work art in order to try to reproduce it.

So the month for this hard job had finally arrived. Tony Catany changed the way I felt the dead nature art together with the way I used to take pictures. I don’t think there is any other master that left such a mark on me…

He was a Mallorquin (from Mallorca Island in Spain) who lived in Barcelona from 1960. As a good self-taught, he only did a short correspondence course when he was very young. He published his first photo reports in 1668 and from 1978 onwards he started being recognized all over the world. His knowledge of how to apply lights and shadows is excellent and the elegance he treats colour with is just exquisite.


His work is plenty of sensibility, armony and also melancoly. I found out about him a few months ago in a course I was doing at Encandilarte, and I fell in love with his art straight away. I liked it so much that I started looking up in the Internet all his photographies, trying to purchase one of them. I ended up with three of them over my hands thanks to Blanca de Berlin, an art gallery director in Madrid, who happened to be selling some of the Catany’s photos.

The core of his work is the still life, naked human bodies and gorgeous landscapes.

Toni Catany showed his work for the first time in 1972. Then over 200 more came after. In 2001 he won the National Photography Award by the Ministry of Culture and the National Award of the Fine Art (Catalunya).  He was considered within the 100 best photographers in the world by Life Magazine.

Tony tested with the oldest developing techniques all over his career. Finally he jumped into the digital photography “because that let him treat the color in the way he was looking for” (according to his own words). He used a half professional camera for many years, exactly the Sony 828.

His art is captivating, moving and will please you for sure, due to his sensibility and elegance.

I right now am declaring myself an inconditional fan of his whole work and his way of seing beauty. I’ll never forget one of his quotes, that I from now onwards will do mine:

“To me photography is a way of showing my feelings, my mood and my emotions. I don’t photograph for others, but for myself, just for the pleasure of taking photos. I fon top of that, people like my work, the satisfaction is then amplified”.

Toni Catany

 I’ve enjoyed this proyect very much. And this is the result of several sessions of Dead Nature trying to emulate the work of a great visionary.

I hope you enjoy that much with my work as well!









The Garden of the Angel

Thinking of coming to Madrid soon? Then, you should come over and see the space I’m recommending today. You’ll know why in a few seconds.

I’m talking about a florist that offers much more than flowers. An elegant and quite corner within the old Madrid, in the downtown with a history behind that deserves to be told by the owners themselves.

I discovered this lovely place when I was walking around the Barrio de las Letras, during a nice Sunday morning. I’d never seen it before, or at least, I had never paid attention.

Its history has a very long tail… It’s a three centuries history actually! That long ago this little spot was the cemetery of the San Sebastian Church. The graveyard kept existing the same way until the last years of the 19th century. It was 1889 when the Martin family (owner of the site) decided to rent it to the church to make a garden center. From then onwards its walls made on glass could tell us a lot about loads of adventures and misterious stories.

It was mentioned by Benito Pérez Galdós (Spanish writer from the 20s) in his novel “Misericordia” and the place still keeps the intimacy of the old cemetery along with the essence of its great past. The business never closed its doors, not once. It was open even during the Civil War in Spain.

Nowadays is a dream place, a lovely garden where besides purchase beautiful flowersm you can enjoy arquitectura and the peace that comes out its walls. Imagine being surrounded by calm, serenity, green color and the most amazing style, in the heart of one of the most fabulous neighborhoods in town.



El jardín del Angel (The Garden of The Angel)

C/ Huertas 2

Madrid 28012

Mazer & Company Inc.

In the very early years of the 20th Century, the brothers Mazer – Joseph and Louis- began running a jewelry business in Philadelphia. It was 1917. After a few years they moved out to New York where they opened a jewelry shop that soon changed the name to Mazer&Company Inc.

From the beginning Macel Boucher was the designer of the business but in the mid 30s he abandoned them to establish his own enterprise.

Mazer&Company Inc started developing high quality jewelry using Swarovski cristal. They conquered the market with medium price pieces but today collectors consider their pieces very valuable.

In 1946 the two brothers left the nest: Joseph Mazer released Joseph J Mazer & Company (better known as JOMAZ) and Louis Mazer kept the original business until 1951 when he definitely stopped the comercial activity.

So it was Joseph Mazer who did the first Jobs for Jomaz the famous pieces dipped in gold. That was his clear emblem during the 60s.

And here’s one of those pieces; a brooch dipped in gold from the 60s. One of the pieces you’ll be able to see and enjoy in the next showroom that Lopez Linares is getting ready.

The first Mazer&Company Inc’s pieces are maked with the badge “Mazer Bros”. However, the last jewelry is already marked as “Mazer”, “Joseph Mazer” or “Jomaz”.

Jomaz had several designers along its short career: Andre Fleurida, Thierry Muglero or Sandra Miller were some of its artisans.

In 1948 an advert in the renowend Haper’s Bazaar magazine said about the brand:

“The precious look in fashion jewelry”.

Jomaz was closed in 1981.


Santoña MasterPalace

At Huertas Street number 13 stands the imposing   Santoña MasterPalace. Today the Foundation hosts the Chamber of Commerce , but not always served this function.

In the sixteenth century there was in this area a palace, occupied in 1593 by the ” black prince ” Muley Xeque then named Felipe Africa, but it was more or less a mansion when it was purchased in 1731 the Marquis de Goyeneche, Philip V and Elizabeth Farnese banker, and his choice for remodelling was Pedro de Ribera, architect of the imposing building of brick and white stone from Colmenar de Oreja currently admire.

Palace Santoña met its splendor under the duke of the same name, which was, at the time Don Juan Manuel González Manzanedo, humble Indian family who amassed a fortune in Cuba, and to Alfonso XII who created the title because of its great skill in finance, and its contribution to Madrid improvement.


The duke lived in Cuba with his daughter Josefa, born of his relationship with Luisa Serra Intentes who did not get married. Once was alone there because his daughter moved to Paris he decided to marry María Del Carmen Hernández Espinosa de los Monteros, and returns to Spain. After living in Cadiz arrives in Madrid, where he acquired as gift for his wife GoyenechePalace. From that moment becomes the epicenter of social life in nineteenth-century Madrid aristocracy, they adapted to the tastes of the time, exotic décor with oriental influences, Party Hall, Pompeian Hall with its famous rotunda. This was due, among other things to the dedication of the duchess, who was called familiarly the ” Señá Mariquita Hernández”

The Duchess of Santoña was godly woman. Deeply moved by the situation of children’s medicine , prompted the construction of the Hospital del Niño Jesus, to this effect was responsible for organizing a raffle with the intention of raising funds , calling it National Raffle Child , which ranks as the first step was given for the current draw of the Lottery Child.


At death, the Duke, his daughter, inherited the bulk of his father’s vast fortune, valued at more than 2 billion regales at the time, strikes up a long legal battle in getting his stepmother strip of property that she had received, including the palace, which widow Duchess is in utter destitution, host to charity until his death on October 14, 1894.  A pity, knowing his affable and gracious character.

The property then passed to Joseph Canalejas, Liberal Party politician, who lived until the day of his death on November 12, 1912. His widow continued to occupy the palace until her death, when it became one of his nephews, who in turn sold the property on June 6, 1933 at the Chamber of Commerce and Industry of Madrid, its current owner.

Post written by María Romero de Cuenca, art historian, curator and cultural guide. You can follow her work at her blogs: Arte al Instante and Artendencias.