Couture 1939-50 Schiaparelli-SchlumbergerStyle GlassBeads ProngSetCrystal Brooch

During the Art-Nouveau period while German-born Vienna-based silversmith, niello master, and entrepreneur Georg Adam Scheid (1837-1921) was prospering from a related refinery busines...

Beginning in 1939, Miriam Haskell asked her first designer Frank Hess to sparingly use metal in the costume-jewelry collections during WWII while war materials were needed. So their ...

In Spring 1941 after French fashion couturier Gabriel "Coco" Chanel had stopped production of her clothing designs while she remained in Europe during the WWII era, the decades-old American costume-jewelry company Reinad began imprinting pieces in its new retail line, Chanel Novelty Co, with the script signature "Chanel". As this was prior to the use of the sans-serif capital-letter signature "CHANEL" on French-made jewelry that was commissioned by the Parisian designer, as well as before U.S.-copyright protection began in 1955, the House of Chanel that was mostly owned by the Jewish Wertheimer family of venture capitalists (who remarkably still produced Parfums CHANEL and French-vineyard wine via legal proxy while they lived in asylum in The States during the war) filed a U.S. lawsuit to demand that Reinad halt the use of its founder's famous last name. As the Werthheimers' quickly won, Reinad only produced the single seasonal collection stamped with the French brand name, and subsequently only imprinted its company name as the sans-serif capital-letter signature "REINAD" without a copyright symbol, which was different that its prior signatures dating back to its founding in 1922. When Chanel herself resumed French-made fashion production in Paris in 1953 (with Werthheimer support leading to their acquisition of all rights to her name despite her post-war eight-year exile in Switzerland due to close association with Nazis), for the first time all of her creations were signed "CHANEL" like the original packaging of the exceedingly profitable "No.5" perfume. While Reinad continued to produced costume jewelry until 1954, in the last decade of this business, the U.S. company continued to try to appeal to potential Chanel buyers by at least making Chanel-style designs. As such, owning an attractive and well-made Reinad piece can be considered a useful investment in fashion history as evidence of a little-known turning-point involving the most famous ongoing luxury-fashion business Chanel, as well as of the impact of that legal judgement had on advancing U.S. design protection for brands that later used the copyright symbol. Like early ArtDeco-style oversized heavy metallic costume jewelry by Chanel, this three-dimensional monochrome silver-alloy polkadot bow brooch imitates a pale polkadot-textured ribbon. Notably, while high-quality ribbon for styling hair or decorating clothing in a non-functional way was still an expensive accessory...

As one of Miriam Haskell's earliest fur clips from the late 1920s, these two Russian-gold gilt mostly brass brooches by her first designer Frank Hess are tethered as a lariat by thre...

Unusually decorated with small partridge feathers like the yellow-gold gilt necklace commissioned by Elsa Schiaparelli (1890-1973) that is featured on the front-and-back covers and centerfold of the French costume-jewelry hardcover book, Lina Baretti Parures, by Patrick Mauries, this unique pave-crystal yellow-gold gilt metal partridge-on-a-branch brooch is further distinguished as an unsigned Parisian-couture piece for Italian-born Schiaparelli with its combination of embossed text "Made In France" and "Modele Depose", along with the trombone clasp often used in the early 20th Century for custom-made French small brooches. The book centerfold on pages 90-91 shows a closeup of the feathered necklace created by French-born Corsican Baretti, whose intricate decoration often mixed ready-made textural or shiny materials like velvet, cork, wire, rhodoid or raffia with custom-made metal, plastic or glass by specialized Parisian workshops such as Gripoix. The Baretti-book caption about the attributed necklace notes: "Collier realise pour Elsa Schiaparelli. Liege, soie, cannetille, perles de verre et plumes de perdix. Chaine en metal." While none of the captions date this necklace--which could have been from the same commission as our brooch--Baretti created one-of-a-kind jewelry for Schiaparelli from the 1930s until the early 1950s when the fashion designer retired. Our brooch was most likely made for a fashion-show debut of one of Schiaparelli's themed clothing collections in the late 1930s for which she commissioned many costume-jewelry paruriers including Baretti. See our photo of a Schiaparelli 1930s...

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...

The pendant in the shape of a ladybug with open wings, can be worn both as a pendant and as a brooch. The ladybug is decorated with transparent enamels of various colors. Its manufa...

Bacchus the wine god by Otto Strandman (1871-1960), Stockholm 1914. Wonderful Swedish Art Nouveau silver brooch. Great condition, no issues. With full s...

Very nice modernist brooch depicting a bird in flight. Gilded sterling silver with maker marks. Fine vintage condition, only some minor scratches. Atelier Borgila was founded by de...

A fine brooch by Harald Nielsen for Georg Jensen. Made during world war II. It is made in silver and patinated steel. This was something they did because of the war. Marked "HN GEOR...

A set of necklace, a pair of earrings, and a Brooch in sterling silver by Matti J Hyvarinen Finland. All parts marked "MJH 925". Made in the 1970s. V...

Wonderful 18k gold brooch depicting a flower. Made by Erik Fleming (1894-1954) for Borgila. 18k gold together with one pearl. Great condition, no issues. Diameter 4.5cm (in 1.78)