[Sold] Lyda Coppola started her company in 1946, but the true commercial birth was her 1948 designs for Fath, Piguet and Schiaparelli. She added her surname, Toppo, after her marriage and was joined by her brother Bruno Coppola whose contacts in the US enabled her to develop a special collection for the American market. She successfully worked for Emilio Pucci, Ken Scott and Valentino in the 1960s creating wonderful pieces to match the fashions of the time. Lyda Coppola retired in 1972 and the company discontinued the trademark in 1986. Shown is a magnificent Coppola e Toppo necklace with 3 circular pendants. Made for Valentino in 1970, it is constructed of gilt-stamped metal, sapphire-blue faceted Swarovski crystals, rhinestones and gilt metal beads. According to Ginger Moro, the necklaces came in a single, double and triple circle version. See Jewels of Fantasy, page 275 for a hot pink version.
Coppola e Toppo necklace in shades of blue and lavender crystal beads from the 1960s. The typical CeT weave pattern is evident in the inner part of the necklace. See Moro, European Designer Jewelry pg 198 for a similar necklace.
[Sold] Coppola e Toppo crystal bead cuff bracelet in shades of blue and lavender.
Side view of blue/lavender cuff bracelet. Stamped with typical CeT signature: Coppola e Toppo Made in Italy
[Sold] Coppola e Toppo collar of long smokey crystals, with special Swarovski "daisy" crystals on the inner side, from the 1960s. See Moro pg 201.
[Sold] Coppola e Toppo necklace of aqua, turquoise and clear crystal beads. It resembles a cravat, as it hugs the neck closely with the beads hanging in a froth from the center. Note the typical heart-shaped hook and chain necklace clasp, a standard method of identifying CeT.
[Sold] Large Coppola e Toppo green, cobalt and aqua crystal bead earrings. The earring clasp with a star-shaped hole is typical for CeT.
[Sold] Coppola e Toppo clear and green crystal bead necklace with hangtag. Lyda Coppola designed extensively for Emilio Pucii, Ken Scott and Valentino as well as for retail and not all of her pieces were signed. Note the typical CeT hook and chain closure, but without the heart-shaped pieces. See Moro, pg 198 for a similar necklace.
[Sold] Coppola e Toppo 6-strand necklace in clear, rose, garnet and green crystal beads, strung to form a flower pattern.
Coppola e Toppo crystal necklace in graduated shades of blue.
Back of blue necklace showing heart-shaped clasps and signature.
Coppola e Toppo crystal bead necklace in warm tones.
Coppola e Toppo dark red crystal bead bracelet made of 2 parts and looped in the center.
Coppola e Toppo 5 row bracelet in different shades of red glass crystal beads.
[Sold] Coppola e Toppo cuff bracelet in blue crystals shading to white. The bracelet is made to look like a shirt cuff and worn with the clasp facing out.
Top of cuff bracelet. I couldn't capture the shape in this picture, but the deep blue crystals represent the shirt "button."
[Sold] Coppola e Toppo multi-layered bib in a mix of glass and plastic faceted orange, clear and hot pink beads. Made for Emilio Pucci in the 1960s.
Coppola e Toppo earrings to match the bib in the prior picture. Note the weave pattern and the star cutout in the earring back to the left.
Coppola e Toppo bracelet of glass and plastic beads in rose and gray. Unfortunately, the plastic beads are quite scuffed. ;-(
Back of bracelet showing weave and clasp.
Coppola e Toppo necklace and earrings of gold metal tubes and rhinestones.
On rare occasions, I find something valuable at a yard sale. This handbag appears to be a Coppola e Toppo, based on the weave pattern and the clasp. The tag inside reads: Made in Italy D.H. Evans Oxford Street. It had some damage when I bought it, but wonderful Carol Johnston of JC repaired it impeccably!
The Ornella trademark was created in 1946 by Piera Barni Albani. The primary designer was her daughter, Maria Vittoria Albani who joined the firm in the mid-1950s. Ornella jewelry is characterized by the use of particular materials, such as Venetian glass beads, hand-painted wooden beads, shells and hand-molded ceramics, often gilded. Elaborate clasps are also a hallmark. This Ornella necklace is a prime example of her style. Made of olive-shaped orange and black Venetian beads with a laced effect, coupled with black glass beads. Note the elaborate clasp, a hallmark of Ornella creations. From the early 1960s. See Jewels of Fantasy pg 301 for a blue version.
Ornella collar of multiple strands of chocolate brown and topaz colored crystal beads interspersed with baroque pearls and ending in copper and gold colored glass tube beads. The elaborate clasp is covered with copper and yellow glass seed beads, baroque pearls and edged with AB rhinestones. The earrings replicate the clasp construction. Signed Ornella Made in Italy
Ornella 6 strand necklace of orange glass tube beads separated by black and clear glass beads and ending in an elaborate clasp.
Ornella pin and earrings of faux turquoise glass beads.
Long, graduated Ornella pin with glass stones and clear AB rhinestones.
Ornella faux pearl and rhinestone pin.
Two sets of seed bead Ornella earrings.
The Ornella Oreo! I believe that this strange looking object is half of a belt buckle. It is made of black resin embedded with black glass stones.
Back of the Oreo.
Ugo Correani started his career in Milan in 1973 and introduced his own line in 1976. He is known for his long, highly successful association with Gianni Versace. His jewelry is often sculptural in material and approach, made of resin and enameled metal. Shown is a glass and rhinestone fish pin by Ugo Correani. Signed U.C. Ugo Correani
Ugo Correani necklace of geometric clear lucite and black resin made to resemble coral.
Gold tone metal basketweave collar by Correani.
Large gold-tone Correani earrings set with dark purple and opal-like rhinestones.
Correani necklace of irregular shaped red and black resin strung on black cord.
Really strange (and ugly) Correani necklace of irregular pink resin shapes strung on white cord.
Emma Caimi Pellini opened her business in Milan in the late 1940s, but as with so many other designers of that period, her business took off in the 1950s. Her jewelry is known for its use of Venetian glass. Her daughter Carla assumed control in the 1960s, with a grandaughter assuming direction of the firm in 1976. These Pellini pieces are all probably from the later designs. Shown is a Pellini necklace and earrings of black glass highlighted in gold.
Free-form Pellini pin of clear lucite embedded with pink and gray material and surrounded with gold wire. Signed Pellini. Very strange...
Large Pellini flower pin with faux gray and white pearls, metallic blue glass cabs, dark purple rhinestones and a stem embeded with gray rhinestones.
Pellini pin and earrings in faux turquoise and ivory and navy blue enamel.
Contemporary Italian necklace -- plastic mesh tubes with pearls inside. Pearls move within the tubes. Designer: Janete Zamboni. Signed De Farro.
Gilt metal collar by Luciana (Baroness Luciana Aloisi de Reutern). This necklace is probably from the early 1960s when she was designing in the Etruscan style including references to paintings by Bellini, in which the curl on the beard of one of the figures became the linear motif on this necklace. She was the first in Italy to make use of gold-plated hand-burnished brass. See Cera. Jewels of Fantasy, pgs 290-293 for more detail.
Not signed but the clasp is unique to her jewelry.