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Vintage Stanley Hagler Faux Turquoise Dangling Crystal Earrings Circa 1960s
About the Item
Vintage Stanley Hagler Faux Turquoise and Dangling Crystal Piece Earrings Circa 1960s. Such an excellent piece from this era, and lovely when mixed with the real thing. This is set on Gold Tone, and even the back is set on a gorgeous decorative flower base. A matching bracelet is available on-site. Again, once you see these on, then you get it. They are spectacular, and I am a minimalist!
Clip On.
Such a lovely piece of art.
- Creator:
- Metal:
- Weight:38 g
- Dimensions:Height: 3 in (76.2 mm)Width: 1 in (25.4 mm)Depth: 0.5 in (12.7 mm)Diameter: 1 in (25.4 mm)Length: 3 in (76.2 mm)
- Style:
- Place of Origin:
- Period:
- Date of Manufacture:1960
- Condition:Wear consistent with age and use. I would like to say excellent as it is just about excellent. It is in great condition.
- Seller Location:New York, NY
- Reference Number:Seller: E8-131stDibs: LU2565217622682
About the Seller
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- ShippingRetrieving quote...Shipping from: New York, NY
- Return Policy
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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.”
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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 for him 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...
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