Three round, thin necklaces and one round, thin bracelet by Jean Dunand, signed near the swirl/swerve opening on the innermost necklace at the top of the photo. The pieces are of matte red and black lacquer on oreum, a gold-colored alloy. It was made in 1927. The design is of rectangles and triangles and was Egyptian in style, which was very popular because Tutankhamen’s tomb was found five years prior.

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See more objects with the tag pattern, jewelry, craftsmanship, Jean Dunand, Josephine Baker.

Object Timeline

	We acquired this object.
1922	Work on this object began.
1932	Work on this object ended.
2017	We photographed this object. We photographed this object. We exhibited this object.
2024	You found it!

Object ID #907214227

This is a Necklaces and Bracelets.

This object is not part of the Cooper Hewitt's permanent collection. It was able to spend time at the museum on loan from Anonymous as part of The Jazz Age: American Style in the 1920s.

It is dated ca. 1927. Its medium is red and black lacquer and oréum.

Jean Dunand’s expertise in enameling extended to jewelry. His exotic Giraffe necklaces and bracelets of about 1927 were seductive and colorful adornments, especially when worn dancing.

It is credited Lent by Siegelson, New York.

Bogolanfini Woman's Wrapper (Mali)
cotton.
Museum purchase from The Grodzins Fund for Textile Acquisition.
2000-22-1

Door With Handle (France), 1925–26
carved, joined, and lacquered wood, eggshell, mother-of-pearl, gold leaf,....
Gift of Mrs. Solomon R. Guggenheim.
1950-104-2

Gourd-shaped repoussé cache-pot (decorative planter) with geometrical red and black lacquer decorations. The planter is made of oxidized copper and therefore its surface appears brown and matte; however, it is covered with vividly colored, precisely executed geometric patterns in red and black lacquer. The patterning emphasizes the planter’s nearly spherical form. The vertical ribs, similar to the meridians of a sphere, are hammered into relief and decorated with alternating geometric designs, with, either filled-out black triangles and empty red triangles, or red and black concentrically arranged circles and curves and alternating, cascading line segments. The maximum circumference of the planter is highlighted by horizontal black lines alternating with red vertical segments; the decorative elements are simpler below these lines and taper off towards the bottom of the vase. The circular rim and inside of the vase are red and shiny. The transition between the rim and ribs is given by a black stripe below the rim, and clusters of five equidistant vertical line segments above each rib. The sophisticated, beautifully executed patterns remind both of African motifs and modern art.

Cache-pot, ca. 1920
oxidized repoussé copper, colored lacquer.
Stephen E. Kelly/Kelly Gallery, New York.
38.2016.4

Our curators have highlighted 3 objects that are related to this one.

Drawing in crayon and gouache, featuring the face of African-American entertainer, Josephine Baker [whose exotic appearance and seductive dance movements caused a sensation in 1920’s Paris.] Her face, the largest element in the drawing, takes up a significant portion of the top half of the page. Small, loose 'gesture' drawings of four nude dancing women are in the bottom half. These are arranged in a semi-circle starting at her ear (viewer’s left) dipping around her neck, and rising up again to her other ear. The effect is as if the figures form a fantastical “collar” around her neck. Overall, the drawing has the feeling of a stage set - with a spotlight above her head and lights on either side. Clearly, she’s the main attraction, the dancing figurese are the supporting act. Baker’s face is rendered as an animated caricature/sketch. She has dark skin, bright flashing eyes (looking to to viewer’s right) with pronounced (mascared/false) eyelashes and bold black liner on top and lower eye lids emphasizing the almond shape of her eyes. Her hair is closely cropped and slicked down (lacquered) around her head (as if it were painted on) with a curl pasted on her forehead, and one on each of her cheeks. [The severe hairstyle popular in the 1920’s, sometimes called the “Eton crop” ie like a schoolboy’s, emphasizes the shape of the head and focuses interest on the face. It was Baker’s signature look.] A diagonal white line on her dark hair (almost like a side part) makes her hair seem shiny, as if catching a reflection of light. She has an indistinctly shaped nose (defined only by a small swiggly line at the very tip.) Her smile is broad and engaging. She appears to be wearing shiny lipstick (a glimmer of light reflects on her lower lip.) Her teeth are rendered as a solid half-moon shape, completely filled in with dazzling white. It is the brightest area in the drawing, falling almost in the center, and keeps commanding the viewer’s attention. Her forehead is a dark brown while the bottom (from nose to chin) is a light beige color - as if illuminated by some light source. Her head floats between two parallel diagonal lines as if caught in a beam from a spotlight shining down from somewhere above the upper left corner. The “beam' of light is set against a royal blue background, almost like a curtain or stage backdrop. Further giving the impression of a theatrical setting, within each blue area there is an uncolored, rounded shape that looks like the diffused glow from a klieg or stage light. Following the beam down from the spot light, one finds the four naked dancing figures beneath the face. They could be quick sketches of “Josephine” dancing. Each has her cropped hairstyle. Two appear to wear bananas at their hips, one sports ostrich feathers on her rear. [These 'accessories' might be references to her famous scandalous costumes - which included a belt made from bananas or strategically placed feathers.] The fourth has no accessories to embellish her birthday suit. They are in various dynamic poses as if caught in mid motion. Each dancer has very expressive hand gestures. From viewer’s left, dancer A (the largest of the four) is positioned at about 8 o’clock, dancer B (doing a deep knee bend with one leg pointed straight out) at about 7 o’clock, dancer C (smiling, boldly naked, and facing viewer directly) at about 5 o’clock; and dancer D (the smallest figure looking like she is running off in the distance ) at about 3 o’clock. The artist used a limited palette: besides brown/beige/taupe/black/white (face and bodies of the dancers); there is cobalt blue (on either side and at the bottom of the “spotlight”); a hint of acid yellow (by dancer A); and a hint of pale mauve/pink (by dancer C.) What’s remarkable about this drawing is how the artist captured the charisma and sensuality of Josephine Baker in a relatively simple sketch of her head. Her giant face has tremendous personality and a most engaging almost blinding smile as compared to, and balanced by, the four smaller, sinuous but anonymous dancing figures beneath. There is a clarity and logic to the graphic design - as the diagonals and circular lines keep directing the viewer back to Josephine's face.Drawing in crayon and gouache, featuring the face of Josephine Baker (African American entertainer whose exotic appearance and seductive dance movements caused a sensation in 1920’s Paris.) Her face, the largest element in the drawing, takes up a significant portion of the top half of the page. Small, loose 'gesture' drawings of four nude dancing women are in the bottom half. These are arranged in a semi-circle starting at her ear (viewer’s left) dipping around her neck, and rising up again to her other ear. The effect is as if the figures form a fantastical “collar” around her neck. Overall, the drawing has the feeling of a stage set - a spotlight above her head and lights on either side. Clearly, she’s the main attraction, the other dancers are the supporting act. Baker’s face is rendered as an animated caricature/sketch. She has dark skin, bright flashing eyes (looking to to viewer’s right) with pronounced (mascared/false) eyelashes and bold black liner on top and lower eye lids emphasizing the almond shape of her eyes. Her hair is closely cropped and slicked down (lacquered) around her head (as if it were painted on) with a curl pasted on her forehead, and one on each of her cheeks. [The severe hairstyle popular in the 1920’s, sometimes called the “Eton crop” ie like a schoolboy’s, emphasizes the shape of the head and focuses interest on the face. It was Baker’s signature look.] A diagonal white line on her dark hair (almost like a side part) makes her hair seem shiny, as if catching a reflection of light. She has an indistinctly shaped nose (defined only by a small swiggly line at the very tip.) Her smile is broad and engaging. She appears to be wearing shiny lipstick (a glimmer of light reflects on her lower lip.) Her teeth are rendered as a solid half-moon shape, completely filled in with bright white. It is the brightest area in the drawing, falling almost in the center, and keeps commanding the viewer’s attention. Her forehead is a dark brown while the bottom (from nose to chin) is a light beige color - as if illuminated by some light source. Her head floats between two parallel diagonal lines as if caught in a beam from a spotlight shining down from somewhere above the upper left corner. The “beam' of light is set against a royal blue background, almost like a curtain or stage backdrop. Further giving the impression of a stage set, within each blue area there is an uncolored, rounded shape that looks like the halo from a glowing light. As the viewer follows the light beam, one finds the four naked dancing figures beneath the face. They could be quick sketches of “Josephine” dancing. Each has her cropped hairstyle. Two appear to wear bananas at their hips, one sports ostrich feathers on her rear (these 'accessories' might be references to her famous scandalous costumes - which included a belt made from bananas or strategically placed feathers.) The fourth has no accessories to embellish her birthday suit. They are in various dynamic poses, and each one has expressive hand gestures. From viewer’s left, dancer A (the largest of the four) is positioned at about 8 o’clock, dancer B (doing a deep knee bend with one leg pointed straight out) at about 7 o’clock, dancer C (smiling, boldly naked, and facing viewer directly) at about 5 o’clock; and dancer D (the smallest figure looking like she is running off in the distance ) at about 3 o’clock. The artist used a limited palette: besides brown/beige/taupe/black/white (face and bodies of the dancers); there is cobalt blue (on either side and at the bottom of the “spotlight”); a hint of acid yellow (by dancer A); and a hint of pale mauve/pink (by dancer C.) What’s remarkable about this drawing is how the artist captured the charisma and sensuality of Josephine Baker in a relatively simple sketch of her head. Her giant face has tremendous personality and a most engaging dazzling white smile as compared to, and balanced by, the four smaller, sinuous but anonymous dancing figures beneath. There is a clarity and logic to the graphic design - as the diagonals and circular lines keep directing the viewer back to Josephine's face.

Object ID #907131607
crayon and gouache on paper.
The Collection of Richard H. Driehaus, Chicago.
49.2016.3

Object ID #907130341
kiln-cast glass (pâte-de-verre).
Lent by The Cleveland Museum of Art, Gift of Henry H. Hawley, 1995.92.
48.2016.9

Set of jewelry displayed on a flat white background. It features two necklaces and two bracelets. The jewelry is made out of gold alloy with dashes of blue, green, and black lacquer creating a striped pattern. The necklaces are positioned on the upper right side. One of the necklaces is smaller in circumference and is positioned within the larger one in the photo creating double rings. The bracelets are positioned to the right of the necklace - one lower than the other. The bracelets are positioned separately not like the necklaces. The shapes are similar, having one slightly smaller than the other. All pieces are rigid. The necklaces have hook-fasten clasps that seamlessly blend.

Object ID #907214239
blue and black lacquer and oréum (gold alloy).
Lent by Siegelson, New York.
61.2016.9a/d

Its dimensions are

H x diam. (necklace): 14.6 cm (5 3/4 in.) H x diam. (necklace): 13 cm (5 1/8 in.) H x diam. (necklace): 11.4 cm (4 1/2 in.) H x diam. (bracelet): 6 cm (2 3/8 in.) H x diam. (bracelet): 6.7 cm (2 5/8 in.) H x diam. (bracelet): 7 cm (2 3/4 in.)

This object was previously on display as a part of the exhibition The Jazz Age: American Style in the 1920s.

Short URL http://cprhw.tt/o/2oaHbB/
Accession Number 61.2016.5a/c
Object ID 907214227