Recently while shopping on eBay I saw several pieces that were listed as being by certain designers but then went on to say they were unsigned. How can this be?  If you do your research you can assign pieces to certain designers. For example- Miriam Haskell has a very distinct style. ,

Miriam Haskell first began making jewelry commercially around 1924. Like her design predecessors in the Art Nouveau era, she designed and manufactured jewelry that evoked nature in their subjects and construction. She began to create the pieces using organic materials in her jewelry. Not only was Haskell riding the wave of the Roaring Twenties, she was creating a wave of her own. The Twenties were the years that all of the fashion rules were broken. Haskell’s unbounded creativity met with enormous popularity. The prices for her costume jewelry were much lower than the cost of precious metals and stones, so anyone could afford to look fashionable. The popularity of her costume jewelry continued, even after the stock market crash.

 At the heart of a Miriam Haskell piece is a filigree base made of stamped brass. These come from France, Germany, and the US. The filigrees are plated separately in signature Russian gold or a specialty finish, then assembled, and then embellished. Vintage filigrees that are difficult to find are often used. Each element is first picked up by hand. Depending on the nature of the design, the element, no matter how diminutive, is then threaded, encrusted, or wrapped by hand onto a wire, a chain, or handset into a channel or finding. It’s the tight embroidery of the elements-that exposes no sign of the base underneath- that is one of the most distinctive features of Miriam Haskell jewelry. In addition to meticulous construction practices she used sophisticated and unique materials with colors that are characters unto themselves. In the early years, Haskell jewelry was not marked and production was limited. Many of “unsigned” Haskell pieces are questionable as to authenticity.

Haskell never registered her designs. She began to sign her pieces in 1950. The Miriam Haskell trademark was not received until 1988, 64 years after she began designing. Because there were no marks to identify her work prior to 1950, it is difficult to verify many of her pieces.

Several signatures including an incised “Miriam Haskell” on the hook, “Miriam Haskell” in a crescent shaped cartouche, and an oval stamp “Miriam Haskell” on the clasp. Some designs during the fifties were incredibly elaborate, combining stones, pearls, beads, and filigree in new and exciting ways.

So how do I know if this piece is a real Haskell?  Research. Look through photos in books on vintage jewelry; vintage magazine ads and website that specialise in the designer you are trying to research.  My rule of thumb is that if enough characteristics of the designer are present in your piece you can say with confidence that you do have an unsigned piece “in the style of”  your designer. This piece is not signed Miriam Haskell but the over all design has her style written all over it. From the organic style of the flower centerpiece covered with interesting hand wired beads  to the flower shaped beads accented with rhinestones.  it is very likely that this piece is a genuine Haskell pre- 1950.

 

 

 

 

 

 

 

 

 

 

The brooch below is one  I recently discovered at a flea market is unsigned. Whne I forst looked at it I thought to myself this looks like a Schreiner piece. But after doing more research and comparing it to other Schreiner brooches I have I have concluded that it is not a Schreiner. The center stone even though it has an open back is foiled.  it would have been more in keeping with Schreiner’s style to place an unfoiled stone of a higher quality as the centerpiece of this brooch.

If you are like me you spend a lot of time wandering flea markets, thrift stores, garage sales and auctions. When it comes to buying vintage jewelry keep in mind these tips before you buy. Nothing is more disheartening then getting a piece home and really looking at it after the “honeymoon” of finding it is over.  In the case of this signed Coro brooch , it wasn’t until I got home from a wonderful afternoon of junking that I realized the top left pearl was a lower quality replacement. Now it sits on my replacement shelf waiting for me to find a better match. Taking this into consideration I would not have paid what I did for it at all.
What is the physical condition of the piece? A well cared for and therefore more valuable piece does not have to look new, after all, it is termed vintage for a reason but it should not look it’s age either.

Missing, cloudy, black or mis colored rhinestones stones: these devalue the piece. If stones are missing inspect the area to see if they are missing due to becoming loose from the glue or in the case of prong set stones the prongs have broken off. In the case of missing stones due to old glue this is an easy repair, however, if the stones are missing because the prongs are broken or missing I would put it back on the shelf and say a little prayer to the Rhinestone Goddess for the mistreatment of one of her treasures.

Missing or broken parts and tacky plating:

 Here is a prime example of what to pass up. This brooch has some wonderful stones in it and they would be easily replaced. Take a good look at the metal. it is in very poor condition. The plating has worn off in places and someone down the line tried to brighten it up by using something on it to cover the old plating. Poor workmanship or repair flaws are a sure sign of a lower quality piece. Missing pieces such as the clasp mechanism on the back of a brooch takes some skill to repair. I have accumulated quite a few pieces of old brooches to use for repair. You will want to match the metal color and patina as closely as possible so your repair doesn’t stick out like a sore thumb. The same goes for necklace and bracelet clasps. make sure whatever you use keeps the original integrity of the piece as much as possible.

Poor repair workmanship: Sometimes you find a piece that has already been repaired. Take a good look at it. Did they use the right glue when resetting a rhinestone? If there is a hard yellow glue residue around the stone or pearl it was not repaired properly. Was the repair stone replaced with an inferior one?  These repair mistakes can be easily corrected by you and you can restore the piece back to it’s glory with the proper tools. (see previuos posts about repair kits and tools)

Because of my interest in theatre I have accumulated several history of costume books going back centuries. In the case of vintage jewelry my interests begin around 1840 to the 1960’s.

Jewelry construction has changed very little over the past 4000 years. It is a good idea to get a basic knowledge of jewelry construction and manufacturing techniques if you really want to accurately identify antique and period jewelry.

Hand Fabrication:
A piece is said to be handmade when a bench person makes the piece from start to finish. They may use purchased tubing or sheets of gold or may elect to alloy the metal and roll the gold themselves. The jeweler can start with a sketch of their own or one provided by a designer and then select the stones and materials or they can begin with the stones and let them dictate the size and flow of the finished piece.

Casting:
This method usually starts with an existing piece of jewelry or a carved wax form that a mold model can be cast from. A rubber mold is made by packing the model with a special rubber material and vulcanizing it in a mold maker.When it is finished the model is cut out and you have an exact duplicate of the orginal piece. How can you tell if the piece you are looking at has been cast? Look closely at the back side of the piece. Sometimes you can detect the tell-tale flow lines of casting or you may see a bubbly effect or porosity marks.

Die Striking/Stamping:
To be simply put die striking and stamping is the movable force(the metal) meeting the immovable object(the steel die). A designer creates an original by hand, then metal dies are made from the piece. The jewelry is manufactured by stamping the hard metal dies into the softer precious metal. Die-struck jewelry is denser and more durable than cast jewelry, and it allows a higher polish however, stamping is more expensive than casting because of the equipment, factory space and time involved in making dies.

Electroforming:
Compared to the previous processes this one is considered a “modern” process for making jewelry. It was first patented in England in the 1840’s. In the 1850’s and throughout the end of the century it was used to make copies of ancient and Celtic jewelry. Popularity for this process waned for almost 100 years but has now come back into favor.
It is basically a process in which pure or carat gold is electroplated onto a shaped former. This can be a low melting point metal but more recent technology developments now enable electroforming onto a wax model, such as produced for lost wax casting. Control of both consistency and uniformity of thickness as well as carat-age is very important in a mass production situation where 50 -75 pieces may be electroformed simultaneously in the bath. This is achieved by computer control of the plating bath. Generally electroformed articles will be around 100 -150 microns thick and even up to 250 microns for large items. The wax or metal former is removed at the end of the process.

There are 2 electroforming technologies available. One produces a deep yellow gold-copper-cadmium alloy deposit and the other a paler yellow gold-silver alloy, both in the range of 8 to 18 carats. Electroforming of pure gold is also carried out and is particularly popular in the Far East. When plating is done at high plating rates, a textured surface is produced which does not require further finishing.

White Metal Spin Casting:
Much of the costume or fashion jewelry made to day uses this method of construction. Because old costume jewelry is so collectible, it is important to have a some understanding of how it is made.
The white metal used in this process is an alloy or mixture of tin, lead, bismuth, antimony and cadmium. The tin content can vary from 17-92% depending on the quality of the piece. Many good quality white metal pieces have an 88% tin content. White metal melts at 520 to 420 degrees. Just like other casting methods this one starts with a model of the piece to be produced. From this piece a model mold is made. Since 1937, rubber was the choice material for molds. Before that year the molds were made of bronze.