Coro

Dates of Operation: 1901 – 1992 The most collectible Coro jewelry was produced from the late 1930s – 1970s.

In 1901 Emanual Cohn and Carl Rosenberger formed Cohn & Rosenberger, Inc. In 1921 the name of the company was changed to Coro, Inc. In her book Coro Jewelry A Collector’s Guide Marcia “Sparkles” Brown describes the early Coro business model.

For ten years, the firm produced collar pins, hat pins, sautoirs, beads, and mourning jewelry. It did not manufacture these standard jewelry items; instead, the company assembled findings to produce the final product.
Brown, Marcia. Coro Jewelry A Collector’s Guide. Paducah, KY: Collector Books, 2005. p. 7.

In 1911 Emanual Cohn died and Carl Rosenberger purchased Cohn’s share of the company. Coro was successful so Rosenberger decided to build on that success and expand the facility to be able to manufacture additional jewelry items. It was a good decision; business remained strong. Then in 1911 another great decision was made. Royal Marcher was hired as a salesman.

Marcher was key in developing and growing the marketing department to help expand Coro into a huge jewelry company with branches all over the world. The following excerpt from the book American Costume Jewelry art & Industry, 1935 – 1950 A – M by Carla Ginelli Brunialti & Roberto Brunialti describes Marcher’s role in the company.

The company owed its great commercial development to his organization capacity, his marketing skills, and his capacity to understand and anticipate the public’s tastes…
Brunialti, Carla Ginelli and Roberto. American Costume Jewelry Art & Industry, 1935 – 1950 Volumes A – M. Atglen, PA: Schiffer Publishing Ltd., 2008. p.84.

Coro’s strong marketing program and the importance placed on the sales staff accelerated the growth of the business. By 1946,

Coro was the largest manufacturer in the field, accounting for 16% costume jewelry production in the USA and it was the only company with the necessary means to cover an entire range of products, from the most expensive line; CoroCraft, to the low-priced items for the “five & dime,…
Brunialti, p. 88

Another important name in Coro history is Adolph Katz. He joined the company in 1924 and remained until 1960. His name appears on most Coro design patents; however, he did not create the patented designs bearing his name. In his time at Coro, Adolph Katz was design director, product manager, Vice President, and President. He worn many hats. It was also his responsibility to apply for the patents. In the book American Costume Jewelry Art & Industry, 1935 – 1950 A-M Brunialti provides evidence that Adolph Katz was a talented designer in his own right. Brunialti quotes from a 1948 article by Irwin Ross in “American Magazine.” The article quotes Katz describing himself as a designer and visionary.

“Let’s say I’m having lunch” he says, “I find myself next to a coffeepot. I’m staring at it. I suddenly decide that what we need more than anything else in the line is a coffeepot. But do I just make a common, ordinary model of a coffeepot? Not on your life. I glamorize that old coffeepot, and it may make us $1,000,000.”
Brunialti, p. 91

In 1933, as a very young man, Gene Verri (Verrecchia) joined Coro as Head Designer and remained Head Designer until 1965. Verri was responsible for the wonderful Coro designs patented under his name and Adolph Katz’s name. Verri was extremely busy, so Katz relieved him of the patent paperwork resulting in his name being listed on the patents as the designer. There is no question that both Gene Verri and Adolph Katz were important to the success of Coro and the to the creation of many of the Coro designs collectors seek today.

In addition of Adolph Katz and Gene Verri, many other talented designers worked for Coro including Robert Geissman whose name appears on a few Coro patents. In addition, despite Coro’s massive manufacturing capabilities, Coro contracted with jobbers to create and manufacture jewelry to be sold under the Coro brand. For example, Florenza designed and manufactured jewelry to be sold under the Coro brand. Frank DeLizza in his book Memoirs of a Fashion Jewelry Manufacturer writes about DeLizza and Elster’s relationship with Coro.

…Mr. Katz from Coro called wanting to see the line. Harold was not there, so I took the line to Coro at their 34th Street and Broadway place, and showed it to him. He listed a lot of numbers, and then called in Mr. Marcher and they discussed how much they would buy. He asked me what our volume was at that time. I said we were shipping approximately $50,000 a month and he said, “Good,” he wanted the entire production of the factory at that time,..
DeLizza, Frank. Memoirs of a Fashion Jewelry Manufacturer. New York/Florida: DeLizza Publishing, 2007. p. 48.

Frank DeLizza’s father refused Coro’s offer because he did not want to be dependent on only one customer, but he promised to put Coro‘s order first. Mr. Katz was disappointed but still placed a huge order.

One of the most distinctive designs associated with Coro are the Coro Duette pins. A Duette is a convertible brooch. It consists of a frame holding two clips that can be worn together on the frame or removed to be worn separately. The Duette design originally appeared in Europe’s fine jewelry trade. Royal Marcher quickly recognized the potential of the innovative mechanism. Under his leadership Coro patented the mechanical design of Gaston Candas on May 31, 1930, utility patent number 1798867. This utility patent number appears on the Duette frames.

Design Patent 116,478 issued to A. Katz for *Coro* Sept. 5, 1939

Each frame was custom made to fit the decorative clips, so should the original frame be lost, it is very difficult to find a replacement.

This *Coro Duette* is design patent number 116478 issued in 1939. It features a seven-petal stamen suspended from a spring, so it gently moves when worn. The frame is signed Coro Duette with patent number 1798867.

Brand Trait: There are at least ten different Coro design patents featuring similar bell-shaped elements making them a recognizable Coro brand trait. Duette variations featuring similar blooms were advertised as “Quivering Camellias” and as “Peonies”. Coro‘s marketing department loved to name their designs!

This is the earliest design patent showing the “bell-shaped” blooms and the style often referred to as “Quivering Camillias”. It is design patent number 110,296 issued to G. Verrecchio (Gene Verri) June 28, 1938.

This interesting early 1940s bracelet features a *Coro* “bell-shaped” bloom without a trembling stamen. It is signed with the same design patent number as the above *Duette* – 116478. The bracelet is a design variation of the 1939 *Duette*.

Brand Trait: Note the translucent green enamel on the bow. Many early Coro designs have this detail.

Both of these *Coro Duette* pins date to the early 1940s based on the use of enamel and the early stamen design. They are unsigned except for the *Coro Duette* signature with utility patent number 1798867 on the frame. Since the frames were customized by Coro for each of their *Duette* designs, the signature on the frame was sufficient to brand the design as *Coro.*

These Duette pin designs are mirror images when clipped into the frame. Out of the frame, the clips are slightly asymmetrical. There is a right side and left side when worn.

Brand Trait: The enameling on the leaves in Coro designs often have a wide ribbon of unenameled metal outlining the leaf shape. The burgundy leaves in the above Duette illustrate this trait.

This lovely *Coro Duette* was advertised as “Jeweled Comet” in a 1948 *Coro* advertisement. The clips are signed *Coro* Pat. Pend. and match design patent number 151258 issued in 1948.

The Comet Duette features swirling curves and lines in this modern, post War design.

Advertised in 1948 as LOVEBIRDS, this wonderful *Coro Duette* was sold with matching screw-back earrings. This set was popular with collectors and sold in many color combinations.

Design Patent 128,822 issued to A. Katz Aug. 12, 1941

Brand Trait: The design of the Lovebirds is distinctive. The heads are shown in profile and the tails come to a long point. Coro created many Cockatoo designs (pins and clips) with these recognizable traits.

The Duette pins shown here are at the low to mid-range. In 1948 the Lovebirds Duette sold for $4.00 and the earrings for $2.00.

Coro lines included a broad range of designs done in volume and produced in all price levels…Coro Jewelry accounted for the greatest volume of sales, with pieces retailing [in 1951] in the range of $1.00 to $10.00. Corocraft pieces were being sold in stores for $10.00 to $50.00.
Brown p.9

Coro had three divisions: Coro, Corocraft and Vendôme. They operated separately under the Coro brand. Corocraft and Vendôme produced top quality products. Coro and Corocraft had similar design aesthetics at different price points.

Vendôme, had a design aesthetic different from the other Coro lines. It featured strung beads and pearls. The head designer of Vendôme beads was Helen Marion.

She lived in New Jersey and would travel to Providence every Monday afternoon and go home every Thursday afternoon. She was able to create miracles in just a three-day work week.
Brown, p. 147

Later non-beaded designs were added including high-end pin and earring sets designed innovative elements.

When pearls lost their popularity, Vendôme brought out a line of enameled goods called Japonica, by designer Florence Marr. The Japonica line was produced by outside vendors. Gene Verri, head designer for Coro, was involved in creating beaded products.
Brown, p. 147

Replete with artistic talent, business savvy, and exceptional marketing Coro was in business for 75 years finally closing its doors in 1992.

Note: For more information on Coro patents refer to Collecting Costume Jewelry 202 the basics of Dating Jewelry 1935 – 1980 Second Edition by Julia C. Carroll. Images of known patents for Coro and other makers are reproduced in this book. In addition, the design patents are available for viewing online at www.jewelrypatents.com This site was started by James Katz in 2004 and is today managed by Pretty Snazzy Jewelry & Supplies.

Coro jewelry advertisements can be found in many online sites. One of the most fun is a YouTube site called Olive’s Vintage Market. She presents valuable information on vintage costume jewelry including two slide shows titled Vintage Coro Jewelry Advertisements & Identification Part 1 and Part 2 showing dozens – perhaps over 100 – vintage Coro jewelry advertisements. Olive thoughtfully presents the advertisements, so the printed information is large enough to be read.

The following gallery of Coro and Corocraft jewelry is a small sampling of the Coro‘s many and varied designs. Following the Coro gallery is a gallery of Vendôme jewelry.

Coro and Corocraft Gallery

Crown Pins

Traditionally crowns symbolize victory. When two forces go to war, the winning side is “crowned” the victor. Many costume jewelry brands including Coro, Trifari, Mazer, ART, and Weiss created replicas of crowns, swords, rings, and scepters associated with royalty. Royal jewelry was a popular motif for jewelry design prior to Queen Elizabeth’s coronation in 1953.

Back view and *Corocraft* Sterling signature plaque with the *Coro* Pegasus horse logo.

Marked Sterling Coro-Craft this beautiful 1 1/2″ crown pin features red and green cabochons stones accented by clear, sapphire, and emerald rhinestones. The vermeil plating is in great condition. This design was also produced in all crystal stones. It is a fully symmetrical design in a rare triadic color scheme. Red, green, and blue are evenly spaced on the color wheel.

The nonuse of sterling and the *Coro* signature without the copyright symbol date this crown to between 1948 and 1955. It features deep ruby, crystal, and aqua rhinestones. The interesting zigzag of metal across the center of the crown is a good example of the effective use of line to add dimension to a piece.

Keys

Generally, key motif pins are considered to be good luck. Coro produced many different key motif designs.

All three examples of these *Coro* key motif pins are 2 3/4″. Left: This beautiful key pin is signed *Coro* Sterling. It features a faux moonstone, crystal, sapphire, ruby, and emerald accent stones. It is beautifully detailed with bands of rhinestones on the shaft. Middle: This interesting *Coro* key pin matches design patent number 149880 issued June 8, 1948. It was constructed by attaching the stamped metal designs to the key shaft. It features faux turquoise and ruby stones. Right: This key pin is signed *Coro* without the copyright symbol and dates to 1948 – 1955. It features a contrasting black and white color scheme that would be appropriate for many different fashions.

Brand Trait: The three tiny leaves with tiny pearls decorating the middle key pin are a brand trait of Coro designs.

Birds

Tiny in size, but big on design, this 1 1/2″ sweet *Coro* swan pin is called a jelly belly due to the clear center. It is design patent number 140945 issued in 1945. Some of the crystal stones have darkened but the green-eyed swan maintains its graceful profile.

The *Coro* Swan pin signatures are part of the original mold.

The Bird at a Fountain is a distinctive, iconic Corocraft Sterling design patented in 1947, number 147191. The elegant design realistically shows an open-winged bird landing on the edge of a fountain complete with a cascade of water decorated with aqua rhinestones. It measures 2 3/4″.

In 1947 *Coro* created a series of figural designs made by innovatively curving wire. This example of “wireworks” is design patent number 147,245 issued on August 5, 1947. In addition to this 2 3/4″ ostrich design; two birds, a monkey, cat, horse, lady with dog, and parrot were made as part of the same design group. These lightweight, open designs are masterpieces in the use of curving lines. Each critter has its own, expressive personality.

The 2 3/4″ swooping bird pin is another *Coro* masterpiece. It is signed *CoroCraft* Sterling with the *Coro* Pegasus horse logo. The three-dimensional body and wings are encrusted with crystal and sapphire rhinestones. The eyes and tail are ruby. The stones are open in the back to let the light through.

Brand Trait: The shape of the bird’s head and beak is a distinctive Coro brand trait found on many Coro designs.

The *Coro* 1948 “Owl on a branch” set is design patent number 149,948. The versatile 1 3/4″ design features yellow, turquoise, and black enamel with large, faceted rhinestone eyes. The owl is signed *Coro* pat. pend.

Left: The design of this 2 1/2″ bird pin is innovative and distinctive. The stylized tail, swooping pose, and navette-shaped rhinestone wings are beautifully combined in this abstract bird design. Note the typical shape of the *Coro* bird head. It is design patent number 163,188 issued in 1951 and signed *Coro*. Right: This 2 1/2″ beauty is signed *Coro Craft* and has several interesting design details. The tail feathers are decorated with rhinestones, the body of the bird is an open-work lattice design studded with rhinestones, the collar feathers and wing decoration mirror the tail decoration, and the plating is thick. It is design patent number 163,195 issued in 1951.

Floral Designs

This attractive 3 ¾” tulip pin is signed *Coro* and matches design patent number 115,043 issued in 1939. The large tulip pin is a well-balanced asymmetrical design featuring one beautiful bloom decorated with magenta enamel and four dark green enameled leaves. The stamen consists of four baguette stones set on metal pins. The metal pins gently move within the floral head. The flower head is constructed in two pieces that are seamlessly riveted together.

Brand Trait: Movable stamen, not on a spring, is an innovative, recognizable design trait of some early Coro floral designs.

This large 4 ½” Hyacinth flower pin dates to 1939 – 1942. It is signed *Coro*. This rare piece is decorated with high-quality aquamarine rhinestones, clear crystal rhinestones, and finished with high-quality rhodium plating. A design of this quality should be patented but there is no KNOWN patent for this design.

Brand Trait: Hyacinth flower designs were a favorite of Coro.

This *CoroCraft* sterling 3” pin features light topaz rhinestones. It was also available in amethyst or sapphire stones. Note the decorative bow tying the bouquet together. The vermeil (gold plating over sterling) has the look of rose gold. A distinctive feature of this design are the three “fingers” of sterling gripping the tops of the stones. This lovely *Coro* floral is design patent number 143,213 issued in 1945.

Brand Trait: Many Coro bouquet designs have a decorative bow.

Signed *SterlingCraft* by *Coro*, this 3” Cala Lilly pin is a design variation of patent numbers 131,763 and/or 131,812 issued in 1942. Note the early and distinctive use of plastic flowers with yellow centers on a sterling design. The leaves feature dark green enamel. This is a well-balanced asymmetrical design.

This fascinating 3”, 1939 – 1942 *Coro* pin features a large flower suspended from a spring so it gently trembles. The lines of sapphire rhinestones, set in blue enamel, outline the shape of the flower. As can be seen from the back, the largest leaf contains an absorbent pad of material designed to hold a few drops of the owner’s favorite scent. As the bloom trembles, the scent gently wafts into the air.

The design for this 3 ¼” floral “hand” pin is patent number 149,186 issued in 1948. The design of the hand is stamped out of a sheet of metal and then attached to a floral bouquet. Combining of these jewelry elements in this way is both innovative and pleasing. It is signed *Coro* with the Pegasus horse logo.

This *Coro* 2 ¾” abstract, fully symmetrical, floral pin with green leaves and crystal rhinestones, has spiral center. The spiral shape enhances the illusion of moving leaves. This design dates to the mid 1960s. The stones are pasted-in, and the metal is gold plated. It is signed *Coro* with the copyright symbol.

People

Left: 2 1/4″ *Coro* ballerina pin design patent number 162,420 issued March 13, 1951 Middle: 1 3/4″ man with a cane pin signed *Coro*, circa late 1940s. Right: 2″ archer pin design patent number 150,598 issued August 17, 1948.

Coro produced many “people” pins with relatable personalities that spoke to the varied interests of their customers. The ballerina, depicted on her toes, is decorated with crystal rhinestones and has a moonstone face. Her arms and legs are realistic in their proportions. Ballerina designs were popular in the 1950s. It is a mostly symmetrical design that the “eye” loves. The comical man with the cane is another example of how Coro used curved wires to design a piece. This design resembles the 1930s silent film star Charlie Chaplin.

*Coro* produced many versions of the innovative, popular “Family Album” pin. This 2 1/2″ example is design patent number 152,102 issued in 1948. It features a fleur de Lis pin and a four-picture locket. The etched metal is decorated with tiny faux pearls.

Directions were included with these lockets.

Measuring 2″ this rectangular cameo pin/pendant is signed *Coro* design patent 121,349 issued in 1940. The patent is for the same cameo in an oval, rather than a rectangular shaped, frame. The textured, antiqued metal of this rectangular frame matches the design of the metal in the patent. It is a detailed, fully symmetrical design.

*Coro* patented this 2″ jelly belly fish pin in 1954, design patent number 171,796. The fish has a sweet expression and is decorated with bright red enamel and crystal rhinestones.

Measuring 2″ this signed *Coro* oval frame pin is a revival of Victorian carved ivory style pins. The farm scene is molded celluloid set in a two-piece textured frame.

Measuring 2 1/4″ this fully symmetrical round, shield-style pin features textured metal, garnet rhinestones, turquoise seed beads, and pearls. It is signed *Coro* with the copyright symbol and dates to the 1960s.

Sets

Signed *Coro* this 7 3/4″ bracelet is similar in to design patent 131,780 issued in 1942. Note the thick, curls of metal holding large golden topaz stones. This style of bracelet is often referred to as a scroll bracelet. The design of the clip earrings is typical for *Coro* scroll jewelry designs. They are signed *Coro* where the back is attached to the earring.

Note the fancy prongs, and the almost 1/2″ depth to the design.

From the same 1942 design group as the scroll bracelet this 2 3/4″ pin and earrings set match design patent 131,878.

Dating to the late 1940s this elegant *Coro Sterling* set features a typical 3 1/4″ *Coro* floral pin with a bow. It is a well-balanced asymmetrical design decorated with faux moonstones. The 7″ bracelet and 3/4″ earrings repeat the same faux moonstone decorative element. Note the unusual construction of the links. Each link is slightly domed for comfort.

Interesting construction and *Coro* sterling mark

This late 1940s – early 1950s summery *Coro* white flower set includes a 2 1/2″ pin, 3/4″ earrings, and 15″ necklace including the extension chain. The pin and earrings are signed *Coro.* The necklace is unsigned. The unifying element in this design is the white floral element.

Brooch: 2 ½” Earrings: 1”
The center stone in this *Coro* brooch is a specialty glass stone mounted with fancy dog-tooth prongs. The large, top-quality stones are in open-back settings. The design relies on the different ways blue faceted and blue cabochon stones reflect light to give the design depth and interest. This especially lovely *Coro* set dates to 1948 – 1954.

This sparkling 7 1/4″ golden topaz and light topaz rhinestone bracelet is signed *Coro* with the Pegasas horse logo and Des. Pat. Pend. The matching earrings are signed *Coro.* There is no known patent for this set. It was made in various monochromatic color combinations including the amethyst and crystal. The bracelet is in the Victorian revival style featuring a comfortable book-chain design. The set is fully symmetrical.

The 7″ bracelet is design patent number 173,495 issued in 1954. This was the last year *Coro* patented their designs. It is signed *Corocraft.* The matching 15″ choked is signed *Corocraft* Pat. Pend.

Note the beautiful use of line to create the intertwining vine design. The monochromatic topaz and light topaz rhinestone colors are perfect for the fall motif.

This set was advertised in 1955 as Honoré meaning honored or respected. This example features crystal stones, but it was also available in colors. Both pieces are marked *Coro* Des. Pat. Pend. The central point of focus in both pieces is the six-pointed floral. Curving lines, decorated with baguette rhinestones swirl around the floral. The 2″ pin is a well-balanced asymmetrical design. The necklace is 16″.

*Coro* produced an incalculable number of pretty, affordable sets featuring plastic inserts in the mid-1950s through the 1960s. The design of this 7 1/2″ bracelet and 3/4″ earring set features semi-circle (half-moon) red plastic inserts. It is a fully symmetrical line bracelet. All pieces are signed *Coro* with the copyright symbol.

All of these pieces are from the same *Coro* design group and date to the mid 1950s – 1960s. They have several unifying design elements including textured metal ribbons, irregularly shaped faux pearl elements, rhinestone accents, and the same antiqued gold plating. The pink pearl set includes a 17″ necklace, 7″ bracelet, and 1 1/4″ earrings. All pieces are signed *Coro* with the copyright symbol.

The white faux pearl set includes a 2 1/4″ pin and 1 1/4″ earrings. The earring design is the same for both the pink set above and this white set. The white set is signed *Coro* without the copyright symbol.

Author’s Note: The color of the plating and the design of these set remind me of Florenza jewelry. Florenza designed and manufactured some jewelry to be sold under the Coro brand. Did Florenza make these sets? I don’t know, but it is fun to speculate.

This pretty mid-1950s – 1960s rhinestone set is signed *Coro* with the copyright symbol. The design motif for this set includes diagonal ribbons of metal decorated with rectangular amethyst rhinestones flanked by smaller rhinestones. It is a fully symmetrical design. The 17″ necklace, including the extension, chain is a more delicate design variation of the bracelet.

Close view of the amethyst rhinestones and symmetrical design

This is an exceptionally well-made set featuring delicate, textured branches of metal artistically placed to hold tiny turquoise seed beads, sapphire rhinestones, and crystal rhinestones. The 17″ necklace including the extension chain is fully articulated with small links capped by sapphire stones. It lays beautifully when worn. The 11/4″ clip earrings are a variation on the branch design. Both pieces are fully symmetrical. It dates to the late 1950s – 1960s. All pieces are signed *COROCRAFT wit*h the copyright symbol.

Bracelet

Vendôme Gallery

Beaded Necklaces

This is an especially lovely, 1962 Vendôme triple strand beaded necklace and earrings set. Vendôme, a separate division of *Coro*, produced high-quality beaded designs. An advertisement featuring this set called it the “cut glass look”. Designed to be worn close to the neck, the shortest strand measures 14 1/2″ and expands to 17 1/2″ with the extension chain.

The earrings feature the same beautiful disk beads as the necklace but arranged in a pin-wheel shape. The original tag has the fleur-de-lis Vendôme logo inside the “V” and the trademark *Couturier Jewelry* (high-fashion designer). The style of the earring clip mechanism is found on most Vendôme earrings. The screw on top is used to tighten the clip. The Vendôme signature is typically stamped into each earring back.

Vendôme jewelry featured expensive details like the ruby baguette decorated clasp shown here.

Measuring 16″, including the extension chain, this Vendôme necklace set features faux turquoise beads and faceted emerald glass beads.

The Miriam Haskell style earrings are hand wired to the crescent-shaped base. The flower hook decoration is typical of Vendôme day-time jewelry designs.

The design of this set features an array of innovative bead elements including a pink plastic ribbon-candy bead, and enameled bead caps. This is a shorter necklace measuring only 15 1/2″ including the extension chain.

The clips are signed Vendôme. The tail decoration is the Vendôme fleur-de-lis logo.

Brand Trait: Vendôme necklaces often innovatively include plastic beads and other non-glass elements in their designs.

The pastel green, blue, and yellow combination is a lovely contrast to the black tips holding the beads to the frame. The clasp is decorated with aqua marine baguette stones but there is no tail decoration. Choker length, this pretty necklace measures 16″ with the extension chain.

The most interesting design feature for this green and brown beaded Vendôme set is the tiny gold tone accents in the earrings. Perfect for fall, they look like tiny gold leaves. This is a longer necklace measuring 23″ with the extension chain.

The textured floral clasp is a great choice for the fall motif design.

Brand Trait: Vendôme was a high-end division of Coro so each design, even simple strands of beads, include expensive design elements.

Almost like little blue robin eggs, this design includes faux turquoise beads and innovative wire “nests”. It measures 18″ including the extension chain.

This example measures 20″ with the extension chain. Note the clusters of disk beads. Similar sets were made in many different colors. The pendant earrings are a fun addition.

Brand Trait: Vendôme clusters of disk beads is a brand trait for Vendôme designs.

Vendôme made fun long necklace like this 28″ (clasp to clasp) summery blue and white necklace and pendant earrings set.

All hand-wired, this huge 3 1/3″ bow pin was made in several colors. Since the beads are connected by wires, the bow can be manipulated at will. It is a fun, eye-catching piece to wear and an innovative approach to a classic bow motif.

The classic “grapes” motif is recreated in this **Vendôme** set using clusters of silver tone metal beads attached to the metal leaves and clusters of gray crystal glass beads at the bottom. The two bunches of grapes gently move when worn. The pin measures 3 1/4″.

Vendôme is famous for their iconic ribbon jewelry like this 2″ pink pin. Tiny white beads outlining the two-tier design emphasize the ribbon shape. It is a masterpiece of construction to be able to gain such a high level of symmetry in this hand-made design.

Brand Trait: Vendôme “ribbon” or “ruffle” designs are distinctive and recognizable.

Hand-strung crystal beads, perfectly shaped into round flowers, decorate this long-stemmed 4″ flower. The center of the flower is three layers tall, almost 3/4″.

Measuring 3 1/4″ inches, this hand beaded Vendôme pin features turquoise enamel settings and turquoise bead caps.

Brand Trait: The filigree backs, similar to Miriam Haskell jewelry backs, are distinctive design traits for many Vendôme beaded designs. The “sandwiched” back pieces hide the wires in the hand-made designs. The Vendôme backs are thickly plated and remain rust free.