COMPLIMENTARY COPY
Published Weekly By Joel Sater Publications www.antiquesandauctionnews.net
VOL. 43, NO. 40 FRIDAY OCTOBER 5, 2012
Miriam Haskell - Jewelry Designs For All Seasons larger than life on the models, but they also very accurately depict the jewelry of that era in all its lush beaded splendor. These advertisements would have been used to promote Miriam Haskell Jewelry in boutiques, shops and publications circa 1930-40s. Some are numbered on the back and some are signed by Miriam herself, and some have markings on the back requesting their return back to the Haskell Company. These original ads are collectible in their own right, and even more collectible are the sets of artwork along with parures of the they jewelry they depict. There are two distinct style of these ads, one which is considered more contemporary than the other and also more professionally done. The earlier less professional style ads, circa 1930, have been rumored to have been painted by Haskell herself, but that could very well be only a rumor as so far there is no documentation that she did them at all. Interestingly enough though, the models in these ads do resemble Miriam herself somewhat, so perhaps she was the model rather than the artist... or neither. It is all speculation so Hess white glass bugle beaded flower necklace, circa 1940, with matching far. clips of white beads and green glass leaves, According to Larry Vrba, this design was a great favorite of Frank Hess’. Larry Austin original watercol- Hess chartreuse, burnt or advertising illustration for Haskell seed bead and leaves bracelet and sienna and tan flattened glass beads and gold clip with foil “Miriam Haskell” sticker, written in pencil on the back. tone leaves expansion by Jane H. Clarke bracelet, and matching One of clip. These gilt leaves were iriam Haskell fashioned the jewelry that dreams M i r i a m from the Haskell “nasturtium” are made of! Her designs are legendary, her Haskell’s line. look unique, and her components of the
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best quality. Her jewelry was both hand and custom made, and rarely in large quantities, so some pieces are only one or two of a kind. Especially collectible are her earlier pieces (late 1920s to 1960s) shown here. Using tiny intricate motifs in beads and glass along with rhinestone rose montee and set in her distinctive softly gilt “Russian gold” settings, they are unlike any other maker, although others of her day certainly copied her work. She began making jewelry in about 1926, and the list of wonderful designers who worked for her includes, among others, Frank Hess, Bob Clark, Larry Vrba and Millie Petronzio, and also worth mentioning is Bertyl Groll, assistant to Frank Hess, sample Hess lariat necklace of green maker for three decades glass leaves, brown and and the source for some bugle beads and green beads, of our information. from the Hotel Roney Haskell in Miami, Florida. A Although Miriam boutique Frank Hess design for Haskell passed away Miriam Haskell. about thirty years ago, the company is still producing jewelry today under a new owner. Some of the best and most collectible Miriam Haskell jewelry was made in the first decades when Frank Hess was her head designer. Hess was the head designer from about 1926 to 1960 and his talent is unrivaled. In the early days, Haskell put no identifying marks on her jewelry at all. As a mater of fact it was not marked until about 1947. Today the early unsigned pieces can be identified from vintage artwork and advertisements used in that era, and by their wonderful detail, hand work, quality and design. In order to advertise her jewelry, Haskell commissioned an illustrator named Larry Austin to paint illustrations of her pieces. Unfortunately, little more is known about him today. His art and advertising work was done in gouache, an opaque watercolor, on illustration board, and he painted busts, full length figures and even ankles (yes ANKLES!) wearing Haskell jewelry. As you can see in this article, these illustrations show the jewelry as slightly
Larry Austin original watercolor advertising illustration for Haskell flattened glass beads and gold tone nasturtium leaves bracelet and clip.
favorite colors. Jewelry was designed for the three to five seasons of the year, inspirations was elements Spring, Autumn and Holiday, and each seafrom nature and some son had A, B and C lines, with the A line being the of my favorites are largest and most complex pieces. There could be 8-12 her jewelry lines per collection as well, so a large parure could designs incorpohave many pieces. There were multiple necklaces, rating sea shells, bracelets, brooches, dress clips, rings and earrings for wooden turtles each line. Colors and style changed seasonally, just as they do and pine cone today. Because she made different levels for each season and petals. Her high quality glass beads were gathered from 4 or more seasons a year, a grand parure could have more all over the world and came in a pieces than say a typical Trifari or a Coro parure. We have interviewed as many Haskell designers and rainbow of colors, selected by her and her designer Frank employees from that time as possible, and their information has Hess while he was head been invaluable. Regarding the oval logo tags used to identify designer. Assembly was some of Haskell’s jewelry, Millie Petronzio, Haskell done by hand, plated in her Company’s more recent head designer, told us that although the special “Russian gold” fin- shape of the logo tag is not always a definitive method of dating, in general the horseshoe shaped mark was used ish, and with each tiny in the late 1940’s through the 1960’s. The more combead being wired, never mon oval shaped mark was used from then to the preglued, into place. The sent. Mrs. Petronzio offers other clues for dathead designer and sample ing in the style of the earring backs. She maker would agree on says that the “flat back clip”, the design and fabricate a sample and, once the clip back style used by approved for the line, each piece would be many costume jewelers given to the staff for assembly. For that even today, was used reason, you may see subtle differfirst in the earlier ences in the numbers of beads years, usually due used or in the overall Frank Hess two-strand lavender to the heavier design. Because each melon-shaped glass bead necklace weight of the earpiece was custom with rhinestones, seed beads and glass rings. In the late ordered, Haskell petals, circa 1950. Larry Vrba says that 1940’s the Company could answer the requireHaskell hooks are always on the right side as switch was ments of different buyyou put the necklace on, as is shown in this made to the ers for the shops picture. Haskell necklaces were “French clip”, that sold her work back-strung until the mid-70s, the thinner wire and for the cusand thereafter they were clip back we see tomers who tipped. on many older wore her jewelry. Haskell earrings. An example of this cusIn the 1950’s, as a tomization comes from result of complaints that Larry Vrba, Haskell head the other style was too designer from 1968-1978 uncomfortable, Haskell and also the generchanged to the use of the ous source of “screw back-clip” combinainformation for earrings. In about 1980, t i o n they returned to the use of flat about the back clip earrings. She also says jewelry. The V e r y rare beaded flowers they made more dress clips than fur clips by jewelry bracelet and earfar, and there are identical pieces using both of buyer for rings with glass beadSakowitz at these clip styles. ed flowers and leaves, Each Haskell collector has a different favorite. Some the time asked clip back earrings with him to create appreciate her wonderful glass pearls made especially for Miriam Haskell horsespecial sets in her use and to her specifications. Some like the more shoe mark, circa 1960. combination of blue and green, her (Continued on page 2)