1930s Necklaces

This one-of-a-kind vintage necklace is a stunning combination of turquoise and pearls. The pendant is crafted from 14k yellow gold shaped in a stylized bow made from interlocking ova...

Art deco garlands necklace with diamonds. Exceptional diamonds set necklace, created in America during the art deco period, back in the 1935. This beautiful movie star necklace was ...

During the Art Deco period, Miriam Haskell's first designer Frank Hess designed this blue-and-white glass-beaded hand-sewn torsade set of dangle earrings and a choker necklace, whose knotted string is capped with their characteristic Russian-gilt brass flora filigree. Coinciding with the American Great Depression, to offer some less expensive costume jewelry than her initial ready-to-wear styles featuring Parisian hand-crafted materials found in French couture, Haskell reduced the cost of some of her findings by locally sourcing stamped metal and incorporating hand-pressed glass beads from Germany and Czechoslovakia. With a loop, the line from hand pressing the glass can only be found on the blue beads, while the white ones are coated in an organic material like authentic French faux pearls. The ends of the textured cords that string the beaded set were frayed to form a fuzzy opaque dome that hides the knots attached to the filigree caps. No Haskell jewelry was signed before 1947. The unsigned necklace...

This is a great looking hand made necklace or bracelet, pocket watch chain. Each link is hand constructed and every other link is done in kiln fired cobalt blue enamel. We have never seen this chain before done with enamel. It's versatile and elegant and the "Swivel" can be used to hang a fob or charm on it. You can hang it on your neck, or wrap it around a few times and wear it a bracelet. If you are looking for a pocket watch chain for a gold and blue enameled watch...

This is a great looking handmade necklace, bracelet or pocket watch chain. Each link is hand constructed in solid gold in reversing yellow and white gold. We have never seen this cha...

This is a great looking handmade necklace, bracelet, or pocket watch chain. Each link is hand constructed in solid white gold and hand engraved, and done with kiln fired black enamel...

A beautiful art nouveau necklace by Maiden Lane maker Henry Kohn & Sons. Kohn were known for producing this exact style of beautiful organic work with richly detailed leaves and vine...

This is a great looking hand made Necklace, Bracelet or Pocket Watch Chain. Each link is hand constructed with filigreed centers. We have never seen this chain before and it looks l...

This Art Deco 18K white gold and diamond tiara is an exceptionally rare and gorgeous jewel. Created entirely by hand in the 1930s, this semi-flexible 15" tiara is composed of thirty 9mm long by 3.15 rectangular segments of 18k white gold, each of which is channel-set with four tiny brilliant round diamonds. Each rectangular segment is joined to the other by a bezel-set round brilliant. Beginning three-quarters of the way forward on the tiara are nine upside-down "U" shaped mountings, each of which is set with two round brilliant diamonds on the interior and then three additional diamonds atop the rounded portion of the "U." The diamonds are close-backed, so a perfectly accurate weight cannot be obtained, but using a geological mathematical formula, I estimate the total diamond weight on the frame of the tiara to be approximately 3.8 carats. Not counting the freely-dangling diamond briolettes. There are nine, and they are magnificent, fire-filled, and faceted tears of joy. Each measures approximately 5.45mm x 3.44mm x 2.89mm which, again, by formula, suggests a diamond weight of between .51 -.57 carats. So we will go with the lower number, as we always do here, and this gives us a diamond weight for the briolettes alone of 4.59 carats. Altogether, this simultaneously subtle and spectacular tiara has a total -approximate- diamond carat weight of 8.39 carats. The tiara has a length of approximately 12". This is a tiara that can be worn in several ways. It can "surround" the base of a bun atop the head, or could be similarly positioned lower toward the nape to adorn a chignon, or it could be pinned to the very top of the head where it could secure a wedding veil into position. So this is not a tiara like the Princess of Wales's favorite tiara, The Lover's Knot; but then is a tiara of that scale ever appropriate for one who is not a duchess, a princess of a reigning monarch? This is an absolutely perfect wedding tiara...

A Truly exceptional Antique Amber Necklace, circa 1930. Graduated olive shaped beads, crafted from beautiful butterscotch Amber, with a 9ct Gol...

This stunning pendant features a 54 mm jadeite jade disc set in 14K gold wirework, with a floral design at center featuring pear shaped cabochon of various shades of jadeite, includi...

Original antique Art Deco pendant-brooch studded with diamonds. Fine geometric design of the brooch - three intertwined circles with a centrally embedded old-cut diamond weighing ap...

Designed as a pierced disk form depicting the Parthenon atop a hill with trees and sun Featuring a round cut ruby weighing approximately 0.08 carat Transparent medium red and bezel ...

Around 1930, Miriam Haskell's first designer Frank Hess designed this Russian-gilt brass ribbed-chain link bib necklace featuring 27 strands of varying length each wired to aqua faux-turquoise pressed glass beads with characteristic gold pronged-bell caps and thumbless spring-ring clasp. After the Great Depression began in the United States in 1929, to keep her popular European-style costume jewelry affordable among fashionable ladies, Haskell began using less expensive imported handcrafted glass beads, which included Czech and German pressed glass. Initially when she opened her handmade ready-to-wear costume-jewelry business in 1926 in New York City's downtown McAlpin Hotel, she had used only the finest Parisian glass beads and findings like French couturiers including Coco Chanel who soon became her competition. which Haskell promoted with the French name of her first boutique Le Bijou de L'Heure. If interested in assembling a suitable set of early Haskell-Hess pieces with similar aesthetics, please see our other listings for the aqua glass-and-enamel scalloped button clip earrings and the "peacock" coil arm-band bracelet with Parisian lampworked glass, faceted crystal, painted galalith beads, and cupped rose...

Rare goldtone and copper plated floral necklace with fold over clasp. Marked "Monét." Another variation of this necklace was featured in a 1939 advertisement. Measures: 6 inches long by 5 3/8 inches wide. Center; 1 3/8 inches long. Condition: Very good for its age, some surface wear. Early Monet jewelry was produced in the United States and was not mass produced. During the 1960s and 1970s there was more demand than supply, because the company believed in quality over quantity. Monet's jewelry was of such a high caliber that during the 1980s they produced haute couture jewelry for Yves Saint Laurent...

Art Deco Silver Foiled Murano Beads from the 1930's. Graduated and handmade with silvered foil within aquamarine glass and floral murrine. Handmade and hand knotted, lovely quality. ...

Fabulous gold plated necklace set with sparkling rhinestones. The necklace has a swag design with a lovely centre pendant. The rhinestones are held on a faceted rod chain with a barrel clasp. Measuring length 43.2 cm / 17 inches, and the centre with pendant is length 4.5 cm / 1.7 inches. Most of the gold plating has worn away to reveal the silvery metal underneath. This is a stylish and beautiful Art Deco...

The Art Deco 14K White Gold Diamond & Ruby Filigree Necklace is a stunning tribute to the glamour and sophistication of the Roaring Twenties. Wi...

Art Deco Silver Foiled Murano Beads from the 1930's. Graduated and handmade with silvered foil within purple glass and floral murrine. Handmade and hand knotted, lovely quality. 32"....

Beautiful Art Deco necklace featuring detailed gold tone and silver tone roses. The necklace is length 39.8 cm / 15.6 inches, and the rose drops are length 9.5 mm / .37 inch. There are three smaller drops at each end which are length 7 mm / .27 inch. We have replaced the bolt ring clasp...

This exceptionally rare necklace dates from the 1930s. Condition Report: Very Good - Some darkening to the gilded metal in some small areas. This is only visible upon very close in...

Prepare to be enchanted by a truly dreamlike piece of jewelry – a magnificent aquamarine pendant set in 14-karat rose gold. At its heart, this resplendent pendant features a stunning...

This outstanding Georgian Style necklace has been hand crafted of solid 18 KT gold and silver A full line of Rose cut Diamonds set in the Georgian manner graduated in size from bigg...

Featuring a mixed rectangular cut aquamarine weighing approximately 20.50 carats Transparent light blue in color and set with grooved tabs in scroll motif mounting Set below a pierc...

Year: 1930s Item Details: Metal Type: 10K Yellow Gold [Hallmarked, and Tested] Weight: 1.9 grams Zircon Details: 1.00ct, total weight, blue, round and pear shape Measurement: 1.75 in...

Fabulous Art Deco fringe necklace collar with classic Deco design olive green glass, interspersed with faceted beads which extend to the rest of the ne...

This gorgeous bezel set Diamond Solitaire pendant floating from a chain is the perfect one to have always with you Hand crafted of solid 18 Kt gold comes with a classy 18 KT chain...

One Art Deco diamond and pearl platinum pendant featuring a modified marquise shaped pendant portion featuring 96 old European and rose cut diamonds totaling 3.25 ct. with H-I-J color and SI-2 clarity with the center diamond weighing 0.70 ct. The pendant measures 40 x 33 millimeters in size and is enhanced by twenty round white cultured pearls set throughout measuring 3 millimeters in diameter on average. Suspended from an 18K white gold open link chain necklace...

An Art Deco black onyx tassel pendant necklace, comprising of multiple rows of graduating black onyx beads, hanging below a brilliant-cut diamond set domed cap, and an old-cut diamon...

- Vintage item - Collectible costume jewelry piece from the '30s - 19" length - Vintage Italian Murano black glass "wedding cake" lamp work beads - Barrel screw clasp - Circa 1...

Schreiber & Hiller stylish Art Deco silver tone link necklace and bracelet set, featuring channel set rhinestones and ornate metalwork. There are nine rhinestones making up each link...

A 8-10K Gold Set With Multi Gem Pendant

Silver and approx 85ct rock crystal. Signed and dated 1937. The pendant is 6,7 cm long on a 59 cm long chain. Wiwen Nilsson (1897-1974) - An Art Deco Silversmith in the Age of Modernism. Wiwen Nilsson was born in Copenhagen, Denmark in 1897. Born as Karl Edvin, but since he did not like his christening name, he was, within the family, called Wiwen. He was the son of Karolina and Anders and grew up with his sister Edith. In 1897 the family moves to Lund, Sweden when the father takes over the gold and silversmith company J.P. Hasselgren & Son. In 1906, Wiwen began at Katedralsskolan in Lund and finished school when he graduated fifth grade in 1912. It was common to continue up to sixth grade and then high school, but Wiwen who does not thrive in a school environment wants to become a pianist or aviator instead. However, as the father is a recognized jeweler and court supplier, the son's career is already marked. Instead, he embarks on an educational journey with the goal Königliche Zeichenakademie in Hanau am Main, Germany. The school is Germany's oldest and most prestigious goldsmith's school. Wiwen enrolled on the fourth of August in 1913 and studied drawing, workshop work, engraving and hammering work. The education comes to an abrupt end with the outbreak of the First World War in 1914, and he instead continues his education in his father's workshop, where he stays until 1919. He does, however, make two breaks, the first quarter of 1917 he enrolled at the Technical Society's School in Copenhagen where he studied modeling, among other things, and in 1917-1918 he did his military service in Stockholm. In 1919 he applied for and received his companion letter, at the same time he received the Swedish Craft Organization's large medal in silver for his professionalism. In 1920 he is again at the school in Hanau, Germany where he stays until 1921 and practices with the jewelry company Chr. Kissling also in Hanau. At school, he mainly studies drawing and chiseling, a type of relief technique that was very popular during the 17th century. Wiwen is driven by his own design language and thinks that the prevailing technique under the influence of Danish designers is a setback in the development of chiseling. During his time in Hanau, he visits several arts and craft exhibitions and comes into contact with the Wiener Werkstätte and the Wiener Werkbund, among others. At the same time as he is studying, he writes travel stories where it emerges that he believes that Sweden's conservatism inhibits the development of arts and crafts, something he himself wants to change. Back in Sweden in 1921, he was appointed the company's artistic designer. In 1923, the company participates in the Gothenburg exhibition, but here Wiwen receives devastating criticism. His creations are considered ugly and meaningless, a critic writes that it is a typical case of poor material sense. In 1924, Wiwen Nilsson travels to Paris. Just like in Hanau, he studies chiseling, silver, drawing and modeling at the Académie de la Grande Chaumiére (now Académie Charpentier). One of France's foremost art schools where, among others, Siri Derkert (1888-1973) and Bror Hjorth (1894-1968) have also studied. In Paris he became acquainted with Georg Jensen (1866-1935), in whose workshop he chiseled for a period. He also meets and hangs out frequently with Jules Schyl (1893-1977) and Gösta Adrian-Nilsson, GAN (1884-1965). The meeting with GAN becomes extremely important and came to influence and refine Wiwen's own design language and together they hold a joint exhibition in 1925 in Lund. From 1925 until the end of the 1920s, Wiwen Nilsson produces a large amount of church silver. He designs and manufactures for, among others, Allhelgonakyrkan in Lund, Knästorps and Tottarps kyrka in Skåne. In total, Wiwen's workshop manufactures 677 objects for churches, of which 483 are found in churches within the diocese of Lund and 194 in other Swedish churches. Some are also sent internationally to the Church of Sweden in Paris, Berlin, Copenhagen and churches in West Germany, Iceland and to Zululand in South Africa. His church silver unmistakably bears the same design language as his profane works. All with the same angular but harmonized and modernist shapes, not infrequently his vessels like jugs and lid boxes are often hexagonal or octagonal. In 1925 he participated in the Exposition Internationale des Arts Décoratifs et Industriels à Paris (World Exhibition) where he received a gold medal in Class 10, the category for crafts and art industry in metal. Other exhibitors included C.G. Hallbergs Guldsmeds AB and Jacob Ängman...

Centering an old European cut diamond weighing approximately 1.57 carats - I color with VS2 clarity Prong set in a square form head with a pierced quatrefoil-shaped surround Compris...

Unique Pearl Soutoir This extremely charming long soutoir necklace dates 1930/35 ca It is beautifully made by alternated cultured Pearl and solids gold links with lovely geometric de...

Rare in Beauty An Impressive necklace, created as unique during the late 30/40’s Set throughout by natural untreated Aquamarine varying in sizes to fit the design Complemented by ros...

An impressive late Art Deco period large sized pendant. Hand crafted of solid Platinum and solid 18 Kt setting for the main stone, 1930. The focal point is the truly stunning, large,...

An original Vintage triple strands of white coral circa 1930. The coral is natural and even in color with no indication of treatment - the round beads range from 7 to 12 millimeters....

An original 1930s Diamond and Sapphire negligee set in platinum and 18 K gold. This delicate necklace is typical of French jewelry of the period.

9ct Gold turquoise jade beaded necklace Circa 1930s has 9ct Stamp near the clasp overall weight 2.5 grams Very Beautiful Necklace Length 16.35 Inches.

This rare and important example of the work of Maison Gripoix was created in the 1930s. Condition Report: Very Good - There are some tiny elements of scuffing/crazing to the surface...

An Art Deco diamond set platinum bow choker, with an old-cut diamond set plaque, in the form of a bow, mounted in platinum, on a black moiré ribbon choker, with an estimated total di...

This stunning and elegant vintage original Art deco multi tier and multi strand cerulean blue glass necklace is amazing on the neck. There are 4 gr...

An art deco convertible pendant brooch. Beautiful piece, created during the American Art Deco period, back in the 1930. This convertible pendant-brooch, was carefully crafted with geometric patterns in solid .900/.999 platinum. The back of this brooch is fitted with a hinged horizontal bar to wear as a brooch and can be worn as a necklace pendant on a chain. It is embellished with a great selection of natural earth mined gemstones, with all the settings finished with millegrain technique. Very delicate and feminine, this brooch is a great addition to your jewelry collection. Diamond: Mount in the center in a bezel setting, with 1 pear brilliant cut diamond of 1.13 carats, I color, SI-2 clarity. Gia Certified. Diamond: Mount in millegrain bezel settings, with 12 marquise brilliant cut diamonds, 1.20 carats, F/G color, VS-2 clarity. Diamonds: Mounted in French pave settings, with 73 old European round and round single cut diamonds, with a combined weight of 1.83 carats, white colorless F/G color, VS/SI clarity. The settings are finished with impeccable millegrain patterns. Emeralds: Mount in a channel setting, with 17 French...

An art deco convertible pendant brooch with GIA certified diamond. An statement piece, created during the American Art Deco period, back in the 1930. This beautiful convertible pend...

A stunning, fine and impressive antique 42.88 carat aquamarine and 0.10 carat diamond, 9 karat white gold pendant; part of our diverse vintage jewellery and estate jewelry collection...

Iconic Art Deco Marsh & Co necklace, set in signature blackened steel, with gold accent links, adorned with 4.5mm pearls and approx. 0.80ctw in G/VS diamonds. The necklace is 16" lon...

European Arts and Crafts Citrine Pendant from the early 20th Century, circa 1930. A large and fine oval citrine (27mm x 15mm) is set in a heavy 14k p...

A vintage, Tiffany & Co., gem set, diamond and pearl floral circle pendant-brooch, with four clusters of three pearls, and four gem set flowers or clover leaves, each flower set with...

A fine and impressive antique 16.32 carat tourmaline and 0.35 carat diamond, platinum Art Nouveau pendant; part of our diverse gemstone jewelry collections. This stunning, fine and impressive Art Nouveau pendant has been crafted in platinum. The pierced decorated frame displays a feature four-claw set 16.32ct baguette cut tourmaline. The upper portion of the pendant is embellished with three individual claw set transitional modern brilliant round cut diamonds, alternating with curvilinear strands in the Art Nouveau style. The curvilinear strands incorporate twenty-one pavé set eight-cut diamonds, graduating in size dependant on location. The pendant suspends from a contemporary 18ct white gold 18' curb chain via a ring loop to the reverse of the setting, securing with a conventional spring-loaded bolt ring fastening. This impressive Art Nouveau tourmaline...

Long before Barbie, Elsa Schiaparelli famously embraced "shocking pink" for her Surrealist-aesthetic couture clothing and handcrafted costume jewelry, which she commissioned from Parisian paruriers beginning in the late 1920s--when some of the most expensive jewels were fuchsia Burmese rubies. In this antique glass-beaded sautoir tassel-necklace, 37 "shocking pink" balls are each delicately caged like hot-air balloons by seven textural strands of faux-pearl-and-gold seed beads. These spherical stations are spaced by lustrous white medium-size faux pearls, ending in a four-strand seed-bead tassel that cages four of the fuchsia faux pearls. The beads are strung on bright magenta silk cord without a clasp. Sautoirs were an essential element of flapper style since Schiaparelli's couture-mentor Paul Poiret changed the silhouette of clothing in the 1920s, while the long necklaces remained popular until wartime 1939. To compete with her rival couturier Gabriel "Coco" Chanel, Schiaparelli (1890-1973) relied on the same French glassmakers, Maison Gripoix and Louis Rousselet--the masters of faux pearls at the time who added organic-ingredient coatings to their handmade glass beads. Either glass workshop that was established by the 1920s could have been commissioned to make the progressive hot-pink pearls for this unsigned necklace that dates to the Art Deco period. The design of this highly-textural tri-color sautoir featuring fuchsia spheres particularly suits the style of one of Schiaparelli's most frequent paruriers through the 1930s, Jean Clement. Some of his relevant unsigned work for Schiaparelli is in museum collections like The Met, including highly-textural tri-color sphere-decorated buttons/brooches and a fuchsia-toned metal-rosebud bead necklace. After Schiaparelli had become associated with fuchsia, she made particularly prolific use of this bright magenta in the late 1930s. In her demi-couture collections such as "Circus" and "Comedia del' Arte" (see our 3 photos), fuchsia jackets are adorned with similar colorful spherical glass beads among embroidered appliques and animal/clown brooches, as well as whimsical painted-ceramic buttons...

An Antique Opal Bead Necklace with gold bead spacers. The opals are lovely quality and in good condition. It was re-strung with gold beads added but could ...

Fabulous Art Deco fringe necklace collar with classic Deco design mid blue and clear glass beads. They are interspersed with three small disc shaped fa...

Fabulous Art Deco faceted french jet bead necklace with rhinestone ball beads. The necklace is knotted between each bead. Measuring length ap...

Vintage Bohemian necklace featuring faceted green glass and brass or gold plated metalwork. Size: The necklace measures 16" long. Drops 3-7/8" long in the center. Weight: 60.8 Mark...

Impressive 1930s Bakelite necklace made up of multicoloured beads in various shades of dark green, mustard, orange, tan, red, brown and black - colours which were given food-related names such as Creamed Corn, Butterscotch, Egg Yolk, and Salmon. Each bead is reminiscent of a chess piece, with rounded lines that very much echo the art deco styles of the era. Originally used for industrial purposes thanks to its ability to withstand heat, moulded Bakelite and its cast cousin, Catalin, made the jump to costume jewellery in the 1920s and had their heyday in the 1930s and 1940s with this necklace being one of the more decadent examples. When worn, the piece makes an impressive statement thanks to its substantial size and colourful appearance. Its generous length makes it possible to slip easily on and off overhead or it can be worn looped over. Truly a rare find which belongs in a serious collection. Condition wise, this is verging on extraordinary given the complexity of the carving and the shear number of individuals beads. We count very close to 250 hand carved beads...

Art Deco silver tone rod design necklace, with a lovely paste drop pendant. Measuring length 43.2 cm / 17 inches, and the paste drop is length 4.1 cm / 1.6 inches. This is a beauti...

GIA-certified Art Deco Aquamarine Necklace, a mesmerizing blend of intricate filigree platinum setting, old euro cut diamonds, and a massi...