Presentworth

French Jacques Adnet--before he gained fame designing furnishings for Parisian luxury artisan house Hermes--created this Art-Deco period bar set with his characteristic combination o...

Italian Miuccia Prada created for her Fall/Winter 2000 womenswear collection this Vogue-photographed fashion-show runway "Look 1" three-piece ensemble, which includes a 1940s-inspired check-texture tweed wool skirt suit with defined hourglass waist and padded shoulders topped by a plush fur neck-piece. While Prada became known in the 1990s for some of the best accessories, this detachable multi-color red-fox collar with thin beige grosgrain ties and silk-lined reverse was featured in its ad campaigns and magazine spreads as the versatile must-have of the season at the turn of the century. To put this collection in perspective, the year that Miuccia Prada designed this elegant ensemble she was nominated as "Designer Of The Year" for the Vogue Fashion Awards. With 100% virgin wool, sharp shoulders, flap pockets, and full lining, the warm jacket...

This Bally never-worn pair of luxurious nappa leather dark green almost-black slip-on shoes mixes the classic styles of a round-toe ballet flat and an unadorned sleek loafer with a l...

Beginning in 1939, Miriam Haskell asked her first costume-jewelry designer Frank Hess to spare the use of metal during WWII while war materials were needed in the United States. So t...

While contracted since 1953 as an independent craftsman to create one-of-a-kind costume jewelry for French Masion DeGorce, Parisian goldsmith Robert Goosens (1927-2016) was initially commissioned there to craft for Gabrielle "Coco" Chanel one-of-a-kind Byzantine-style long decorative-chain necklaces with unique sculptural gilt-metal or faux-pearl charms, which would be layered to accessorize her couture clothing for herself and clients. As the commissions from the fashion designer for his work mounted, by the following year Goosens began working directly for Chanel at a mobile workshop--continuing to create unsigned couture pieces while establishing Maison Goosens. Although Chanel began signing most of the jewelry by the late 1950s, the exception until Chanel's death was most often the long chain necklaces with simpler clasps that were among a multi-chain set designed by Goosens. Suggesting that this is the case for our unsigned gold-gilt barrel-clasped sautoir, the cast foliate prongs that cap its pendant are strikingly similar to the cast lobed-leaf prongs of the textural pair of faux-pearl button earrings and a capped-faux-pearl pendant earring that are published in a close-up photo (see our snapshot) in Jewelry By Chanel, the book written by Patrick Mauries. The caption (adjacent page 97) dates those likewise unsigned Chanel pieces to 1954-1971 when only Goosens would have executed them with his lost-wax casting. A lost-wax-cast sautoir pendant with similar foliate prongs signed Chanel with three stars (couture) was auctioned by Christie's in 2000 among "A Group of Five Gilt Metal and Simulated Gemstone Necklaces, Chanel" in which one piece of the lot was unsigned. The house noted in its catalogue that the pendant necklace had been published earlier that year in the Editions Plume book (page 28), Bijoux de Haute Couture: Collection Robert Goossens by Gilles Plazy and Chantal Bizot. Also characteristic of Robert Goosens for Chanel...

For his Gucci Fall/Winter 2001 collection, Tom Ford designed this sleek leather-and-knit pullover that features a suede collar and plunging V-neck front that drapes in a reverse V-sh...

This highly-textural gold-gilt metal two-piece belt buckle or convertible pendant depicting sprays. of pine cones and needles was designed by Mimi di N in 1981, as noted in the signe...

Resembling a luxe punk-rock-style earring from contemporary Enfants Riches Deprimes, this signed one-of-a-kind sterling-silver elongated-hook e...

This antique couture Art-Deco period British designer-signed wool-and-satin tuxedo open-breasted black tailcoat fits a women's U.S.-size 6 so well that we think it was custom made fo...

For the Spring/Summer 1991 made-in-Italy collection of her eponymous London-based brand, Katharine Hamnett debuted this fitted elongated jacket skirt-suit as "Look 1" in her fashion show (see our photo of the video coverage). Her working-woman styled model was unexpectedly accompanied by a male model adorned in a cowboy hat, which suggests her power over a strong man. In a different color without metallic accents, this sleek three-button single-breasted lined jacket is paired with a matching seafoam-green tucked skirt with back slit. Immediately apparent based on the seven piped princess seams around the torso, the jacket is expertly tailored like Savile-Row menswear. It also has a speckled-grey felted collar, piped front pockets, and triple-buttonhole split sleeves. The skirt closes in back with a center zip with hook-and-eye fastening. The durable cotton-blend fabric, which is in excellent condition, is notable for its slight iridescence with a soft luster that links it to the reflective elements that dominated that colorful collection by Hamnett. We included photos of the suit lit by sunlight with yellow tones and in lighting with...

For her Comme des Garcons F/W 2000 collection, Japanese Rei Kawakubo designed this dark grey wool-blend short-sleeve half-dress topcoat jacket featuring a three-row-metal-studded bla...

As French couture made by Martin Grant at his Paris atelier in the Marais in the mid-1990s, this pale grey plaid lightweight-wool slit-skirt suit has many hand-tailored elements that...

For his first collection for French Yves Saint Laurent for Spring/Summer 2001 while also Gucci Creative Director, Tom Ford debuted this tuxedo-style black virgin-wool leather-trimmed...

John Galliano, while Christian Dior Artistic Director for French haute couture and ready-to-wear, designed for his Autumn/Winter 2005 collection this bias-cut, layered, silvery semi-...

This couture silk Chantilly lace transparent colorblocked red-and-black sleeveless evening midi dress, with an eyelash-edged scalloped boatneck and hem, is constructed with torso tuc...

For the first eponymous brand debut in Paris by Belgium-born Veronique Branquinho for her Spring/Summer 1998 collection with couture details, the former Flemish-trained fashion desig...

This unusual mid-century black mini dress features a fully-ruched top and a semi-transparent organza-and-net flared skirt that conjures a historic pinup-girl like Bettie Page. Rather...

Created by a gallery-exhibited progressive artist in the 1990s in a way that foreshadowed TheMet museum exhibition "Sleeping Beauties: Reawakening Fashion", this ingenious signed sterling-silver chain link collar necklace features eight convertible pink-gem-accented pendants that can fasten your own pierceable larger elements, such as fresh flower heads or cut felt. It was initially acquired in the late 1990s from the U.S. avant-garde modern jewelry gallery Jewelers' Werk based in Washington D.C., which is printed on the included original black box with gold text. The versatile necklace that fastens with a handcrafted filigree floral clasp enables the wearer to choose from a wide variety of objects that can be pierced by the removable prong-set sparkly fuschia studs--from felt balls to folded origami paper--to attach to the likewise removable oxidized sterling cups. The perhaps morganite or crystal studs, whose silver ends are not visible after affixing such objects, can be mixed or interchanged with your own earring stud(s) or dangling pieces to enable more movement when worn. As shown in photos, a buyer can avoid the contact of such interchangeable objects with long hair by removing studded cups towards the back of the neck, whereby symmetrical sterling-stud fasteners that serve to link the chain necklace will discreetly remain. If the collector would like to use all of the sterling cups that surround the neck, one of their studs is missing its crystal, which can be replaced if entirely pink stones are preferred. We photographed the necklace populated with fresh and dehydrating daisy heads, which slowly wilt or dry while worn. With inspiration from TheMet current museum exhibition featuring beautiful contemporary clothes designed to show the passage of time, along with some of its archived fragile fashion based on the fiction-inspired theme "The Garden Of Time...

These 1990s Casadei limited edition black patent-leather, calf-leather and ornamental-Chinoiserie metallic-embroidered satin-bound mules with towering five-inch heels are supported by a unique platform with cut-out sides. The pair pays homage to traditional Japanese geta sandals...

In the 1990s when the Dutch collective Droog introduced international leaders of late 20th-Century functional art such as Ron Arad, Marcel Wanders, Jurgen Bey, Hella Jongerius, and Tejo Remy, the Netherlands-based brand was one of the most successful producers of conceptual design. The collaboration was co-founded in 1993 in Amsterdam by the jewelry and product designer Gijs Bakker (b. 1942), who commissioned his protege French artist Frederic Braham in 1998 to create this one-of-a-kind brooch for his young Droog-represented jewelry line "Chi ha paura...?". The Italian phrase means "who is afraid of?". This natural satin-lustre South Sea black-Tahitian 15 x 10 mm baroque thick-nacred pearl, which is bezel-set in oxidized sterling on a sharp silver stud for push-back fastening as a lapel or tie pin, is surrounded by a removable textured gold disk brooch with the Chiapaura maker's mark, artist's signature, abbreviated year and assay symbol. Notably, while farmed pearls from this French-Polynesian region are scarce, it is rarer to find one over 12mm. This dark gray one is also exceptional for its desirable secondary tone of peacock green with minimal surface imperfections. From normal use, the unseen back of the disk is missing chips of ecru enamel where it contacts the fastening knob. This reveals that the disk is solid gold. Like other functional conceptual design represented by Droog, the brooch is more than a beautiful piece of fine jewelry featuring multiple contrasting elements, as it could be a provocative "third nipple" if worn on a tie or scarf. Given the Dutch origin of the brand, we recall the famous 15th-Century oil-painting by Johannes Vermeer, known as "Girl with a Pearl Earring". Who is afraid of girl or boy with a third nipple? We acquired this brooch from a jewelry collector who had purchased it from the Italian gallery...

Mid-century, New York City designers Delizza & Elster created this eye-catching sparkly colorful glass chunky six-link gunmetal heavy bracelet. It is elaborately encrusted with auror...

With the earliest brand signature from 1947-1949, these Miriam Haskell (1899-1981) hand-wired Russsian-gilt brass floral French-wire-clip earrings were created by her first designer ...

This Miriam Haskell (1899-1981) brass-wire wrap coil bracelet that features hand-crafted peacock-colored beads and decorative gold-gilt brass was created by her first designer Frank ...

Encrusted with mixed-cut pyrite and marcasite stones for gold and silver reflections, this extremely-sparkly double-rimmed wide thick sterling-silver ring was designed by an artisan ...

In his classic minimalist long flared silhouette, Japanese Yohji Yamamoto skillfully tailored with bias-cut draping both this navy ribbon-trimmed notched-lapel single-breasted lined ...

Like a turtleneck ensemble acquired by TheMet, Ann Demeulemeester designed this bold-silhouette contrasting-texture wool set of chocolate ribbed tight high-neck cropped long-sleeve knit sweater and black bias-cut crepe mini skirt for her Fall/Winter 1996-1997 collection, when the latter low-waisted garment without a waistband was worn on the Paris runway over trousers. The soft thick darted pullover jumper characteristically has the designer's hallmark of oversized exaggerated cuffs, which can be left unfolded for a more feminine look. The Belgian designer meticulously tailored the brushed-wool skirt so that its three seams are in the back, where there are also darts to flatter the bias drape, two belt loops, and invisible zip closure at the center. Aside from featuring knitted turtlenecks in almost every ensemble that debuted on the runway that season, this collection was significant because Demeulemeester--who was known for her black-and-white palette of monochromatic pieces until she retired from her independent label in 2013--added colors and textures including this sweater. However, red was the only color featured on the runway. For an alternative pairing idea, we included a photo of a similar brown ribbed darted high-neck sweater, which was worn in Demeulemeester's runway show for Fall/Winter 2000, but with a shiny billowy slit maxi skirt...

While John Galliano was also creating his early Christian Dior couture fashion collections as its acclaimed creative director, for Fall/Winter 1999 ready-to-wear for his ongoing eponymous Paris-based fashion house, the Brit designed this teal-green woven-wool day-to-evening dress with a luxurious bias-cut silk satin underlay and couture-like finishing. Evidenced by this dress, at that time Galliano was championed by the editors of U.S. Vogue as the leader of the sleek ultra-feminine trend. The influential magazine had earlier helped to establish him in Paris with a U.S. financial backer for an independent atelier and in America among high-end retailers--from where this dress was purchased by the sole owner, but never worn. Although its streamlined elegance that creates a striking silhouette has the look of a conservative linear dress...

This colorful prong-set crystal spray brooch by Schreiner New York was made to compliment luxury clothing by a U.S.-based fashion designer, such as Pauline Trigere, in the late 1950s. This piece is special because it shows the unique decorative technique that Schreiner used for a period of several years in reaction to the limited availability of the first aurora-borealis (AB) stones by Swarovski in 1956, which had been designed for Christian Dior. In response to the availability of only the initial AB color that mostly reflected bright blue and the high demand from other designers, Schreiner's creative family soon applied transparent glass paint to create additional colors, such as the light-green painted AB crystals on this brooch. According to Henry Schreiner's late daughter who took over the business with her jewelry-designer husband, this enabled them to become the first to produce costume jewelry with AB stones in different colors, while Swarovski took several years to introduce similar colors. All original painted AB crystals are intact in this brooch, which is significant since a lost stone...

Clearly inspired by early-20th-Century French designer Paul Poiret (see our photo from TheMet museum exhibit of a 1911 ensemble), Stella McCartney designed these one-off balloon pant...

In the early 2000 while French Jean-Paul Gautier remained the designer at his eponymous Parisian fashion house, a Paris-based haute-couture runway-accessory designer was commissioned by him to create this handmade decadent street-culture-inspired wire-hook earring with multiple tumbled semi-precious stones, gilt chain and cord, and multi-color sequins that suggest divergent international cultures. On both the front and back, an explosion of deconstructed couture-textile remnants...

From the Art Deco period, this signed French couture set of yellow-gold pave-crystal brooch and earrings is marked in the manner of one-off costume jewelry commissioned...

While he maintained his lead designer role at Chanel, Karl Lagerfeld (1933-2019) created limited-edition silk chiffon Fendi logo "FF" prints, which are glimpsed on his seven-panel sk...

The Italian duo Dolce & Gabbana for their Fall/Winter 1995 runway show featured black lace ensembles that included this trio of merino-wool knit turtleneck with asymmetrical vert...

Sold as a vintage ring in Greece, this ancient-style gold-smithed sculptural open-work band features at its raised end a bezel-set lapis cabochon, while the other end of the by-pass ...

Recalling current Hermes womenswear, this antique Native American quilled brown chamois suede leather sleeveless chemise dress was handmade during the "reservation era" between 1870-...

1997 arguably marked the pinnacle of Japanese Comme des Garcons founding designer Rei Kawakubo's collection debuts when she introduced deconstructed asymmetrical "lumps and bumps" padding and transparent tops that both deformed and revealed female bodies. For the Fall/Winter "Adult Punk" collection, she designed this transparent ecru organza pullover blouse, whose bodice and lower long sleeves are color-blocked with white textured silk-blend appliques and lined in white tulle that is hand-sheered above the outer hem. A recent Parisian exhibition at Musee de la Mode, "1997 Fashion...

For Comme des Garcons S/S 1997 iconic collection titled "Body Meets Dress, Dress Meets Body", which was nicknamed lumps-and-bumps, Rei Kawakubo designed this navy two-piece set of transparent pullover long-sleeve net tulle blouse and convertible translucent bias-cut draping long skirt or tube dress debuted on the runway in "Look 11" among the Vogue coverage (partly concealed under a navy open robe). Significantly, our pair repeats the fashion show's "Look 1" theme--which was interpreted by TheMet museum curators as "clothing-absence/body-presence"--with a see-through symmetrical top revealing breasts and a bias-cut draped asymmetrical skirt that clings to body curves. Variations of this silhouette were modeled in white, navy or red. Many had net-encased organ-shaped down pillows freely inserted into net underlays by the designer to shockingly distort the silhouettes with impossible feminine curves, such as with two kidney-shapes on the back or a tube across the front of the hips. This set will likewise accommodate such padding that is apparent in the Vogue photos...

In excellent like-new condition since they were custom-made in the late 20th Century, these Bally luxurious shearling-lined leather Vasano-model shoes that are equivalent to a U.S.-size wide 7 1/2 are a dark brown classic Oxford-style slip-on stacked-heel low pump. Ideal for inclement weather or thicker socks, this pragmatic durable pair has non-slip soles in perfect condition below the leather insole, which is branded like the interior tag to indicate they were "Made In Switzerland". For nearly a century, the Swiss company designed made-to-measure shoes such as this pair, including hiking shoes...

This rare antique Edo-period (1615-1868) Japanese handmade inro is a curved lozenge-shaped hand-dyed woven-silk hard carrying-case container sheath that features intricate embroidery with rock-crystal or glass beadwork and thin leather-wrapped thread appliques. For its "Kimono Style" exhibition, TheMet museum noted: "the dying, weaving, and embroidery techniques for which Japan is famed reached their peak of artistic sophistication during the Edo period." On the burgundy finely-braided silk obijime cord that suspends the inro hang adjustable ojime fasteners of glazed earthenware, which are hand-painted with underglaze and overglaze enamels. The imagery includes signature-like branches, mountains, and a pine tree. Each knotted end of the cord dangles from the bottom of the inro with two rice-paper tubular beads. We could not find any Japanese beads...

In the 1920s in an Art-Nouveau style, Czech costume-jewelry designer Max Neiger created this brass dangle brooch that features three different shapes of ...

Among the most in-demand designs by Trifari artistic director Alfred Philippe were his flora and "jelly belly" fauna jewelry from the 1940s. Both iconic styles can be mixed as the go...

As Hetian River naturally water-polished white tremolite jade from China, this milky nephrite 10mm-long hand-cut oval cabochon is prong set on an antique Belle Epoque-period convert...

With an overlapping ring interior and textured exterior like raw silk that matches Christian Dior rings marked "Chr. Dior Germany" from the late 1950s, this bold modernist yellow-gol...

These post-WWII Vendome hand-wired clip earrings each feature a spray of yellow gold gilt-metal leaves with a stylized branch and five prong-set clear crystals among a cluster of fac...

All featuring white cat's eyes, the 21 gray 3mm ball-cut moonstones of this necklace are beaded symmetrically on this antique choker between stations of shiny 14-karat yellow gold fi...

On this antique early Art Deco-period solitaire cocktail ring, a long rectangular mirror-cut black onyx is surrounded by 28 faceted marcasite stones. The American silver ring, whose ...

Antique ArtDeco-period Bakelite rare three-color ribbon bow hand-blended-and-carved brooch. Given the colors, narrow style, texture and affixed brass pin...

This antique Art-Nouveau-period solitaire ring features unique inter-grown azurmalachite that is more outstanding than the kind often featured in fine jewelry by David Webb or Jean Schlumberger. First appearing like an intense green-blue black opal...

This antique Victorian white-gold bar-brooch or tie-pin from the Edwardian period with Faberge-style elements features bezel settings with three square-cut 10mm sugarloaf aquamarine ...

These mid-century platinum-like silver tassel chain drop earrings were designed by Trifari Artistic Director Alfred Philippe in an Art Deco style that recalls his earlier work for Ca...

These Art Deco antique French glass dangle earrings depict carved berries and leaves. On each earring, this fruit salad hangs from a single ring that drops from a round convex green poured glass "stem", which is backed with miniature gilt brass clips...

This vintage signed Navajo modern minimalist two-finger double-sterling-band solitaire ring features a black onyx cabochon bezel set in silver on one end of a yellow-gold gilt chased asymmetrical curvilinear top, which will span nearly three fingers over the soldered sterling bands. One band is US-size 8, the larger one is 8.5. On the underside of the flat top, the zigzag mark of a lightning bolt or snake serpent may represent an artisan or a Native American trading post that acquired such jewelry when tribe members pawned pieces when in need of goods or credit. Old Pawn jewelry...

This antique Art-Nouveau period American signed metalsmithed set features intricately etched, chased, chiseled and pierced curvaceous peacocks in unusual copper-gilt silver. "Sterlin...

Comme des Garcon founder Rei Kawakubo designed this translucent salmon-pink bias-cut satin sleeveless maxi dress evening gown for her Spring/Summer 2000 collection, which debuted on a runway model at Paris Fall Fashion Week as "Look 12" among the Vogue photo-coverage (see our last photo of the ensemble). The unusual V-neck shape creates a deep central drape in the front of the unlined dress that prevents the synthetic semi-transparent fabric from clinging to the torso. To continue to flatter the curvy shape of the lower body like the bias-cut enables, such as while walking, Kawakubo added an additional piece of fabric with a circling angular seam that rises from the wider hem. With the exception of the brand tag, all others were cut off by the sole owner to eliminate bulk and visibility through the dress. If the buyer would prefer, the fabric can be made shinier and completely smooth with professional pressing. If the buyer would like to create a layered ensemble with this gown as seen on the runway, we have other textural colorful tops to choose from with over-dyed unique appliques from this same Spring/Summer 2000 collection. However, we think our backless-mannequin photos show that this minimal dress...

These pink conch 14mm near-round natural pearl stud earrings, with early-20th-Century clips stamped "sterling", each weigh 3 grams including mountings for an exceptional 10-plus cara...

For his design mentor Rei Kawakubo's Japanese brand Comme des Garcons, Junya Wantanabe made this inimitable translucent white taffeta floaty ruffled-V-neck sleeveless pullover dress with distinct parachute elements, cutwork, and adjustable ruching and draping as "Look 1 and 2" (see photos) for the Parisian fashion show debut of his Spring/Summer 2003 collection. Significantly, no other Wantanabe collection is represented by more garments at The Met Costume Institute. In our dress, the stunning combination of contrasts range from romantic-to-combat themes, gathered-to-flowing construction, raw-to-finely-finished edges, soft-to-hard materials, and gossamer-to-dense textural fabrics. Secured on the exterior of the dress with bold silver-tone metallic hardware, the parachute-like 100%-cotton grosgrain straps are mostly enclosed within multiple diagonal and vertical ruched channels to enable symmetrical or asymmetrical draping and lengthening of the thin synthetic fabric into multiple swags. Strap ends can freely hang from the functional hardware on the front of the dress and below its sides--as if they could be yanked to release the fabric into a drifty parachute sail. With the potential to be a stunning formal overlay if worn with a minimalist wedding gown or long skirt, the reverse side of the voluminous dress is equally remarkable for its ruffled diamond-shaped cutout at the lower back, where it is intersected by a trio of linked thick straps that are secured to a looped ruched channel. This creates an elongated bustle with a dramatic central 19-inch slit between the two swags that each extend 43 inches below the outer shoulder hem. This premiere-catwalk dress is distinguished from others in Wantanabe's "Parachute Jumper" collection by the complexity of its top. Two ruched straps form an X-shape via silver hardware at the upper back, extending to the front over the shoulders to form an adjustable face-flattering ruched V-neck with silver-hardware-linked narrow straps. The soft folds of the neckline contribute to the raised ruffle collar, as well as flow to the shoulder seams. The hand-cut hem was designed unfinished and meant to fray, although it has not given its minimal wear and very good condition consistent with only age and storage. See our photos of the care/material tags. All tags remain, including from the Italian concept-store 10 Corso Como where it was purchased in Milan. The "Made in Japan" size is a large-running "S" due to the pullover and adjustable style of the dress, which is equivalent to an Italian-size 44 or U.S.-size 6. Beyond a convertible dress...

This Art-Deco period French carved, lathe-worked, sculpted and red-painted black-galalith figural brooch depicts a pair of long-limbed dogs, which may be gazelle hounds, wolfhounds, ...

These antique Chinese earrings feature rare Burmese natural untreated translucent imperial green jadeite, which is intricately hand-carved and polished...

Arguable the most significant design in the Stella McCartney Spring/Summer 2003 collection--since our versatile garment debuted in different colors on the runway and was worn by the British designer to take her fashion-show bow--this pink-printed dark-grey silk-blend zip-front bubble-shaped mini dress with white-satin stripes and pink piping was a favorite of the show's Vogue critic and her father Beatles co-founder Paul McCarthy. Vogue wrote: "Her hippest new idea came in the form of puffy satin bombers--she transformed one, a fusion of sport and chinoiserie print, into an off-the-shoulder bubble dress. McCartney is so into the glam-bomber idea, in fact, that she bounded onto the runway wearing a black version herself." The garment's voluminous batwing sleeves with stretch-cotton ribbed neckline and hem, plus custom golden-charm two-way zipper, enable it to have different necklines and lengths, so that it can also be styled as a bomber jacket. Notably, the versatile piece that is subtly printed with mock-Beatles lyrics seems to have been the first tribute fashion-design that McCartney created to reference her father. Prior, she had credited her stylish mother Linda for instilling her with a love of fashion and inspiration for her initial namesake collections, which followed her first commercial collections with Phoebe Philo for Chloe. For background, when McCartney was a young girl in 1978, the mock-rock band The Rutles parodied a Beatles song, which was recorded by EMI as "Ging, Gang, Goolie". Given its lyrics, the chinoiserie-style dragon motifs were substituted by McCartney with bird skeletons...

During the Art Deco period when Gabrielle "Coco" Chanel was at her peak as a Parisian couture designer in the early 1930s and working closely with her favorite jewelry parurier Fulco di Verdura, for one of her clients, she commissioned this unique handcrafted gem-fringed medallion brooch with a yellow-gold circle rope of flexible thick chain that dangles from an unseen ornate open-work curvilinear yellow-gold base. Marked only "FRANCE" on the bar pin with a trombone clasp, like some early 1930s Chanel couture jewelry collected by TheMet museum, its artistry reflects the colorful organic-form starburst sketches of Verdura, which you can see from our photo of one of them. The Sicilian duke began creating fabric patterns for Chanel in 1927, which shortly expanded to executing fine jewelry beginning with custom pieces for the house founder. These included 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. Chanel reproduced some of Verdura's originals for her clients, but those variations featured faux gems. This softly-shaped abstract brooch design suits goldsmith Verdura's early anti-Art-Deco aesthetic that was considered a radical departure from 1920s silver-tone geometric jewelry, which otherwise featured linear designs or figurative representation. The deconstructed bouquet of gems mixes amethyst and rose-quartz beads with natural Keshi pearls and intricate tiny gold leaves, which are discreetly wired to a Baroque-motif frame that dangles a round gem surrounded by a chain halo. Significantly, Verdura was credited with re-introducing since Victorian times the rope motif to fine jewelry. Since 1930, Verdura's unique style was influenced by travels with Chanel to explore Byzantine art, Baroque architecture, and the 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--with an abundance of teardrop pearls and colorful gems above her chest, and with a gold halo surrounding her head--could have inspired the design of our 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. Within five years, as a financially-backed in-demand goldsmith in the States, he founded the namesake fine-jewelry company Verdura in New...