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Vintage Maison Gripoix White, Crystal, Faux Turquoise Gold Necklace Circa 1990s
$2,575
£1,953.85
€2,234.05
CA$3,596.58
A$3,998.90
CHF 2,088.01
MX$48,676.40
NOK 26,642.06
SEK 24,962.34
DKK 16,673.15
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About the Item
Vintage Maison Gripoix White, Crystal and Faux Turquoise on Gold Chain Necklace. 3 Different Emblems On a Gold Chain with a Dangling White Piece in the Middle. 22"-24" L. Dangling Middle is 3" L. Each Piece is 2" by 2"
Guy de Maupassant wrote a famous story about a necklace. The story is about a young, pretty, intelligent, well-educated but poorly endowed bride who has to marry a petty official; thus, suffering from the limitations of living a life with a husband that lacked any exquisite qualities. One day, to entertain his dejected spouse, her husband receives an invitation to a ball and gives his wife the 400 francs he had saved for a hunting rifle so that she can order an appropriate dress.
However, when the dress is ready, it becomes clear that it is lacking jewelry, and it would be impossible to attend the ball while looking so poor. The protagonist approaches her wealthy childhood friend, with whom she was raised at the monastery, and borrows a diamond necklace from her. The ball is a great success, and she is the centre of attention. However, when the woman returns home, she discovers that she has lost the necklace. To conceal her faux pas from her friend, she buys a new necklace identical to the one she lost. To pay it off, the woman gets into a huge debt, which, over the years, gradually drags her down the social ladder from the bourgeoisie to poverty. Ten years later, having lost her good looks, the woman encounters her friend on the Champs Elysees, who still looks young, beautiful, and rich. The protagonist reveals to her friend the entire story about the necklace, but her friend replies in amazement that the diamonds were fake and would “cost 500 francs at most.”
Maison Gripoix starts out with a dramatic story. In 1869 (or a year earlier, according to other sources), Paris master glassmaker Augustina Gripoix began creating replicas of pearls and crystals, casting glass into various shapes and colors and setting them in the most sophisticated settings. She used the pâte de verre (glass paste) technique, whereby a traditional ceramic or gypsum form was filled with a multi-colour piece of glass and special gluing substances and then baked in a furnace, resulting in objects featuring fantastical hues. Only Augustina made her crystals by pouring the melted glass paste into the press moulds, skipping the furnace step, allowing her to achieve the purity of colour, transparency, and shine. She found a simple method to make beautiful jewelry and thus Marquises, Duchesses and Princesses qued up ... so Madame Gripoix would make them replicas of their own jewelry in case of robbery or loss, or some unusual jewelry pieces for their new wraps, neckpieces, or boas. The so-called ‘costume jewelry’ emerged to a large extent thanks to the work of Maison Gripoix.
Augustina Gripoix earned her fame in the 1890s when she began creating necklaces for Sarah Bernhardt to wear on stage and later designed costume jewelry for the first high-fashion house of Charles Frederick Worth. Later, Paul Poiret, the leading couturier of 1910, contacted her, and she created sophisticated Oriental-style jewelry to match his famous Oriental costumes, based on the aesthetic of Diaghilev’s initial Russian seasons.
The value of costume jewelry was now being recognized in its own right and not just for imitation purposes. The taste of emancipated young girls, who were gaining more and more freedom and opportunities, was best met with bijouterie. So in the 1920s, when Augustina’s daughter Susan became the head of the House, Gripoix prospects became even more exciting. Girls with short-cropped hair in short dresses zoomed by in open-top cars wearing bijou rather than diamonds. Everyone ordered bijouterie from Madam Gripoix during this period, from Jeanne Lanvin to Jean Piguet; however, the best relationship Gripoix had was with Gabrielle Chanel.
It is well-known that Chanel, a fan of large jewelry with large stones, made bijouterie super fashionable. Chanel brought copies of Byzantine jewelry to Susanne Gripoix. She asked her to create the pieces in that same style, requesting, “Let everyone think that this jewelry is not new, but found somewhere on an excavation site nearby Rue Camborne.” She was so satisfied with the result of her order that she remained a faithful client of Gripoix for several decades. This was how the famous byzantine style of Chanel jewelry was brought to life, fancying golden Maltese crosses with large multicolor stones and matching bracelets, cabochons, and massive brooches, all of which have become a part of the Gripoix
Chanel liked to combine both natural and imitation stones in a single item; for example, she would pair natural and imitation pearls in a single necklace. Gripoix made them in such a way that it was impossible to distinguish between them. Susanne Gripoix created unique, irregularly shaped glass pearls for Chanel, imitating the baroque style. They were enameled in her workshops with mother-of-pearl to obtain some of the soft shine characteristic of natural pearls
.
As the main supplier to the couturier houses in Paris, Gripoix worked with many designers, including Cristobal Balenciaga, Pierre Balmain, and Christian Dior, as well as Yves Saint Laurent and, later, Christian Lacroix and Marc Jacobs. However, it was the cooperation with Chanel that was the most significant, both for Chanel and for Gripoix.
Today, Gripoix is no longer a family-owned company, but the House still crafts jewelry, although the style has undergone considerable changes over the last few years. The jewelry has become more straightforward, more graphical, and even minimalistic. In 2011, however, Gripoix and Catherine Baba, a well-known Paris stylist and the star of street-style blogs, released a joint collection in the style of Art Nouveau and neo-romanticism. Even today, Gripoix tries to preserve the traditional techniques of moulding and enameling. They use a special copper alloy supplied by the Art Metal Company, which is as old as Gripoix, and the formula for this alloy is kept secret. After it's melted, dragged and screwed in various ways, it is made into moulds that are welded using brass powder, a technique rarely found elsewhere today, before being gold-plated in the neighbouring workshop. Historical jewelry made by Gripoix, especially pieces created for Chanel, are objects of genuine cult value. They are collected, they are hunted down, they are sold at auction, and their prices have recently skyrocketed.
- Creator:
- Metal:
- Weight:185.8 g
- Dimensions:Height: 25 in (635 mm)Width: 2 in (50.8 mm)Depth: 2 in (50.8 mm)Diameter: 22 in (558.8 mm)Length: 25 in (635 mm)
- Style:
- Place of Origin:
- Period:
- Date of Manufacture:1995
- Condition:Wear consistent with age and use. Very Good Condition.
- Seller Location:New York, NY
- Reference Number:Seller: NG11-721stDibs: LU2565214995812
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