CABOCHON EMERALD AND DIAMOND BRACELET Centering upon a half-moon, baguette and circular-cut diamond panel, set with a circular cabochon emerald weighing approximately 37.41 cts., joined to a similarly-set slightly tapered band, mounted in platinum-- 6 5/8 ins. long ; and a diamond and platinum ring, set with an interchangeable circular cabochon ruby By Trabert & Hoeffer, Mauboussin (Ring signed T&HM, No. 2234) In response to the machine age aesthetic that dominated the latter part of the 1920s and the beginning of the following decade, jewelry design evolved into shapes based on architectonic configurations. Styles became bolder; gemstones, more often than not, were cut en cabochon : "the bigger the better" seemed to be the guiding rule. By 1930, bracelets, which had been narrow at the beginning of the 1920s, were not only wider but also set with gemstones en masse. Multi-functional jewelry became popular, such as double clip brooches that could be seperated to form two clips and gemstones which could be used in several pieces of jewelry. The cabochon ruby and emerald in the illustrated bracelet and ring are interchangeable. Larger, chunkier jewelry, set with cabochon gemstones, was adopted enthusiastically by chic women of the 1930s. Popular screen stars openly displayed this jewelry in movies and in fashion magazines. This ring and bracelet were worn by Marlene Dietrich in the 1937 film, Angel, as well as in fashion and beauty portraits by great photographers such as Edward Steichen and Clarence Sinclair Bull. The book, Hollywood Jewels: Movies, Jewelry, Stars by Penny Proddow, Debra Healy and Marion Fasel, offers two illustrations of Miss Dietrich wearing this bracelet, along with a similar cabochon emerald and diamond bracelet by Trabert & Hoeffer, Mauboussin. One is a fashion photograph by Bell; while the other is a photograph of Miss Dietrich and Douglas Fairbanks, Jr. at the theatre (see pages 89 and 90). The ring is stamped with T&HM for Trabert & Hoeffer, Mauboussin. The emerald also became well known on two other occasions. One evening, Miss Dietrich lost her precious emerald while she was baking a cake at Katherine Cornell's house, carefully putting the gem aside whilst wrestling with the confection. At the end of her creation, as she went to re-don her jewelry, the emerald was not to be seen. All the guests went on a treasure hunt, but to no avail, until someone took a bite of the cake! Declaring "I'm glad to be a niece of Uncle Sam", it was also worn on the day she became a U.S. Citizen on June 9, 1939. Nobody will dispute the elegance and glamour that Marlene Dietrich gave to America and to Hollywood, dazzling everyone surrounding her. This jewelry evokes a bygone age that provides its own testament to one of the great Hollywood stars. (4)
CABOCHON EMERALD AND DIAMOND BRACELET Centering upon a half-moon, baguette and circular-cut diamond panel, set with a circular cabochon emerald weighing approximately 37.41 cts., joined to a similarly-set slightly tapered band, mounted in platinum-- 6 5/8 ins. long ; and a diamond and platinum ring, set with an interchangeable circular cabochon ruby By Trabert & Hoeffer, Mauboussin (Ring signed T&HM, No. 2234) In response to the machine age aesthetic that dominated the latter part of the 1920s and the beginning of the following decade, jewelry design evolved into shapes based on architectonic configurations. Styles became bolder; gemstones, more often than not, were cut en cabochon : "the bigger the better" seemed to be the guiding rule. By 1930, bracelets, which had been narrow at the beginning of the 1920s, were not only wider but also set with gemstones en masse. Multi-functional jewelry became popular, such as double clip brooches that could be seperated to form two clips and gemstones which could be used in several pieces of jewelry. The cabochon ruby and emerald in the illustrated bracelet and ring are interchangeable. Larger, chunkier jewelry, set with cabochon gemstones, was adopted enthusiastically by chic women of the 1930s. Popular screen stars openly displayed this jewelry in movies and in fashion magazines. This ring and bracelet were worn by Marlene Dietrich in the 1937 film, Angel, as well as in fashion and beauty portraits by great photographers such as Edward Steichen and Clarence Sinclair Bull. The book, Hollywood Jewels: Movies, Jewelry, Stars by Penny Proddow, Debra Healy and Marion Fasel, offers two illustrations of Miss Dietrich wearing this bracelet, along with a similar cabochon emerald and diamond bracelet by Trabert & Hoeffer, Mauboussin. One is a fashion photograph by Bell; while the other is a photograph of Miss Dietrich and Douglas Fairbanks, Jr. at the theatre (see pages 89 and 90). The ring is stamped with T&HM for Trabert & Hoeffer, Mauboussin. The emerald also became well known on two other occasions. One evening, Miss Dietrich lost her precious emerald while she was baking a cake at Katherine Cornell's house, carefully putting the gem aside whilst wrestling with the confection. At the end of her creation, as she went to re-don her jewelry, the emerald was not to be seen. All the guests went on a treasure hunt, but to no avail, until someone took a bite of the cake! Declaring "I'm glad to be a niece of Uncle Sam", it was also worn on the day she became a U.S. Citizen on June 9, 1939. Nobody will dispute the elegance and glamour that Marlene Dietrich gave to America and to Hollywood, dazzling everyone surrounding her. This jewelry evokes a bygone age that provides its own testament to one of the great Hollywood stars. (4)
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
