A Line Vautrin (1913–1997) “Marie-Antoinette” necklace, circa 1950–60, composed of black Talosel cabochons inset with modeled fragments of mirrored glass, heat-inlaid with gold-toned backing and articulated by slender metal rods. The necklace exemplifies Vautrin’s radical postwar reimagining of jewelry through unconventional materials, transforming resin and mirror into an object at once sculptural, opulent and distinctly modern. Vautrin, the celebrated Parisian designer and decorative artist dubbed the “poetess of metal” by Vogue, began in gilt-bronze jewelry before developing Talosel, her proprietary worked cellulose-acetate resin, a material that became central to her highly individual vocabulary across jewelry, mirrors and decorative objects.