Trifari Rooster Pearl Belly Brooch
About the Item
- Creator:
- Metal:Gilt Metal
- Dimensions:Height: 2.5 in (63.5 mm)Width: 2 in (50.8 mm)
- Place of Origin:United States
- Period:1960-1969
- Date of Manufacture:1960
- Condition:Wear consistent with age and use.
- Seller Location:New York, NY
- Reference Number:1stDibs: LU4612709302
Trifari
Costume jewelry maker Trifari is widely loved for its fine craftsmanship and complex designs for necklaces, brooches and other jewelry and accessories.
The company was formed in New York during the early 1920s, when its partners Gustavo Trifari (who descended from a family of jewelers), Leo Krussman and Carl Fishel (business associates in hair-ornament manufacturing) recognized, as other designers during the Art Deco era such as Gabrielle “Coco” Chanel had, that fashion trends for affordable jewelry for everyday wear represented an opportunity (and that the popularity of shorter hairstyles didn’t bode well for their haircomb business).
Initially called Trifari, Krussman and Fishel Jewelry (T.K.F.), the trio eventually shortened their brand’s name, at the suggestion of an advertising professional, to Trifari in order to evoke the romance of Gustavo’s native Italy.
The hiring of French designer Alfred Philippe as head designer in 1930 was pivotal to Trifari’s success. A master craftsman who had worked with both Cartier and Van Cleef & Arpels, Philippe set about establishing the same high-quality standards of materials and craftsmanship in the design of fashion jewelry and trained other Trifari artisans to do the same. Settings were delicate; crystals were hand set; designs, which sometimes featured dazzling floral motifs or exquisite depictions of marine life, were sophisticated and elegant, having both the look and feel of fine jewelry. First Lady Mamie Eisenhower wore a Trifari parure of faux pearls to her husband’s presidential inauguration in 1953 and Trifari glass pearls to his inaugural ball in 1957.
Before retiring in 1968, Philippe created Trifari’s most recognizable designs. In the 1930s, when the company was custom-making accessories for the stars of Broadway musicals, it was the crown motif: These brooches became so often identified with the brand that a crown was eventually incorporated into the trademark. In the 1940s, the “Jelly Bellies” inspired affection as well as knockoffs; these were animals, birds and insects sporting a “belly” of clear Lucite. Clip-Mates were another favorite and a technical marvel — two dress clips that, joined together, created a brooch.
Find a wide range of vintage Trifari jewelry on 1stDibs.
- ShippingRetrieving quote...Ships From: Bronx, NY
- Return PolicyThis item cannot be returned.
- Line Vautrin "La Manif" Gilt Bronze BroochBy Line VautrinLocated in New York, NYGilt brooch by Line Vautrin (1913-1997), circa 1945-46. The design is known as ...Category
Vintage 1950s French Artisan Brooches
MaterialsBronze, Gilt Metal, Gold Plate, Brass
- Mexican Sterling Gazelle BroochLocated in New York, NYQuality Mexican Sterling Gazelle Brooch from the 1940's. Unknown maker of high quality with Deco overtones. Most Mexican jewelry of the period is hol...Category
Vintage 1940s Mexican Art Deco Brooches
MaterialsSterling Silver
- Trifari Retro Cowboy BroochBy TrifariLocated in New York, NYCharming Trifari Retro Cowboy brooch from the 1950's. Dancing figure in pinkish gold plate with pave crystal decoration. 2.25" x 1.25". 1950's USA.Category
Vintage 1950s American Retro Brooches
MaterialsGilt Metal
- Rare Mazer, Joseph Wuyts Whispering Angel Jabot PinBy MazerLocated in New York, NYRare Mazer, Joseph Wuyts Whispering Angel Jabot Pin from 1940's USA of gilt metal with pave accents. Rare collectable series from Mazer. 3.5" x .5".Category
Vintage 1940s American Art Deco Brooches
MaterialsGilt Metal
- French Ribbed Gold Circle BroochLocated in New York, NYElegant French Ribbed Gold Circle Brooch from the 1950's set with semiprecious stones such as amythest, garnet, tourmaline and blue zircon. 1.25". 1950's France.Category
Vintage 1950s French Brooches
MaterialsAmethyst, Garnet, Tourmaline, Blue Zircon, Gold, 18k Gold
- Salvador Dali Aphrodite Tie PinBy Salvador DalíLocated in New York, NYParfums Salvador Dali Aphrodite tie pin created for the release of Salvador Dali's "Salvador Dali" perfume. The now-iconic pendant form was model...Category
Vintage 1980s American Artisan Brooches
MaterialsGold Plate, Base Metal, Brass, Gilt Metal, Steel
- Cartier New York GIA Certified 11.24 Carat Old Mine Cushion Diamond BroochBy CartierLocated in Miami, FLMagnificent Cartier Art Deco Platinum and Diamond Brooch featuring a matching pair of important Old Mine Cut Diamonds weighing 5.60 carats and 5.64 carats. Both accompanied by a GIA report stating that they are H color VS1 and H color VS2 clarity. This brooch comes with an Expertise letter from IAJA (international Antique Jewelers...Category
Vintage 1930s American Art Deco Brooches
MaterialsDiamond, Platinum
- Carved Coral Buddha Pendant in 18k Gold Set with Diamonds, Emeralds and RubiesLocated in Honolulu, HIMAGNIFICENT large vintage Buddha pendant brooch in 18K yellow gold. This gorgeous pendant features a stunning Buddha carved in natural coral set...Category
Late 20th Century Unknown Pendant Necklaces
MaterialsCoral, Diamond, Emerald, Ruby, 18k Gold
- Vintage Ruby Onyx and Diamond Classic Car BroochLocated in London, GBHere we have a superb vintage brooch. The piece has been crafted from 18ct yellow gold into the shape of a classic car from the 1930s. Automobiles of the 1930s exhibited many notable...Category
Vintage 1930s Brooches
MaterialsDiamond, Onyx, Ruby, Gold, Yellow Gold, Enamel
- Marcus & Co. Sapphire and Diamond Bow Brooch, American, circa 1935Located in London, GBSapphire and diamond bow brooch by Marcus & Co, American, circa 1935. A yellow gold and platinum bow form brooch set with one central row of twenty eig...Category
Vintage 1930s American Art Deco Brooches
MaterialsDiamond, Sapphire, Platinum
- John Brogden Shell Cameo Brooch and Earrings, English, circa 1870By John BrogdenLocated in London, GBAntique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...Category
Antique 1870s English Victorian Brooches
MaterialsYellow Gold
- Victorian amethyst and citrine brooch, circa 1860.Located in London, GBVictorian amethyst and citrine brooch. Set to centre with one round old cut citrine in an open back claw setting with an approximate weight of 60 carats, encircled by four round old ...Category
Antique 1860s Brooches
MaterialsAmethyst, Citrine, Yellow Gold