Berkshires - Beaded Necklaces

With a distinct silver twisted toggle clasp and multiple kinds of nubby rondelles dating to the late 1920s, Parisian parurier Louis Rousselet's workshop handcrafted this glass beaded...

Featuring yellow-gold sinuous-pattern rondelles and carnelian rock-crystal round 8mm beads, this ancient-revival heavy necklace is knotted in stations a...

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 gems were fuchsia Burmese rubies. In this antique glass-beaded sautoir tassel necklace, 37 unusual fuchsia faux-pearls 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 beads. 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 Gabrielle "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 tricolor sautoir featuring fuchsia spheres could suit 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 tricolor 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...

On this Art-Deco period glass micro-bead 20-strand necklace, the yellow-gold-plated clasp is stamped with a crown-topped Trifari signature without a U.S.-copyright symbol, which Indi...

Gabrielle "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 a mixed-bead ...

In the late 1920s during the Art-Deco period, this Miriam Haskell white mostly glass-beaded sautoir was created in New York City by her first designer Frank Hess. This uniquely hand-...

Beginning in the mid-1920s, Gabrielle "Coco" Chanel collaborated with Parisian Louis Rousselet for a wide variety of handcrafted unsigned glass-beaded costume jewelry to compliment h...

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 mid-century like-new Bakelite and yellow-gold-gilt beaded double-strand necklace still sports the CoroCraft pegasus 1940s retail foil-tag as if never worn. As an elegant take on...

Stamped "Western Germany" on the gold-tone underside of its box clasp, this double-strand long necklace with cherry-red beads and decorative clasp features the reflective glossy face...

This antique late-Victorian Italian Murano-glass unsigned necklace features three oblong red beads with miniature multicolor swirled-stripe patterns made with the millefiori techniqu...

With a silver clasp that could be as old as the Victorian period and in an Art-Nouveau style with pale intricate flora motifs, this antique long glass necklace features lampwork-like...

Featuring the earliest white-swirled glass and enameled faux-pearl round beads handcrafted by Parisian lampwork-master Louis Rousselet for American entrepreneur Miriam Haskell and he...

This antique French early Art-Deco period two-strand necklace is strung with a variety of Parisian handcrafted beads that date to the early 1920s, including sea-green lampwork glass,...

This antique rare hand-pressed-glass necklace features semi-translucent grape-green large beads that are capped with gilt-brass filigree. Based on the combination of bead seams, spring-ring clasp, and metal findings on the unmarked faux Chinese-jade necklace, it dates to the late Victorian period most likely from Western Europe. Around WWI, hand presses, which stamped molten glass into a mold to create a bead with a hole and a seam, were often used to produce costume jewelry as a cottage industry in Germany and the Czech region. This was while there was a lack of factory machine presses and finishing tumblers that used sand to polish out the seam lines. Another reason that the cloudy green beads can be identified as atypically hand-pressed is that they are more opaque and therefore harder and less prone to breaking during formation than fully-translucent glass, which was better suited for automated-machine pressing. Also the green beads are an unusual swirled color including white, which suggests that their production was more limited than machine-pressing would enable. Without the bead-seams, this necklace could be mistaken for one by Coco Chanel. Her 1920s couture...

Vintage Vendome set composed of a three-strand necklace and earclips featuring large faux pearls interspersed with faceted topaz-toned and iridescent crystals and white beads with go...

Goldtone and black bead necklace by Jonné, a short-lived division of Schrager, sits gracefully at the nape of the neck. A double row of various face...