Dedication... 4 A Note to Readers about the Second Edition... 4 Acknowledgments... 4 About the Author... 6 Introduction... 7 Chapter 1 When to Buy

Transcription

1 Dedication... 4 A Note to Readers about the Second Edition... 4 Acknowledgments... 4 About the Author... 6 Introduction... 7 Chapter 1 When to Buy and When to Walk Away Chapter 2 Four Recommended Designers for Beginners Coro Kramer Trifari Weiss Chapter 3 Designer-Signed Jewelry Chapter 4 Miscellaneous Makers Chapter 5 Marked by Style Jewelry Chapter 6 Upgrading Your Collection Chapter 7 Repairing and Cleaning Jewelry Chapter 8 Cataloging a Collection Chapter 9 Storing and Insuring a Collection Glossary Bibliography Appendix 1 Design Patent Numbers Appendix 2 Utility Patent Numbers Index

2 With the popularity of online auctions such as ebay, anyone with money can acquire a firstrate collection of costume jewelry. Stunningly beautiful vintage designer pieces are available 24 hours a day, seven days a week. However, for many passionate collectors, the fun of collecting is in the hunt for beautiful yet affordable treasures from bygone eras. This book is aimed at the beginning collector on a budget who wants to build a collection through guile and creativity. It includes tips on how to successfully find affordable but wonderful pieces and on how to avoid costly mistakes. Also included are tips on how to negotiate a good price, advice on using a computer to catalog a collection, and information on upgrading to improve a collection. There is a large reference chapter in this book, which includes photographs of and values for jewelry from over 120 different designers. A summary of information chart for each of the 120 designers provides the beginning collector with important background information about each designer, and includes my recommendations on which designs are the most collectible. A new collector of costume jewelry must undergo a learning process to be able to distinguish a vintage and valuable piece of costume jewelry from the sea of pretty but less Figure 1. Delightful and wearable Krementz cuff bracelet and screw-back earrings featuring cultured pearls and a lovely openwork design, in original box. This set was a gift from my grandmother in the mid-1960s. $ set. Figure 2. Left: 2" x 1" Keystone Kop figural pin marked Tortolani. $ Right: 1 1 4" x 1" blue and green enameled fly figural pin. This pin is marked Boucher and has a four digit design number, but only three digits, 965, are readable. $ Both were gifts received in the mid-1960s. collectible pieces that are currently being offered in online auctions, at flea markets, and in antique stores. Recently, I helped to guide a good friend through this process. In less than a year, she was able to attain a level of expertise that took me 12 years to reach. While I cannot take credit for her passionate interest in the subject, her intelligence, or her good taste, I like to think my advice helped to shorten this process for her. In the Beginning My own collection began 16 years ago, at a stressful time in my life when I desperately needed a diversion from my problems. Watching QVC one evening, I became fascinated by the classically beautiful costume jewelry created by one of the famous manufacturers of costume jewelry featured on the show. While listening to the program, I learned that costume jewelry by fine designers of the past often has signatures. Curious, I went into my jewelry box and began to examine the backs of some of the pieces of costume jewelry that were given to me by my grandmother, in the 1960s, as Christmas gifts. Figure 1 shows a picture of a vintage Krementz set I found that was still in its original box! As I kept looking, I also uncovered a whimsical Tortolani Keystone Kop pin, and my personal favorite, an exquisitely enameled Boucher fly pin. Notice the beautiful enameling and the detailed design of the Boucher fly pin shown in Figure 2. As I dug deeper into my then very unorganized jew- 7

3 Introduction you want to collect. Some collectors specialize in one designer. Others prefer to only collect signed bracelets. Know that in whatever direction your collecting passion lies, it is possible to trade up earlier acquisitions to acquire more and more valuable pieces. Sometimes I must sell or trade five lesser-valued items to obtain one coveted treasure, but for me this process works. I have the fun of buying the lowervalued pieces. I learn from them. As my knowledge grows, I trade or sell these pieces to recover as much of my original investment as possible. Remember that most costume jewelry is a good investment and will usually appreciate over time. If I have owned a piece for a few years, it is possible to make a nice profit on it when I decide to trade or sell the item. There is more detail about this aspect of collecting later in the book. For now, the fifth rule in collecting costume jewelry is to begin buying jewelry that fits your budget and let the quality of your collection grow with your knowledge. Values of the Jewelry in This Book When I go to the local flea market, most of the vendors know that I collect costume jewelry. It is not unusual for one of them to show me a piece of jewelry and ask me to help them place a value on it. I take a request like that very seriously. It is a daunting task to answer such a question, because there are so many intangible factors that determine the market value of the jewelry. Usually I will quote the dealer the price that I have seen similar pieces sell for on ebay. I believe that ebay is a good source of information on the market value of jewelry. One reason for this is that most modern collectors have easy access to the Internet, so I do not think a savvy collector will pay more than the ebay auction prices. In addition, the jewelry is available to them at these prices. I can see no reason why a collector should pay more at a flea market for the same jewelry that he or she can easily purchase online. For higher-end jewelry in antique malls, the prices may be greater. My general rule is that I will pay 10% to 20% more in an antique mall for the privilege of being able to hold and examine the jewelry in my hand before buying it. The value placed on the jewelry in this book is an average of the selling prices of like or similar pieces on ebay. I have added an average shipping/handling charge of $6.00 to each value. Every piece of jewelry in this guide was purchased at or below these prices. The asking prices may be much higher in antique stores or at antique shows. Unattributed jewelry is from the author s collection. The values of jewelry from the collections of others may be adjusted at the request of the contributor. Figure 5. Shimmering clear Eisenberg pin with pavé icing and matching earrings. The 2 1 2" x 3 4" pin is signed Eisenberg in block letters and is a family piece. The coordinating 1 1 4" x 3 4"earrings are from the same era, but were not originally with the pin. They are also signed Eisenberg in block letters. Pin: $ Earrings: $ Dating Jewelry Most of the jewelry featured in this book was made in the 1950s and the 1960s. When I am sure of the date the piece was manufactured, that information is included. Note: A designer of costume jewelry is the person who creates the artistic style of the piece. A manufacturer is the company that produces and markets the jewelry. Sometimes a designer both designs and manufacturers the jewelry. For example, Kenneth J. Lane is a jewelry designer. In the 1960s, he purchased a jewelry factory in Rhode Island to produce his jewelry designs. He both designed and manufactured the jewelry. Sometimes a manufacturer employs several different designers over time to create the jewelry produced in their factories. For example, Trifari employed different designers in the many decades of its operation to create jewelry that was produced and marketed by Trifari. As you can see, the difference between designers and manufacturers can be very complex. To simplify the writing of this book, the words designer and manufacturer are used interchangeably. I believe the word designer better describes the beautiful pieces of fashion art that were produced and manufactured by the companies and artists described in this book. 9

4 Chapter 1 Before purchasing a piece of vintage costume jewelry, carefully examine the piece. Even those of us on a budget must strive to purchase pieces that are in good condition. The following acronym is helpful in evaluating the quality and condition of the jewelry: G U I D E Is the piece in good condition? Stones Metal Hardware Do you like it? Is it a good investment? Is the piece signed by the designer? Is the piece well designed? Are there any extras that make the item more interesting? Condition, Condition, Condition By far, the most important factor when examining a piece of costume jewelry is the condition of the piece. It is easy to fall in love with the glitzy sparkle, color, and allure of a vintage brooch, but if the brooch is in poor condition, then it is not a good investment. Stones Look carefully at the stones. Are they all present? Is there any glue around the stones that indicates the stones may not be original to the piece? Are any of the stones cloudy or darkened from age? The Coro flower pin shown in Figure 6 is missing one large pink stone at the base of the leaf, and the bottom wings of the Weiss butterfly pin are missing several hot pink rhinestones. The Kramer bracelet shown in Figure 7 is missing several white molded flowers. Fortunately, I can easily repair the Coro flower pin because large pink rhinestones Figure 6. Coro pink enamel flower pin, probably made in Canada and dating from the 1990s. Missing one easily replaced rhinestone on the stem. $ Hot pink flat b o t t o m e d c h a t o n rhinestones stand out on this example of a Weiss butterfly pin. Missing three very difficult-tofind stones. In this condition, this pin has little or no value. If perfect, $ Figure 7. Rare 7 1 2" Kramer summer white bracelet with navette smoky quartz stones surrounded by white plastic flowers. Missing four hard-to-find white flowers. In this condition, this bracelet has little or no value. If perfect, $ are readily available. However, the Weiss butterfly pin and the Kramer bracelet are not easily repaired. These pieces are two of my mistakes. I did not have the correct parts to repair the pieces when I purchased them, so I should have passed them by. (Note: There are professionals who, for a price, will match hard-to-find rhinestones and repair jewelry. See Chapter 7 for more information on the cost and advisability of using this type of service.) This lesson taught me an important rule that I try to follow when buying jewelry: It is very important to be sure that the stones are all present and in good condition, unless you are certain you have the resources to properly repair the piece. Prong-Set Stones vs. Pasted-in Stones One indicator of a high-quality piece of costume jewelry that is accepted by collectors is the presence of prong-set stones. Although in my experience, I have found that there are many beautiful, older pieces with pasted-in stones. Premier designers such as Trifari often created wonderful masterpieces of jewelry art using pasted-in stones. Notice the wonderful flowing design of the Trifari 10

5 Four Recommended Designers for Beginners 30" of glowing raspberry beads and matching Coro 3 4" x 1 2" screwback earrings. The individually knotted beads do not have a clasp, so they are not marked. However, the beads are a perfect match for the stylized earrings, which feature a rare sculpted leaf overlay. The earrings are marked Coro in script. Sets like this one are affordable at $ Unusual Coro pendant and earrings resembling an ancient coat of arms. The pendant is cast in an inexpensive base metal, but the set does have some beautiful green, black, and white enameling. The pendant measures 2 3 4" x 1 1 4". The clip earrings are approximately 1". $ set. This is a high-end Coro rhinestone demi-parure featuring textured gold-tone metal swirls and shimmering amethyst stones that vary in color and shape. The small round chatons have an aurora borealis finish that catches the light. The bracelet measures 7 1 4" x 3 4", and the textured clasp is marked with the Coro Pegasus signature. $ set. Perfect for a young girl, this lovely Coro demi parure comes in its original box. A clear aurora borealis rhinestone accents each delicate brushed gold flower. The necklace measures 16". The matching clip earrings measure 1" x 1 2". $ set. 30

6 Four Recommended Designers for Beginners Handsome hand-strung 2" red and black Vendôme brooch. The black scalloped-edge stones are sometimes referred to by collectors as margarita stones. $ Remarkable 2 1 2" Vendôme pin featuring scrolling metalwork and large prong-set aurora borealis rhinestones. This is a rare and magnificent pin. $ and up. Fun Vendôme turquoise and gold-tone bird nest necklace. Measuring approximately 16", this unusual Vendôme necklace features faux turquoise beads and wire, bird nest beads. It is signed Vendôme with the copyright symbol. $ Glorious 15" triple-strand peach-colored Vendôme beads. Note the interesting gold-foiled beads in this necklace. $

7 Four Recommended Designers for Beginners 1970 Jonathan Bailey Trifari necklace. This magnificent 18" necklace was designed for Trifari by Jonathan Bailey. It is featured in a 1970 Trifari Sculpturesque advertisement (shown on page 239 of Collecting Costume Jewelry 202). The advertisement reads, Premier! Designer Jonathan Bailey s first and exclusive Trifari creations. Dramatic. Provocative. Important. From a collection about $7.50 to $ The bright gold-tone and baroque pearl necklace is signed Trifari with the copyright symbol. $ Two similar teardrop-shaped pendant necklaces by Trifari, probably dating from the 1970s. $ each. Thrilling Trifari jeweled 15½" necklace. This magnificent necklace is signed Trifari with the copyright symbol and features red, white, and green rhinestones set in brushed gold-tone metal. Inspired by the magnificence of India, this spectacular necklace is highly collectible and highly valued by collectors. $ From the collection of Debi Reece. Trifari produced a large line of this type of white enamel over metal jewelry. This beautiful long double-chain necklace is marked with the stylized T Trifari hangtag. The white enameled flower measures 2 1 2" in diameter. $

8 Designer-Signed Jewelry Three beautiful coordinating pieces by 1928, all featuring pink porcelain roses. Left: 1 1 2" round wreath pin. $ Center: Pretty 3" magnifying necklace (lorgnette) on delicate gold-tone chain that is enhanced by light pink crystal beads. $ Right: Matching pierced earrings with a pearl drop to match the pearls on the lorgnette. $ Lovely long rose pendant necklace by 1928 with off-white and opalescent pink beads and matching 1 1 4" oval clip earrings. This necklace hangs 16" down from the neck and is marked with a 1928 hangtag. $ set. Sweet 1 1 2" squirrel figural pin holding a dangling pearl. There are many collectors of figural pins, and some of the 1928 pins are wonderful. $ Back view of the rose pendant necklace showing the 1928 signature swirls. A piece of 1928 jewelry can be identified by these swirls if it is not marked with a hangtag. This type of decoration on the back of jewelry was popular at the turn of the century, so it is possible to find real jewelry with similar swirling patterns on the backs. 97

9 Designer-Signed Jewelry Three more examples of Beatrix Christmas pins. Left: Old-fashioned candle marked BJ done in smooth goldtone metal and measuring 2" x 1". Center: Flat 1 3 4" wreath marked Beatrix, with enameling to simulate stained glass. Right: 2 1 2" simulated stained glass candle pin that matches the style of the wreath. $ each. Famous Beatrix 2" Chris Mouse pin featuring a nodding or trembling head. $ Left: 3" silver-tone leaf pin decorated for the season. Right: Very well-crafted large 2 3 4" bell pin signed Beatrix. $ each. Back view of the Chris Mouse pin showing the spring that attaches the head. Left: Gold-tone 1 3 4" angel pin marked Beatrix. Center: Flat enameled 1 1 4" Santa s boot pin. Right: 2" Frosty the Snowman pin with moveable broomstick! $ each. 115

10 Designer-Signed Jewelry This Miriam Haskell three-piece set consists of one pair of five-pointed star earrings measuring 1" and one (center) loose piece that could be a dangling charm from a bracelet or necklace. One earring is marked with the older Miriam Haskell horseshoe shaped mark. All of the tiny white beads are hand strung and attached to the decorative filigree backs. $ Wonderful black, white, and gold 16" Miriam Haskell necklace. This easy-to-wear Miriam Haskell necklace is signed Miriam Haskell twice, once on an oval hangtag and again on the hook. Notice the typical Haskell hand-beaded flower decoration on the hook. $ Large 2" crescent-shaped filigree screw-back earrings signed Haskell and unusual wooden hinge-and-lock pendant signed Haskell on the clasp with the patent number The earrings are wonderful, but they are not a match for the necklace and are probably older. Earrings, $ Pendant, $ From the collection of Debi Reece. Outstanding multistrand Miriam Haskell necklace featuring glass beads, each carefully capped, and a center decoration coated with clear beads and decorative floral overlays. This type of coating is called tapestry beading and was hand done. This beauty is signed Miriam Haskell on the clasp. $