The top of the first vanity case by Jean Dunand applied with eggshell and lacquer, suspending from a lipstick holder, and opening to reveal a mirror and two powder compartments, vanity case measuring approximately 80 x 45 x 10mm, numbered; the second nécessaire also suspending from a lipstick holder, the top applied with black lacquer and a carved jadeite motif enhanced with rose diamonds, opening to reveal a mirror, a cigarette compartment, and two powder compartments, vanity case measuring approximately 85 x 55 x 15mm, French assay and maker's marks.

Cf.: Sylvie Raulet, Art Deco jewelry, London, 1985, pgs. 271-284.

Cf.: David Bennett and Daniela Mascetti, Understanding Jewellery, Suffolk, 1989, pg. 349.

Cf.: Félix Marcilhac, Jean Dunand, his life and works, London, 1991, pg. 276, no. 702 for a similar vanity ꦺcase dated 1925.

Please note due to printing constraints the colour of the jadeite in the catalogue may not be an exact representation of the colour as the item itself. Jadeite of Burmese origin cannot be imported into the US; this piece may contain jadeite of Burmese origin and therefore may not be able to be imported into the US. Certification of non-Burmese origin is required before the import of jadeite into the US. Please see our Important Notices and contact the jewellery department for further information. Accompanied by GGTL short report no. 15-B-3820, stating that the jadeite shows no indication of treatment. Vanity case by Jean Dunand numbered 46. Lacquer in overall good condition, with minor abrasions consistent with use and age, one chip on the lipstick holder. Minor chips on the mirror. Second vanity case with French maker's mark (AP) and French assay mark for 18 carat gold. Lacquer in overall good condition, with a few pinpoints and scratches consistent with use and age. Carved jadeite motif in very good condition. Total gross weight approximately 319 grams.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the 1920s and 1930s, high society ladies distinguished themselves by the elegance of their dresses and accessories. Gradually, the vanity case or nécessaire advantageously replaced women’s evening bags. All haute-jewellery houses and designers created innovative nécessaires. For some jewellers, those new items were a good opportunity to look after and find unusual effects. One of them, Jean Dunand, discovered a technique to insert white into lacquer pieces: he placed a layer of crushed eggshell on a base of lacquer. “A variety of effects can be obtained simply by applying eggshell to fresh lacquer in large crushed pieces, the inside of the shell uppermost, or, conversely, the outer side, or, again, in small juxtaposed pieces, or even sprinkled in fine particles”, Jean Dunand said.

The earliest examples of vanity cases consisted of small compacts suspended from chains, together with a matching lipstick holder, as i🙈n these examples.