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Women Designers
Date(s): March 19, 2004. Album by Cathy Gordon. 1 - 39 of 39 Total. 20886 Visits.
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Hi  Cathy,
I was surfing the web for references on myself and was delighted to find your website.
It's so sool I love the slide show.Thanks for the write up on my work.
Haven't seen you  in years hope it's all good.
all my love
wendy Gell
Wendy Gell | www.wendygell.com, Thu, 4 Sep 2008 6:34PM
I simply adore Mirian Haskell's designs. Found this website only yesterday! I've been making one-of-a-kind necklaces, using glass flowers, semi-precious stones, glass beads, Bali-silver & crystals. Most of the time the centrepiece looks like a floral 'garden'. Now that I've reviewed Ms. Haskell's collection, I am fully inspired - and proud of the designs I've been making! Thanks for sharing. Sincerely, FlorenceKim Ho
FlorenceKim Ho, Mon, 13 Nov 2006 9:17PM
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Miriam Haskell
C.2nd half of 1930s

While designed by Frank Hess, the unsigned period of Haskell jewelry was clearly strongly influenced by Miriam herself.  Fabulous necklace, bracelet and pin of pressed glass beads imitating quartz with deep and lighter-toned hot pink glass beads.  The floral elements are pressed glss leaves (just like the lariat) with flowers made of concentric circles of faceted glass beads.  Note the clasps on both the necklace and bracelet.  The bracelet clasp is a slide that connects from top to bottom--unusual.  The pin has similar leaves and floral elements but also pearls and a millefiori bead nestled in the back.  See Cera pg 88 for a similar necklace.  Unsigned Haskell.

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Miriam Haskell
C. 1939

Wrap bracelet and unusual silk cord belt.  Haskell was extremely patriotic and created these for the New York World's Fair held in 1939.  Made of natural and painted mother-of-pearl in red, white and blue tones.  See additional examples in Cera, pg 32.  Unsigned Haskell.

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Miriam Haskell, designed by Camilla Petronzio
C. 1990s

Necklace, pin and earrings of Niki nailhead baroque pearls, roses montees, seed pearls and flattened glass beads in a variety of jewel-tone colors.  Signed Haskell.

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Miriam Haskell, designed by Camilla Petronzio
C. early 1990s

Collar of teardrop and oval button baroque pearls and amethyst rhinestones on gold metal findings.  From the Haskell Retro collection. Signed Haskell.

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Anni Schaad, designing as langani
C. 1960s

Necklace and earrings of glass.  The black bead is on the left, just above the first cluster of flowers/leaves.  All signed langani.  The black bead was introduced in 1958.

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German matte enamel bracelet by Sigrid Gottstein of Scholz and Lammel (signed with a handwritten S in a circle on the enamel back).  Circa 1960.

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Nettie Rosenstein

Blackamoor cherub pin with headdress of gilt metal leaves, rhinestones and rich coral beads.  Signed Nettie Rosenstein.

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Hattie Carnegie

Seahorse bracelet and two critters in shades of coral and turquoise.  Bracelet has wonderful enameling resembling scales.  All marked Hattie Carnegie.

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Mexican sterling floral link bracelet by Ana Nunez Brilanti who designed under the name Victoria.

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Margot van Voorhies Carr, designing as Margot de Taxco

A wonderful Margot necklace, with a scrolling, overlapping pattern that has a sculptural 3-dimensional quality, looking like ribbons of silver that are woven over and under each other. The piercing, along with the deeply incised and oxidized lines, contributes to the effect, adding contrast, depth and interest.  Measures about 15-1/4" long, extended, and 3/4" wide.

Signed "Margot de Taxco", the number "5345" and with the eagle stamp with her number "16" in it and the words "Sterling Made in Mexico" around it.  It must date from the earlier years of Margot's shop because her silver line began with number 5100 in 1948 and ended with 5790 when the shop closed in the 70's.

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Sterling pansy brooch by Lillian Pines.  Approximately 3" x 3" and signed Lillian Pines / New York / Sterling

A contemporary and friend of Mary Gage was Lillian H. Rosenblum Pines, who was born in 1894 in Manchester, NH.  According to one Internet source, Pines graduated from Radcliffe College in 1915 and had a retail store in the Westbury Hotel on Madison Avenue in New York City.  She died at the age of 100.  Gage and Pines clearly influenced each other.

Both Pines and Gage used wirework and beads.  Pines's pieces are sometimes more naturalistic (in the form of fans or lifelike flower baskets, for instance), and she often used twisted wire and filigree details.

Found by Roger!

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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.

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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.

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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.

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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.

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Contemporary Italian necklace -- plastic mesh tubes with pearls inside.  Pearls move within the tubes.  Designer: Janete Zamboni. Signed De Farro.

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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.

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Countess Cissy Zoltowska -- CIS

Collar of seven rows of lavender shading to violet, alternating cabochons and faceted stones.

Born in Vienna, she started her career in jewelry in 1951 by hand-painting cufflinks and buttons.  She was quickly taken up by Pierre Balmain and Jacques Fath and moved on to jewelry in the mid 1950s.  She worked for Balenciaga for 14 years, creating jewelry for his couture collections.  Her jewelry was also sold through Lord & Taylor (Cis of Paris) and Bonwit Teller (Countess Zoltowska).  She is known for her signature "crackled" glass cabochons and stones marbled and sprayed with gold.  Very few of her pieces are signed, but the signature is "CIS" stamped under a crown.  (See Ginger Moro's book European Designer Jewelry, pgs 71-77 for more information.)

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Chanel pendant brooch  designed as a quatrefoil of gilt metal, rhinestones, simulated pearls and molten green glass center square.  Chanel ear clips of green molten glass segments suspending a simulated pearl-shaped drop.

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Chanel Caribbean island woman pin with green rhinestone eyes.

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An unsigned fur clip attributed to Max Boinet for Schiaparelli (told to Ginger Moro by Jeanne Péral).  A 5-layer clip in teal green enamel offset with shocking pink enamel, pink and navy colored fantasy birds with pearls, and ruby red & yellow glass stones.  A version of this clip may be seen in Moro, European Designer Jewelry, pg 84.  Clip is 5 inches long.

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Guillemete L'Hoir galalith necklace of 2 faces.

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Catherine Popseco Deco style bird pin. Modern manufacture.

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Lea Stein Christmas trees.

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Parure by Andree Bazot -- bright green glass "cookies" melted onto metal.  Wonderful set to wear!

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Bettina von Walhof

Colorful parrot with trembler wing and Dove of Peace.

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Bettina von Walhof
Two Christmas pins.

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A wonderful tree by Dotty Stringfeld called (I believe) "the morning after."  The cat at the top of the tree swings around.

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Wendy Gell wristies

Roger Rabbit and Jessican Rabbit made of multiple rhinestones and other things hot-glued to large brass cuffs.

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Wendy Gell Wristie

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Wendy Gell Wristie
Early 1980s

Asian Emperor with turquoise stones mounted on large flat black glass.

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Back of wristie showing brass cuff.

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I HATE arm shots (eeewww), but this give a perspective on how massive these bracelets are.  I love to wear Roger on one arm and Jessica on the other.  Always a hit with the dinner crowd!

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Sandor pin made of lucite with a frame of green rhinestones and a heron standing in enameled grass.  Probably an early piece.

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Sandor enameled flowers.

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Tone Vigeland hammered sterling asymmetric bracelet and pin
Circa 1958-1962

Tone Vigeland is the most celebrated Norwegian designer of the 20th century.  Her work is in a number of museum collections including the Museum of Modern Art and the Cooper-Hewitt National Design Museum in NYC.

Her earliest work was made at Plus, an arts and crafts center established in Fredrikstad, Norway, in 1958, where she apprenticed from 1958-1962.

Enlarge photo 37
Tone Vigeland signature hallmarked “ND” (conjoined), “T” within “V” and “+” – maker’s marks for Norway Designs, Tone Vigeland and Plus, respectively, as well as “STERLING 925 S NORWAY.”

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Happy Cat / Sad Cat cufflinks
Victoria Flemming

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Possible Marian Weeber calla lily button.

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