1964 | ROTELLI | MORAZZONE, VARESE

1964 | Rotelli

Morazzone, Varese

1964 | Rotelli

Morazzone, Varese

1964 | Rotelli

Morazzone, Varese

CALZATURIFICIO ROTELLI
MORAZZONE, VARESE
HISTORY OF

1964 | Rotelli

Morazzone, Varese

1974 | ITALIAN SNEAKERS

1974 | Tepa Sport

Rudiano, Brescia

LOST & FOUND | C.L.A.M.S. (BOLOGNA) AT THE NEDERLANDS LEDER EN SCHOENEN MUSEUM

Early 1960s | C.l.a.m.s. Bologna

At the Nederland Leder en Schoenen Museum

When we first wrote about Bologna's shoe factory C.L.A.M.S. (Calzature di Lusso Artigiane Mercatali Sauro - Artisanal Luxury Footwear Mercatali Sauro), we barely managed to recover some  photos from vintage trade magazines. Now, thanks to Inge Specht-den Boer,  Nederland Leder en Schoenen Museum's curator/PR we can appreciate an actual model: a woven leather décolleté with a gorgeous needle heel.

Early 1960s | C.l.a.m.s. Bologna label

Source: Dutch Leather & Shoe Museum, coutesy of curator  of Inge Specht-den Boer

1958 -1959 | CLEOPATRA SANDALS | VIGEVANO

1963 | Cleopatra by Fratelli Manea logo

Source: Archivio Centrale dello Stato

The 20th Century Fox's blockbuster starring Elizabeth Taylor was yet to come (it was released in 1963), but at the end of the Fifties the legend of Cleopatra was all the rage. The production of the movie was already started and the magazine Life had asked Richard Avedon to recreate with Marilyn Monroe the image of the actress Theda Bara who had played the role of Cleopatra in 1917.

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

Around the same time a shoe factory in Vigevano was working on a series of leather sandals inspired by the alleged style of the Egyptian Queen, with hieroglyphs carved into the leather and curious heels shaped as a cube.

The shoe factory was the Ditta Cleopatra dei Fratelli Manea (trademarked in 1963) and the series is now featured at the archives of the Nederlands Leder en Schoenen Museum.

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

1958 - 1959 | Cleopatra by Fratelli Manea, Vigevano

Leather sandal 

Source: Nederlands Leder en Schoenen Museum

VALENTINO SHOES BEFORE MARIO VALENTINO | VINCENZO VALENTINO | NAPLES

1954 | Vincenzo Valentino, Naples

Source: Nederlands Leder en Schoenen Museum

The origins of the shoe brand “Mario Valentino” date back to the 20s, when Mario’s father, Vincenzo Valentino, began its production in Naples, via Salvatore Trinchese nr 10, nearby the Greek walls.

Vincenzo was a skilled shoemaker specialized in luxury footwear and, according to Mariovalentino.com, he produced shoes for the then King Vittorio Emanuele III. What is certain is that in 1924 he registered for the first time his own footwear trademark ("Elena"). In the 1940s his son Mario started to work alongside him and the future designer moved the workshop to industry level.

Le origini dell’azienda calzaturiera di Mario Valentino risalgono agli anni ’20 del Novecento, quando il padre di Mario, Vincenzo Valentino, iniziò la propria produzione a Napoli, in prossimità delle mura greche, in via Salvatore Trinchese n. 10. 

Vincenzo era un abile artigiano specializzato nella realizzazione di calzature di lusso. Si dice che producesse anche per l'allora re Vittorio Emanuele III. Rimanendo alle notizie certe, nel 1924 Vincenzo Valentino registrò per la prima volta un proprio marchio di calzature (“Elena”). Negli anni ‘40 iniziò ad affiancarlo il figlio Mario, il futuro designer, che contribuì alla trasformazione del laboratorio artigianale in un’azienda. 

1924 | The logo Elena by Vincenzo Valentino

Source: Archivio Centrale dello Stato

The official registration of the “Ditta Comm. Vincenzo Valentino” took place in 1952. The brand became "V.Valentino", then just "Valentino" and in the following years it was Mario’s name to gain prominence.

La registrazione della “Ditta Comm. Vincenzo Valentino” avvenne nel 1952. Il marchio divenne “V.Valentino”, poi solo “Valentino” e negli anni successivi fu il nome di Mario ad emergere per crescente notorietà.

1952 | The logo V:Valentino by Vincenzo Valentino

Source: Archivio Centrale dello Stato

To find a model labelled V. Valentino just peruse the updated archives of the Dutch Leather & Shoe Museum of Waalwijk.

Un modello cel 1954 con etichetta V. Valentino è conservato negli archivi del Museo della Pelle e della Calzatura di Waalwijk.

The insole label of the shoe photographed at the top of the page 

Courtesy of Inge Specht-den Boer (Curator/PR of)  | Dutch Leather & Shoe Museum

PIETRO YANTORNY'S LEGACY | MUSEUMS & SOCIALITES

"Pierre Yantorny is dead; an Italian bootmaker in Paris, the most expensive bootshop in the world. His lowest price for any pair of shoes was $300, and he would take no order for less than five pairs at a time.

If a woman with pretty feet came, unable to pay the price, he might make her shoes for nothing; he was an Italian, Calabrese, in Paris.

Yantorny went to school for six months in his ninth year, no other education, worked two years in an Italian macaroni factory from 6 in the morning to 6 at night for four cents a day, then learned the shoemaker's trade and really learned it"

Buffalo Courier-Express, December 17, 1936

1914 - 1919 | Pietro Yantorny for Rita de Acosta Lydig

Gift of Capezio Inc., 1953

Source: MET

When he died in 1936, the news of Pietro Yantorny’s death was reported more prominently in the American press than the French one. It comes as no surprise as the majority of his customers were the wealthy American ladies who used to come to Paris from time to time to get their most fashionable dresses at the Callot Soeurs, Jeanne Hallée, Maison Paquin, Doucet or Poiret. As for the shoes they could afford the entrance fee of “the most expensive bottier in the world”, Yantorny's self definition. 

With the exception of the donation made by André Méunier, Yantorny’s grandson, to the Musée de la chaussure of Romans (Yantorny's personal collection with the diary, letters from customers and shoes), what remains of the distinguished production of the bottier comes from the wardrobe of these very affluent American women, and it is now a heritage preserved at major museums around the world. 

NY's Metropolitan Museum of Art owns several pair of shoes, thanks to a donation made in 1959 to the Brooklyn Museum by Mercedes de Acosta, the sister of Rita de Acosta Lydig (1880-1929), “a prominent New York socialite”, who commissioned several hundred pairs of shoes from Pietro Yantorny. The Museum also hosts two trunks expressly made for Rita de Acosta Lydig, one of them coming through the collection of Capezio Inc. with models from the 1910s. Some of the models were for daily use, others are “made of antique velvet, lace, damask, and embroidery, with their exaggerated Louis XV–style heels and pointed toes”. The same pointed toes style of the shoes worn by Rita de Acosta Lydig in the portrait by the Italian painter Giovanni Boldini.

1920s | Pietro Yantorny for Mrs. Edward G. Sparrow

Black leather pump, laced and cut out

Source: MET

NY's Metropolitan owns thirteen models made by Yantorny in the 1920s for “Mrs. Edward G. Sparrow, (née Catherine D. Groth) of New York, whose husband's family had vast timber holdings in Lansing, Michigan.” One of them is the same model of another pair gift of Mrs. John E. Roosevelt, 1976.

1920s | Pietro Yantorny for Mrs. John E. Roosevelt

Black leather pump, laced and cut out

Source: MET

Other possessions of the museum came through the descendants of Mrs. Howard O. Sturges (models dating about 1913-14) and Mrs. John Scholz (three models from the Twenties).

1920s | Pietro Yantorny for Mrs. John Scholz (Helen Marshall)

Black leather pump, laced and cut out

Source: MET

1920s | Pietro Yantorny for Mrs. John Scholz (Helen Marshall)

Black leather pump, laced and cut out

Source: MET

LA's LACMA museum hosts five models from the Twenties gift of Mrs. Helen Crocker Russell from San Francisco, the daughter of William Crocker, banker and patron/collector of the Impressionist painters.

1920s | Pietro Yantorny for Mrs. Helen Crocker Russell

Brocaded Silk

Source: LACMA

At the Victoria & Albert Museum there is a pair made for the interior designer Nancy Keene Perkins (1897-1994), daughter of a Virginia cotton broker, then wife of the entrepreneur Henry Field.

1920s | Pietro Yantorny for Nancy Keene Perkins

Gift of Mrs C.G. Lancaster

Glacé kid leather, lined with kid, polished wood

Source: Victoria & Albert Museum

1916 | Nancy Perkins wearing spats on her pointed shoes

Source: Wikipedia

Another American customer was miss Elsie de Wolfe (then Mrs. Charles Mendl, an English diplomat in New York), decorated with the Legion of Honour and the Cross of war for her services in French hospitals and allies during the war. She was an actress, then a renowned interior designer with an anti-Victorian style, owner of Villa Trianon in Versailles. Years later, in 1935 Elsie de Wolfe was described by Paris experts as the best dressed woman in the world.

Yantorny kept a note from Elsie de Wolfe, where she described Yantorny shoes as the most precious thing she decided to save running away from the hospital in Compiègne where she was while the German troops were marching towards Paris in March 1918.

A note for Pietro Yantorny by Elsie de Wolfe

Source: Catalogue of the Exhibition "Pierre Yantorny: le bottier le plus cher du monde" | Romans

1924 | Elsie de Wolfe for Vogue

Photograph by Edward Steichen 

Source: Getty Images

The fashion press of the time quite often detailed about other wealthy Yantorny customers, like Mrs. Perry Belmont, née Jessie Robbins, wife of the American politician and diplomat after a scandalous divorce from her previous and well off husband: 

“For Mrs. Perry Belmont, Yantorny has just made a pair of buttoned boots with beige cloth tops which are rather low than high, the rest of the boot being made of patent leather. These rather low-topped boots argue a longer skirt, and we hear , indeed, that longer skirts are to be worn; but in fact the skirts worn in Paris are apparently shorter than ever.”

Harper’s Bazaar, 1922

PIERRE YANTURNY | BOOT MAKER IN PARIS

A.K.A. YANTURNY - A.K.A. YANTOURNY

I N D E X

ca. 1900 | Mrs. Perry Belmont (née Jessie Robbins)

Photograph: Mora

Source: Museum of the City of New York

CECIL BEATON | MRS RITA DE ACOSTA LYDIG'S COLLECTION OF YANTORNY SHOES

1911 | Giovanni Boldini
Rita de Acosta Lydyg's portrait | Detail
Oil on canvas - Private collection
Source: Wikipedia

Although she walked very short distances, Mrs. Lydig possessed at least three hundred pairs of shoes, shoes that have never been seen before or since. They were made by Yanturni, the East Indian curator of the Cluny Museum, a strage individual with an extraordinary gift for making incredibly light footgear that was moulded like the most sensitive sculpture.

Cecil Beaton

Let's just assume the footgear depicted were Yantorny's, so it's more than fair to say Boldini did them justice; not an easy feat after finishing painting that dress. Here's what Mercedes De Acosta - Rita's sister - said about the painting:

Boldini painted a number of portraits of Rita and I went with her occasionally to his studio when she was posing for him. When he painted he sometimes wore a bowler hat. He was a highly nervous, energetic and astute little man with a flair for style and chic that no other portrait painter in this century ever surpassed. 

Mercedes De Acosta
From: Here Lies The Heart (Andre Deutsch, 1960)

1911 | Giovanni Boldini
Portrait of Rita de Acosta Lydyg
Oil on canvas - Private collection
Source: Wikipedia

The conditions under which he would supply a few favored customers were somewhat unusual. Yanturni demanded a deposit of one thousand dollars, from which he would subtract the price of each shoe or boot supplied, though delivery often took two or three years. Once he had agreed to work for a customer, he made a plaster model of both feet, on which he would then work and mould his materials until they were as flexible as the finest silk.

Cecil Beaton

Source: Cecil Beaton | The Glass Of Fashion

1954 - Rizzoli Ex Libris, 2014

Mrs. Lydig’s shoes were fashioned from eleventh - and twelfth-century velvets, with variations in long pointed toes or square-ended toes and correspondingly square heels. Her evening and boudoir slippers utilized brocades or gold- and silver-metal tissue. Some were covered with lace appliqué and leather spats that fitted like a silk sock.

Cecil Beaton

Source: Cecil Beaton | The Glass Of Fashion

1954 - Rizzoli Ex Libris, 2014

Mrs. Lydig collected violins expressly so that Mr. Yanturni could use their thin, light wood for his shoe trees. With its tree inside, each shoe weighed no more than an ostrich feather. She preserved these shoes in trunks of Russian leather made in St. Petersburg, with heavy locks and a rich cream velvet lining.  

Cecil Beaton
All text from: The Glass Of Fashion (1954 - Rizzoli Ex Libris, 2014)

Pietro Yantorny

A trunk containing twelve pair of shoes made for Rita de Acosta Lydig

Gift of Capezio Inc., 1953

Source: MET

1914 - 1919 | Pietro Yantorny for Rita de Acosta Lydig

Gift of Mercedes de Acosta

Source: MET

PIERRE YANTORNY | BOOT MAKER IN PARIS
A.K.A. YANTURNY - A.K.A. YANTOURNY
I N D E X

1914 - 1919 | Pietro Yantorny for Rita de Acosta Lydig

Gift of Capezio Inc., 1953

Source: MET

1920 | PIETRO YANTORNY AS SEEN IN VOGUE | PART 2

Pierre Yantorny | Detail

Source: Vogue - October 1, 1920

"When we know the price he [Yantorny] asks and the small fortune he requires before deigning to take care of the feet of a pretty woman, we cannot imagine him differently than the owner of a castle in the countryside and a small hotel in Avenue du Bois and traveling from time to time at his plant with a sumptuous automobile, to supervise the labor of his workers." 

"Conoscendo il prezzo e la piccola fortuna che [Yantorny] richiede prima di degnarsi di prendersi cura dei piedi di una bella donna, non possiamo fare a meno di immaginarcelo proprietario di un castello di campagna e di un piccolo hotel in Avenue du Bois, mentre si reca di tanto in tanto presso il suo stabilimento a bordo di una sontuoso automobile, per monitorare il lavoro dei suoi operai."

Pierre Yantorny | Detail

Source: Vogue - October 1, 1920

"Things are quite different; when we knock at his door, a short man, shabbily dressed, wearing a grimy and canvas apron, opens it; asked where is his boss, he gravely replies that he has no master but Heaven. Yes, the short man with dreamy eyes, and the worker's hands, is the great Yantorny himself. He will tell you that he lives in the valley of Chevreuse, in a tiny house, he wake up every day at half past three, he walks in the dew for one hour to take the first train of the morning; he works tirelessly, simply eating boiled rice. At six o'clock he returns home wrapped in the old coat that he used throughout the war, immediately after a frugal meal, he goes to bed in order to face the next day the same labor."

"La realtà è ben diversa; quando si bussa alla sua porta, viene ad aprire un piccolo uomo mal vestito, con un grembiule di tela sporco; gli chiediamo dove è il suo capo; lui serio ci risponde che non ha altro padrone, che il Cielo. Sì, questo ometto dagli occhi sognanti e mani da lavoratore è il grande Yantorny in persona. Vi racconterà che vive nella vallata di Chevreuse in una piccola casa, si alza ogni giorno alle tre e mezza, cammina nella rugiada per un'ora per prendere il primo treno del mattino, lavora senza sosta, si nutre semplicemente di riso bollito, alle sei torna a casa avvolto nel vecchio cappotto che ha usato durante tutta la guerra e, subito dopo un pasto frugale, se ne va a letto, per affrontare il giorno dopo le stesse fatiche."

Pierre Yantorny | Detail

Source: Vogue - October 1, 1920

"You see this model - he says one day taking from his collection - a delightful black kid shoe, striped with red leather: "when you look at it, it seems as narrow as possible; however, it is very wide but my art has managed to hide this width. This model took me a lot of time to perform and I assure you that making it I had to spend more money than I had received. I could not reproduce the husband's gesture, when he placed on my table the check; he seemed to say, "You do get rich anyway ..." Oh, he did not know how much he hurt me this fool."

"Vede questo modello, mi disse un giorno, prendendo nella sua collezione una favolosa scarpetta di capretto nero, a strisce di cuoio rosso "a guardarla sembra strettissima, tuttavia, è molto ampia dentro, ma la mia arte è riuscita a nascondere questa larghezza. Questo modello mi ha portato via un sacco di tempo per realizzarlo e vi assicuro che per farlo ho dovuto spendere più denaro di quello che mi era stato dato. Non vi so dire il gesto del marito, quando ha messo l'assegno sul mio tavolo; sembrava dire: "ne fai di soldi, eh ..." Oh, non sapeva quanto mi feriva quello stupido."

All text from Vogue France, October 1, 1920.
Translation from French by TheHistorialist

PIERRE YANTORNY
AS SEEN IN VOGUE
PART 1

PIERRE YANTORNY | BOOT MAKER IN PARIS
A.K.A. YANTURNY - A.K.A. YANTOURNY
I N D E X

Vogue - October 1, 1920

1920 | PIETRO YANTORNY AS SEEN IN VOGUE | PART 1

Pierre Yantorny

Source: Vogue - October 1, 1920

"A foot is tiny, but one needs many thoughts to shod it in a way that combine beauty and comfort in a Lilliputian space"

"Un piede è piccolissimo, ma occorrono grandi ragionamenti per calzarlo in modo da poter combinare bellezza e comfort in uno spazio lillipuziano"

Pierre Yantorny

Source: Vogue - October 1, 1920

"Yantorny, ruthless tyrant, realizes that a shoe is slightly unstitched on the edge; he throws it into the fire while the upset owner raises her arms to the sky."

"Yantorny, tiranno spietato, si accorge che una scarpetta è leggermente scucita sul bordo; la getta nel fuoco mentre la proprietaria alza le braccia al cielo sconvolta."

Pierre Yantorny

Source: Vogue - October 1, 1920

"Is she Cinderella contemplating the shoes she is going to wear to meet her prince charming? Will she choose those with hummingbird feathers or those made in white kidskin with red stripes?"

"È forse Cenerentola in persona quella che contempla le scarpine che indosserà per presentarsi davanti al principe azzurro? Sceglierà quelle in piume di colibrì o quelle di capretto nero a righe rosse?"

Pierre Yantorny

Source: Vogue - October 1, 1920

"When you own a pair of shoes by Yantorny it seems that your feet, under the clothes, are like two tiny and darting mice."

"Quando si possiede un paio di scarpe di Yantorny sembra che i piedi, sotto gli abiti, siano come due topolini minuscoli e guizzanti"

Pierre Yantorny

Source: Vogue - October 1, 1920

"When German troops were marching towards Paris in March 1918, Miss Elsie de Wolfe had to run away from the hospital in Compiègne. In the escape, she took her most precious treasure: her shoes made by Yantorny."

"Quando avanzavano le truppe tedesche su Parigi nel marzo 1918, Miss Elsie de Wolfe dovette scappare dall’ospedale di Compiègne dove si trovava. Nella fuga portò con sé il suo tesoro più prezioso: le scarpe fatte da Yantorny."

All text from Vogue France, October 1, 1920.
Translation from French by TheHistorialist

PIERRE YANTORNY
AS SEEN IN VOGUE
PART 2

PIERRE YANTORNY | BOOT MAKER IN PARIS
A.K.A. YANTURNY - A.K.A. YANTOURNY
I N D E X

FOOTNOTE

No hummingbirds were harmed in the making of this post

1916 | PIETRO YANTORNY | THE SENSE OF BEAUTIFUL MUST BE ENCOURAGED

1914 -1919 | Pietro Yantorny for Rita de Acosta Lydig

Gift of Mercedes de Acosta

Source: Metmuseum

“In Paris, the master artist of the shoemaking craft is Yantorny, who will not do any one the favor of making a pair of shoes unless the first order amounts to the sum of $1,000. This was his price several years ago, however, and it is said that at present he does not accept any first order for less than $2.000. There are rumors that one well-known fashionable couple have paid $5.000 each for the privilege of the first order."

"A Parigi, l'artista maestro del mestiere di calzolaio è Yantorny, che non farà a nessuno il favore di fare un paio di scarpe a meno che il primo ordine non sia di almeno 1.000 dollari. Questo era il suo prezzo diversi anni fa, tuttavia, e si dice che al momento non accetti alcun primo ordine per meno di 2.000 dollari. Ci sono voci che una famosa coppia molto attenta alla moda abbia pagato 5.000 dollari a testa per il privilegio del primo ordine."

1913 - 1914 | Pietro Yantorny for Mrs. Howard O. Sturges

Silk, leather, glass

Source: Metmuseum

Shoe Should Be a Work of Art 

“Yantorny, whose atelier is on the top floor of a house overlooking the Vendome, is a Neapolitan with a keen sense of humor which ashes out, at times, in connection with his "terms." [Actually he was born in Marano Marchesato, a small town in the province of Cosenza, Calabria region]. His explanation, smilingly given, is that, contrary to the general feeling, one thousand dollars is an absurdly low figure; that, in order to save himself from the crowd of people who besiege his ateliers, begging for their thousand dollars to be accepted he must eventually raise the sum considerably. “For,” he explains returning to seriousness. “a shoe should be when it leaves my atelier, a work of art, and should I not be satisfied and the foot of my client not be transformed into the perfection of shape, I have to throw the shoes away and start afresh and this must be repeated until I am satisfied with the result”.

La Scarpa Deve Essere Un'Opera D'Arte 

"Yantorny. il cui atelier si trova al piano superiore di una palazzo con vista su Place Vendome, è un napoletano con un acuto senso dell'umorismo che si infiamma, a volte, in merito alle sue "regole" [In realtà nacque a Marano Marchesato, in provincia di Cosenza, Calabria]. La sua spiegazione, fornita con un sorriso, è che, in contrasto con il comune sentire, un migliaio di dollari è una cifra assurdamente bassa; per tutelarsi dalla folla di persone che assediano i suoi atelier, supplicando che le loro migliaia di dollari vengano accettate, alla fine è costretto ad alzare la somma considerevolmente. "Perché", egli spiega tornando serio "una scarpa, quando lascia il mio atelier, deve essere un'opera d 'arte, e se io non sono soddisfatto e se i piedi del mio cliente non sono trasformati nella forma perfetta, io devo gettare via le scarpe e ricominciare da capo e questo processo deve essere ripetuto fino a quando io sono soddisfatto del risultato".

1914 - 1919 | Pietro Yantorny 

Gift of Capezio Inc., 1953

Source: Metmuseum

The Sense of Beautiful Must Be Encouraged 

While there is only one Yantorny, the lesson to be drawn from his methods, which have given him a worldwide reputation, should he ever borne in mind by the makers of fine shoes, and that is that women are appreciative of the beautiful and duly appreciate art in shoes. Shoes are not bought today for wear, is the expression heard on all sides. They are bought to be admired and to invite admiration. It is safe to say that even a Yantorny shoe placed in the window and ticketed $1.98 would receive little or no attention. But ticketed $2.000 or even $25 it would create wonder, admiration and—most important of alike: desire to possess.

Il Senso Del Bello Deve Essere Incoraggiato 

Mentre c'è un solo Yantorny, la lezione da trarre dai suoi metodi che gli hanno dato fama in tutto il mondo, dovrebbe essere tenuta presente dai creatori di scarpe belle e cioè che le donne apprezzano la bellezza e debitamente riconoscono l'arte nelle calzature. Le scarpe non sono comprate oggi per indossarle, è l'espressione che si sente ovunque. Esse sono acquistate per essere ammirate e per invitare all'ammirazione. Si può tranquillamente dire che persino una scarpa Yantorny messa in vetrina a 1,98 dollari riceverebbe poca o nessuna attenzione. Ma a 2000 o anche 25 dollari creerebbe meraviglia, ammirazione e - più importante ancora - desiderio di possesso.

Text from: Shoe And Leather Reporter, 1916.



PIERRE YANTORNY | BOOT MAKER IN PARIS
A.K.A. YANTURNY - A.K.A. YANTOURNY
I N D E X

1920s | Pietro Yantorny for Mrs. Helen Crocker Russell

Kid leather

Source: LACMA