Chanel Jewelry

Stamped "Made In France" on their antique brass back-plates like the initial unbranded couture costume-jewelry commissioned by French Gabrielle "Coco" Chanel beginning in 1924, these floral-motif wired earrings with early handcrafted brass clips are decorated with button-like cultured mother-of-pearls mixed with Parisian organically-coated lampwork glass, which we photographed in indoor sunlight for the most accurate colors. The pair were designed by Chanel to accessorize a one-of-a-kind clothing ensemble (likely including cultured-pearl buttons and a brooch) for a client of this pearl-associated couturier whose earliest one-of-a-kind jewelry--unlike other 1920s fashion designers--sometimes mixed real and faux gems. The intricate glass artistry, wired clustered arrangement and earring findings are characteristic of one of Chanel's first Parisian paruriers, Louis Rousselet, who was a lampwork master with a workshop since 1920 specializing in faux-pearl glass beads and wire-work construction. As the three-piece flat-brass lever clips without hinge-holes on both sides predate Rousselet's wire-horseshoe clips, they can be dated like the patinated well-worn brass hardware to the mid-1920s. The beads of various sizes and ecru colors that are wired to each earring include five round graduating iridescent mother-of-pearl disks, along with lampwork glass replicating nine baroque pearls, five round pearls and two seed pearls. There are natural imperfections on the green-and-rose-reflecting cultured pearls, while there is some nacre-enamel loss on the glass beads that is not eye visible. On closer view, one of the central round glass beads has a lighter blister, which appears like the texture of some uncultured pearls. Of note, Chanel did not include a brand signature on any of her couture costume jewelry prior to the mid-1950s. As many of her clients who came to Paris for their couture-clothing fittings were foreign, the coordinated unique jewelry that was expected to leave the country was merely stamped "Made In France" or "France". We acquired these earrings in The States along with a similar set with less but larger "petals, berries and leaves", which we priced the same in a different listing despite the slightly greater size and weight of this pair. So we know that they both were created for a single commission of multiple unique earrings with like lampwork-glass shapes and findings to be paired with the ecru mother-of-pearls provided by Chanel. While we have acquired over a dozen pre-signature pieces commissioned by the founder, these are the earliest earrings that we have discovered by Chanel. We have never found a single match to contradict our recognition of her early couture creations nor to attribute them to another designer. Further, Art Deco couture...

Marked "Made In France" on their antique brass back-plates like the initial unbranded couture costume-jewelry commissioned by Gabrielle "Coco" Chanel since 1924, these beaded early-handcrafted-clip earrings are arranged with wire in a floral motif featuring button-like mother-of-pearls accented by smaller pieces of lampwork glass with an ecru organic coating that mimics pearl nacre. The pair were designed to accessorize a one-of-a-kind clothing ensemble (likely including cultured-pearl buttons and a brooch) for a client of the pearl-associated French couturier whose earliest jewelry--unlike her fashion-designer peers--sometimes mixed real and faux gems. The glass artistry, clustered arrangement and earring findings are characteristic of one of her Parisian paruriers, Louis Rousselet, who was a lampwork master with a workshop since 1920 specializing in faux-pearl glass beads and wire-work assembly, along with other decorative elements. Since the three-piece flat-brass lever clips without hinge-holes on both sides predate Rousselet's wire-horseshoe clips, they can be dated like the patinated brass hardware to the mid-1920s. The beads of various sizes and shades of white that are wired to these earrings include four round graduating iridescent mother-of-pearl disks, along with lampwork glass replicating four baroque pearls, three round pearls and two seed pearls. There are natural impurities present on the green-and-pink-reflecting cultured pearls, while we can clean dust from the coated-glass crevices upon request. Of note, Chanel did not include a brand signature on any of her couture costume jewelry prior to the mid-1950s. As many of her clients who came to Paris for their couture-clothing fittings were foreign, the coordinated unique jewelry that was expected to leave the country was merely stamped "Made In France" or "France". We acquired these earrings in The States along with similar pair with additional but smaller "petals, berries and leaves" from the same Rousselet commission. Further, Art Deco couture...

This rare signed couture set of pave-crystal and gold-plated brooch and earrings from the Art Deco period is marked in the manner of one-off costume jewelry commissioned...

During the ArtDeco period when Gabriel "Coco" Chanel was at her peak as a Parisian couture fashion-designer in the early 1930s, this antique one-of-a-kind handcrafted gem-fringed and gilt-chain medallion brooch with trombone clasp was commissioned to accessorize one of her clothing designs. Marked only "FRANCE" like some early 1930s Chanel couture jewelry (without a brand stamp until the 1950s), its artistic origin is most likely from ornate organic-form sketches by her favorite parurer Fulco di Verdura. The Sicilian duke began creating fabric patterns for Chanel in 1927, which shortly expanded to fine jewelry beginning with custom pieces for herself. These include the iconic Byzantine-influenced gem-adorned cuffs referencing the Maltese military-cross, which the French designer can often be seen wearing in circa-1930s photos. This bright yellow-gold brooch suits goldsmith Verdura's early anti-Art-Deco aesthetic that was considered a radical departure from 1920s silver-tone jewelry, which otherwise featured linear geometric designs or figurative representation. The softly-shaped deconstructed gem-bouquet mixes amethyst and rose-quartz beads with natural Keshi pearls and intricate tiny gilt leaves, which are wired to a Baroque-motif open-work frame that dangles another gem surrounded by a thick gilt-rope halo. Notably, Verdura is credited with re-introducing since Victorian times the rope motif to jewelry. Since 1930, Verdura's unique style was influenced by travels with Chanel to explore Byzantine art, Baroque architecture, and exotic flora-and-fauna among his native Italian aristocratic estate. The legendary fashion-editor Diane Vreeland and American entertainment-stars were among the first Chanel clients to acquire couture real-gem-adorned jewelry made by Verdura, while one of the two brooches treasured by Vreeland was titled "Theodora". See our photo of the Byzantine mosaic of Empress Theodora, whose image wearing many teardrop pearls above her chest and surrounded by a golden halo seems to be the inspiration for this brooch. As one of the most important modern-design collaborations, Chanel's close relationship with Verdura lasted largely-undocumented years in Paris, until he launched his first outside jewelry venture with a Hollywood designer-boutique after emigrating to the United States in 1934. By 1939 as a financially-backed in-demand goldsmith, he founded the namesake jewelry-company Verdura in NYC. After he retired in 1973, the brand continued to operate without him with different owners. Given the duo's designs that played with historic and military references, Chanel's couture commission for this purple medallion may have been sparked in the early 1930s when the internationally-new...

Since 1920, Parisian costume-jewelry glass-master Louis Rousselet was among a handful of paruriers favored by the leading French couture houses, primarily Chanel. Beyond the stamped ...

Gabriel "Coco" Chanel's earliest fashion motifs of camellias, hearts, and topaz are combined in this Art-Deco period tightly silk-strung metallic-glass couture set of mixed-bead saut...