What a Stunning and RARE bracelet find this is. I've also seen this in Hattie Carnegie Trifari, but this has so much more detail. Inspired by the Indian jewels created by Cartier during the Deco era of the 1920's and 1930's for the Maharajahs, and they recreated the look of the Indian jewels in pins, earrings, necklaces and bracelets in the entire Jewels of India Collection. HIGH demand by collectors today, as much or more so when it was first introduced. Out of the various Jewels of India pins created, this is the most desirable with it's extensive use of Bezel set sparkling ice rhinestones surrounding the large ruby bezel set cabochons. Prong set emerald, and sapphire poured glass cabochons. It has five oblong deep rose color poured glass cabochons, prong set between links. There is wear on metal back and wear around bezel setting. 7 1/2" by 1 1/4" 1920's It is unsigned . However, I have included the statement of "Understanding Chanel Marks". Page 102
The Book of Warman's Costume Jewelry by Pamela Y. Wiggins on Page 104.
Chanel Gripoix Cuff bracelet made later 1980's with logo Price $6,000 +
PARIS — In 1869, Augustine Gripoix, a Paris glass worker skilled in the making of reproduction pearls, developed a sophisticated technique for setting and enameling colored, cast glass in intricate metal mounting.
“Pâte de verre,” or glass paste, is formed when molten glass is poured into a mold, rather than through the kiln-firing of a paste of ground glass and binding agents. Pâte de verre has long leant itself to the creation of jewelry pieces in a wide range of shapes and colors, with princesses and aristocrats requesting replicas of their precious jewels, and commissioning necklaces to match their fur stoles.
Ms. Gripoix set up shop on Rue Tiquetonne, in what was then the jewelry district of the French capital. Her first claim to fame was the creation of stage necklaces for Sarah Bernhardt in the 1890s, followed by costume jewelry for the world’s first couture house, Charles Worth, founded the same year as Gripoix. She later collaborated with Paul Poiret, whose high-society clients commissioned pieces to go with the evening dresses they wore to Sergei Diaghilev’s Ballets Russes.
“It was then that the term ‘costume jewelry’ appeared, setting it apart from imitation jewelry — suddenly, its creative value was recognized,” said Evelyne Possémé, chief curator of the Art Déco and jewelry department at the Musée des Arts Décoratifs in Paris.
By the 1920s, the design house, ran by Augustine’s daughter Suzanne Gripoix, had added Jeanne Lanvin, Jean Piguet and Gabrielle “Coco” Chanel to their client list. Chanel first approached Gripoix looking for reproductions of Byzantine jewelry: she remained a loyal customer for decades. ”
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