Ruby Lane's Past Times Newsletter for April 2010

In This Issue

• YouTube Video: Happy Mother's Day from Ruby Lane!
  
• Join Ruby Lane On Twitter and Facebook!
  
• Shop Spotlight: Welcome To Amore Antiques
  
• Miriam Haskell - Part 2
  
• Shop Sampler: Postcards on Ruby Lane!
  

YOUTUBE VIDEO: HAPPY MOTHER'S DAY FROM RUBY LANE!

Mother's Day is one month from today! Click here to see a special Mother's Day message from Ruby Lane, or go to: http://www.youtube.com/watch?v=KMgwK8z9ImA

JOIN RUBY LANE ON TWITTER AND FACEBOOK!

Ruby Lane is now active on both Twitter and Facebook, and we invite you to join us. Both services are free to join and participate.

Follow us on Twitter: Twitter

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SHOP SPOTLIGHT: WELCOME TO AMORE ANTIQUES

Sheila Conlee just opened her shop Amore Antiques on Ruby Lane in March. Her shop specializes in beautiful antiques, linens, tapestries, embroideries, jewelry & boxes. Here's what Sheila has to say about her shop and her inventory:

"I am a 30 year antique lover and dealer, specializing in fine antiques, glass, linens, tapestries, jewelry and quality vintage clothing. This is actually my 30th year of owning a retail antique store, and decided it was time to add my inventory on the internet to share with everyone around the world. I am the author of the book "Collectible Clothing" C. 1982, which was a vintage clothing price guide.

I am presently a member of the International Society of Appraisers. I have sold at many antique shows over the years, particularly the World Wide Antique Show in Denver. My parents were antique dealers, so it got into my blood at an early age. I love antique handwork in particular, from any part of the world, including antique samplers from the New England area to Chinese and Japanese silk embroideries and clothing. I will be adding many exquisite items in the next few weeks, so hope you'll stop by to see!"

We invite you to visit Amore Antiques

MIRIAM HASKELL - PART 2

Last month, our article summarized the history of Miriam Haskell Jewelry. This article will discuss some of the unique features of Miriam Haskell pieces. Other manufacturers often imitated Haskell, and some people associated with the firm have also produced items that may be confused with Haskell originals.

THE UNSIGNED YEARS

Miriam Haskell pieces were not signed until the 1940's. The addition of the signature was actually prompted by the many imitations of Haskell pieces in the marketplace, many from Japan. Most of the findings used were produced in Providence. Beads were acquired from France, Czechoslovakia, Germany, and Italy. The wood components, seeds, and shells used in some pieces were acquired from local sources. Some early pieces used rhinestone pre-set in a metal button. Some pre-1940's pieces did have glued rhinestones, and other setting methods, such as channel setting and swedging were used. Box clasps and spring rings were used for necklace catches during these unsigned years. Some early earrings have the findings wired directly to the earrings. A variety of clip back and screw back styles were used in the unsigned period. As designs became more elaborate, the earrings acquired a metal base, and the findings were attached to this base. The early metal bases were plain and the use of the well-known filigree backs is rare during this period. No fold-over clasps have been authenticated from the unsigned period.

With the advent of WWII, many
metal components were unavailable. The metal bases used for many creations were replaced with plastic findings. The beads from European sources were unavailable, and new domestic supply sources for plastic and wood components were developed.

The 1930's designs were more sophisticated and consistent than the first pieces from the 1920's. Styles produced included lariats, beaded bibs, fringed bibs, beaded necklaces with dramatic centers, beaded collars, pompom beaded necklaces, fringed dress and fur clips, fringed brooches, silk cord wrap bracelets, and multiple strand beaded necklaces.

Frank Hess produced designs for the war years before his military services. Material restrictions did impact on these designs. The post-war period saw a distinctive return to elegance in design.

THE SIGNED YEARS

Metal backs and components became available after the war. Haskell switched to the filigree finding that they are well known for. They used suppliers in Rhode Island and France for these components, and had them plated by another firm. Some of the plating solutions were proprietary and have not been duplicated. Dilution of the formulas did cause some variation in finish. The components were lacquered after plating.

The horseshoe shaped signature plate probably dates to 1948. By this time the switch to filigree was complete. The oval plate with the Miriam Haskell name came into use in 1951 and 1952. Many of the Horseshoe plaques remained in stock and were used over the years on
appropriate pieces.

The hook and tail catch came into use after WWII. Some early unsigned ones were only marked with the addition of an oval hang tag, but soon the hook was being marked Miriam Haskell. The hook often had a decoration added, although the decoration was eliminated in the 1970's. The hooks were standard size, made of a flat piece of metal 2.5mm in width and 13.6mm in length. The slide catches that many newer Haskell pieces feature came into use in 1975. The catch was actually patented in the late 1960's, and the patent number appears on one side, with Miriam Haskell in block letters on the other. The hook and tail catches fell into disuse after this, but returned in the 1990's.

A unique earring finding was used from the mid-1960's, a screw-back/clip combination. The traditional French clip was abandoned and did not resurface in the line until the 1990's. Pierced earrings were made on special order from the 1980's, and are now a standard part of the line.

No signed elastic or wrap bracelets have been authenticated, and these may all pre-date WWII. Hinged bracelets exist from both periods, signed and unsigned.

Stickpins often had a fancy clutch, often adorned with a flower. These clutches may appear on non-Haskell pins. A number of stickpins were made from single earrings.

The elegance of the Signature look dominated the post-war years. Feminine designs were used in the 1950's, with tapestry beading on filigree. Larger and sculptural pieces were
seen in the 1960's, and Larry Vrba's Egyptian look items from the 1970's were popular. The 1970's also saw the introduction of more genuine stones and a crystal line was produced in the late 1970's, designed by Roberta Stone. The volume of production increased in the 1960's and 1970's, with more standardization of components evident. Sub-contracting production also became more widespread in the 1970's.

PEARLS

In addition to their many special collections, Haskell has always been known for their simulated pearl pieces. Haskell had glass beads sent to several domestic firms for finishing, using a fish emulsion formula to produce a pearl-like finish, and dyed to various colors as needed. Domestic finishing was used from the 1920's until the 1950's. The baroque shapes from this period will vary in size and finish.

Haskell started using Niki, a Japanese glass producer, for their simulated pearls in 1957 or 1958. Finish was more consistent with Niki, and the relationship lasted about 20 years. However, Haskell still had stock on hand from Niki in the 21st century. In the 1980's, an American supplier was used. In the 1990's, Nakagowa of Japan became a supplier, with production that was much whiter than the Niki beads. Plastic simulated pearls were used for a brief period in the 1970's, and again in the 1990's.

DATING HASKELL PIECES

The marks and certain components may aid in dating Haskell pieces. However, the company never seemed to throw anything away, so components may
surface outside of the period generally associated with them. This may allow a collector to be sure that a piece was not produced before a certain time, but may not rule out somewhat later dating than the component might indicate.

Many Haskell pieces have also been damaged and repaired, or re-strung, which can make accurate dating difficult. Haskell switched from silk to nylon for beading use in the 1960's, using a white nylon. However, earlier pieces may be re-strung with nylon, and later pieces may be re-strung with silk. The original wiring work was done neatly. It is not unusual to find Haskell or Haskell-like pieces with clumsy and sloppy wire work. This may be the second-rate production work of an imitator, a sloppy repair of an all-original Haskell piece, or a total fantasy piece, made of Haskell and Haskell-like components.

Stringing was done with a time-consuming technique, backstringing, until the mid 1970's. At that time, bead tips came into use to attach strands to findings. Some contemporary Haskell pieces have returned to the more traditional backstringing method. Please keep in mind that either technique may be used when an item is re-strung.

As beads and findings were purchased from others, there is no guarantee that a component in a Haskell piece was not available to other manufacturers. At least one of the suppliers of filigrees for Haskell still has many of these components available for sale today.

IN THE STYLE OF HASKELL

It is said that imitation
is the sincerest form of flattery, and Miriam Haskell should feel very flattered. Many firms imitated the Haskell look. These imitators allegedly prompted the move to marking all items with the Haskell name in the post-war years.

There are also some designers who were inspired by the Haskell look and created their own legitimate pieces, in somewhat the same style. There are also designers that worked for Haskell and were responsible for some aspects of the Haskell look that later went on to create their own legitimate pieces with a similar look.

Frank Hess, the original designer for Haskell, left the company in 1960. He went on to partner with Josef Morton Glasser, and then did some design work for Kramer. The pieces produced by the Hess-Morton collaboration were marked "Josef Morton", and were produced until 1963. These pieces, along with the Kramer "Amourelle" line, resemble some of the work Hess did at Haskell.

Larry Vrba was head designer at Haskell from 1970 until 1978. He has produced designs independently since leaving Haskell.

Stanley Hagler worked at Haskell for a brief period. He never designed for the company, but did fall in love with jewelry production while there, and went on to create his own line. This legacy continues with his heir, Mark Mercy.

Legends exist that Robert De Mario and Eugene were both associated with Haskell. While some of their creations share style characteristics of Haskell, this is not the case. One of Eugene's employees did go to
work at Haskell.

Miriam Haskell , after several changes in ownership, is still in production today, producing several lines with the Haskell name, as well as other collections.

SHOP SAMPLER: POSTCARDS ON RUBY LANE!

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