Like Father, Like Son: Remembering Gene and Ron Verri of Gem-Craft Costume Jewelry Fame

Over the past 30 years, I’ve spent many days in the Providence, R.I., area, getting to know some very interesting people in the costume jewelry industry. From designers to business owners and component suppliers, they’re often seen as rock stars in the eyes of avid jewelry collectors. Nevertheless, they’re usually quite humble and honored to be showered with such attention surrounding how they earn a living.

One of those people was Ron Verri. This kind and generous man who was entrenched in the costume jewelry trade died unexpectedly on Feb. 4. He was 78. In the days after his passing, I couldn’t help but reminisce about getting to know him. And, of course, those musings led to thoughts of his father—the renowned Gene Verri—and Gem-Craft, the Verri family business.

Getting to Know Ron Verri

In 2015, Costume Jewelry Collectors Int’l (CJCI) presented Ron Verri with the CJCI Achievement Award for his family’s ongoing contribution to the costume jewelry industry. In the days leading up to the award presentation, he invited me and CJCI co-founder Melinda Lewis to visit Gem-Craft, the business he led in Cranston, R.I. That field trip turned out to be so much more than we expected.

During that visit we got a tour of the complete operation. A couple of things that really impressed me were the vast archive of historical jewelry models and molds warehoused there and the workers creating amazing resin components like those I’d seen in finished pieces of jewelry. The supreme highlight of the visit, though, was sitting in Ron Verri’s office listening to stories about some of the interesting people he’d had the opportunity to work with during his tenure there.

Pair of Coro sterling silver angel fish “jelly belly” pins (originally part of a Duette), c. 1940s, $285 – $375. 

One of the stories he relayed to us involved a particular bird pin Gem-Craft created for Oscar de la Renta. It was the last design they worked on before the famed fashion designer’s death. De la Renta was very ill when they met, but he was insistent that real feathers be used to bring his vision to life. A man of his word, Ron made sure that brooch was created: a rhinestone-encrusted dove with a large white plume forming the tail. I’m fortunate to have one of these in my collection, thanks to my CJCI partner, who surprised me with it months later to commemorate our visit to Gem-Craft.

A few days after our Cloud Nine visit, we welcomed Ron Verri to our event for the award presentation. He brought along his beautiful wife and his lovely daughters, along with other Verri family members, including a cousin who was the son of his father’s identical twin brother. Talking with all of them that evening was a sheer delight. Ron accepted the award graciously and told us all about his dad, Coro’s head designer during costume jewelry’s golden era.

Remembering Gene Verri

Gene Verri’s name at birth was Guido Verrecchia. He later changed it to have a more American ring to it. His accomplishments are often acknowledged in the costume jewelry collecting community, but his own family celebrated his achievements as well. In fact, the Verri family established an endowed scholarship at his alma mater, Rhode Island School of Design, and put together a remembrance book for family and close friends when he passed away in 2012. Melinda and I were each gifted with a copy of the book when we visited Gem-Craft.

Looking through that brief record of Gene Verri’s career, I am reminded that he worked as the head designer for Coro from 1935-1950. He stepped into the role at the young age of 22. He was tasked with taking Coro out of the white metal and clear stone Art Deco era to create new, bolder looks for the business. Some of his most famous creations include Coro Duettes produced during the 1930s and 1940s; brooches consisting of two or three figural clips mounted on a frame that can be removed and worn separately. His Quivering Camelia Duette was, in fact, a million-dollar seller for the company.

Coro Quivering Camelia Duette, 1938, $375-$475.

The book also features historical documents and photos of Gene Verri with members of his staff and other colleagues at Coro. Among those individuals is Adolf Katz, a vice president for the company who submitted patents for Coro rather than a designer. They made frequent trips to Paris to glean ideas for new styles. One photo shows them suited elegantly in tuxes at dinner with their bejeweled wives on a Transatlantic voyage.

He left Coro in the mid-1960s to work at his own company, Gem-Craft, where he partnered with his identical twin, Alfeo Verrecchia, who was also a talented designer. When Gene Verri passed away at the age of 101, he was still designing beautiful jewelry.

More About Gem-Craft

Gem-Craft was founded in 1945 while Gene Verri was still working for Coro. At the time, the company was called Craftsman, and Alfeo ran the business while Gene provided funding. Over time, the name of the company was changed to Gem-Craft.

Craft fish brooch, 1980s, $50-$75.

In 1973, Ron Verri shifted his focus as a postgraduate engineering student and went to work for his dad’s company. He learned the business alongside his father and eventually took over operations. He’s credited with keeping the business alive during the 1990s when many costume jewelry businesses closed as manufacturing in Asia became increasingly commonplace.

As mentioned previously, Oscar de la Renta and Kenneth Jay Lane were among the notable designers working with Gem-Craft. One of Gene Verri’s last renderings as a designer was a feather-shaped collar necklace produced for Kenneth Jay Lane. Jewelry marketed by Gem-Craft is also made under the brand name Craft.

Craft starfish necklace, 1990s, $65-$85.

Like his father, Ron Verri worked for Gem-Craft until his death. His daughters, who learned the business from these two dedicated men, are the third generation to carry on the Verri tradition of jewelry design and manufacturing in Rhode Island.

Pamela Wiggins Siegel has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of “Warman’s Costume Jewelry” and the co-founder of Costume Jewelry Collectors International, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at www.chicantiques.com and www.cjci.co. 

Photos courtesy: Jay Siegel

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Kramer of New York’s Diamond Look Shines Brightly for Collectors

By Pamela Wiggins Siegel

Kramer of New York is one of those names dealers run across pretty frequently when sourcing costume jewelry. That usually means a company saw a good amount of success back when the jewelry was newly made. Nevertheless, it’s not a brand most fervent collectors get overly excited about. It might be on the uptick, though, since I’ve noticed pieces lingering in online shops being snatched up these days, indicating a growing base of fans out there in jewelry land.

My personal opinion of Kramer jewelry? It’s always been pretty high. Some of the lines this company marketed in the 1950s are over-the-top gorgeous, and many are undervalued today compared to rhinestone pieces sold by other companies. I was recently chatting about Kramer with a jewelry friend I’ve known for years, and we ran into some friendly differences of opinion about the company. While that’s fresh in my mind, I thought it would be a good time to feature Kramer and share some of that conjecture with you after a brief look at the company’s history.

Kramer necklace with iridescent Aurora Borealis rhinestones, 1950s, $175-$225.

Kramer of New York’s History

As noted by jewelry historian Julia C. Carroll in her book Costume Jewelry 101, Louis Kramer established Kramer Jewelry Creations, Inc. in New York in 1943. His brothers Morris and Harry also joined the firm, but Louis Kramer appears to have been the driving force behind the business. The company they ran together also did business as Kramer of New York, a name more well known by collectors since pieces are marked in that way or simply Kramer.

The company used the slogan “The Diamond Look by Kramer” in magazine ads for rhinestone jewelry dating to the 1950s. The designs featured in these ads are some of the most desirable Kramer pieces among avid jewelry collectors. “The Golden Look by Kramer” was used with gold-plated jewelry devoid of stones during the same period, but those pieces aren’t in high demand even though they’re nicely made.

The Diamond Look by Kramer vintage advertisement.

Kramer also collaborated with Christian Dior in the 1950s to market jewelry signed either by Christian Dior or Kramer by Dior. Those pieces are also highly valued. By the early 1960s, Frank Hess, who had worked designing for Miriam Haskell for many years, had joined Kramer to create a line of jewelry marked Amourelle.

According to Carroll, not much more is known about Kramer other than the company closed around 1980. One question has remained over time, however. Did Kramer produce the jewelry it marketed for decades, or was it made by other manufacturing firms known in the industry as jobbers?

 

Kramer rhinestone bracelet with matching earrings, 1950s, $150-$200.

A Manufacturer or a Marketer?

For as long as I can remember, I’ve heard people say that Kramer used jobbers rather than manufacturing jewelry. That seemed like it could be true since the styles and manufacturing techniques varied so widely in jewelry bearing one of their marks. The business didn’t stick with a look that defines most of the pieces branded Kramer or Kramer of New York in the way that Miriam Haskell did, for example. This was at the core of my discussion with an old friend recently, and she relayed that another jewelry historian we both know found in her research that Kramer employed around 200 workers at one time. That piqued my curiosity, so I decided to do some digging to see what else I could find.

Kramer frosted leaf articulated brooch, 1950s, $75-$125.

As it turns out, beyond relayed word of mouth, there is some evidence that Kramer did manufacture jewelry. A 1952 edition of the “Defense Production Record” noted this in regard to Kramer Jewelry Co. of New York, N.Y.: “Request for permission to use present inventory of white metal alloy in the manufacture of costume jewelry granted when Board concluded relief necessary to alleviate exceptional financial hardship and also to provide employment for workers in this industry.” They were authorized, between April 1, 1952, and Sept. 30, 1952, to use 2,750 pounds of white metal alloy in their inventory. This certainly points to manufacturing going on at Kramer since white metal is a primary component in plated costume jewelry.

I also found proof of a number of patents obtained by Louis Kramer during the mid-to late-1950s for jewelry, including brooch and necklace designs. This points to Kramer protecting his designs in the same way that Boucher and Trifari did back in the day, but does that mean his business was manufacturing them? Given the documentation supporting a lawsuit filed by Kramer against Capri Jewelry, Inc. in 1956 for “copyright infringement and unfair competition,” it certainly seems so. Kramer is listed as engaging in “the designing, manufacturing and selling of costume Jewelry of creative designs.” On the other hand, Capri is described as being in “the business of selling costume jewelry to retailers. It does not manufacture its own jewelry.”

Kramer “Alexandria Collection” earrings with color-changing Alexandrite stones – 1953.

In my mind, these resources do indicate that Kramer produced jewelry. Does that mean they never contracted other businesses to make jewelry for them or that they used jobbers more frequently after the 1950s? Those facts are yet to be discovered by jewelry researchers. For now, though, I think we can conclude that they did employ a fairly large staff of workers who were producing jewelry in New York during the 1950s.

What Makes Kramer Special?

One of the things I’ve always been attracted to is specialty stones in costume jewelry—that is, stones beyond the average round rhinestone. Kramer used several types of stones molded to look like leaves in designs that have always been my favorites. Some look more like art glass with an iridescent finish, and others are frosted glass stones.

 Kramer bracelet with leaf stones, 1950s, $125-$175.

Dangling elements always catch my eye, too. Kramer was very good at taking ordinary designs and adding dangling beads to make them more special. Some are clear faceted beads, while others have round beads that add amazing pops of color. Other stones, like Swarovski’s Alexandrite color changers, which vary from lavender to light blue depending on the light source, also decorate some of my favorite Kramer designs.

So, even though Kramer isn’t a brand that collectors eagerly clamor to own beyond the most exceptional lines, in my opinion, their Diamond Look still shines brightly after all these years.

Photos courtesy of Jay B. Siegel

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Very Elegantly Yours…Vendome Couturier Jewelry

If you’re among the unacquainted, Vendome is a signature related to one of the largest marketers of vintage costume jewelry during its heyday – Coro. Even though I already knew some of the basics about this brand, I relished meeting a former employee of this business in Rhode Island several years ago. In addition to getting to know a great person, that introduction led me to take another look at what makes Vendome jewelry special.

Learning more about this branch of Coro, what makes these pieces stand out when compared to others, and some of the most highly valued Vendome designs might encourage you to look at them in a different light, too.

Vendome prototype flower necklace, early 1960s, $250-$300

Vendome Background

This division of Coro was established in the 1940s but became more prominent during the 1950s. Pieces with Vendome branding were sold by upscale retailers, including Saks Fifth Avenue, where other Coro jewelry was not marketed.

By the late 1950s, advertising, including Vendome jewelry, included one magazine feature with Natalie Wood wearing “Marjorie Morningstar” pieces. These were created in conjunction with the movie of the same name starring Wood and Gene Kelly. The tagline for these rhinestone selections was “very elegantly yours … Vendome Couturier Jewelry,” which emphasizes the marketing of these pieces as high-end designs.

Interestingly, collectors mainly associate Vendome with beaded jewelry today since that’s what we find most often. The vintage magazine advertisements we use to circa date and glean reference material from, however, showcase a mix of beaded designs and rhinestone styles from about 1958 through the late 1960s. “Bolder than Gold” plated jewelry took center stage by 1968, along with an eye-catching array of Vendome adjustable rings in 1969.

Vendome beaded cluster brooch, early 1960s, $50-$75.

Vendome Employee Insight

My personal knowledge of this jewelry expanded when I met Tony Angeli, who began working with Vendome’s lead designer, Helen Marion (who changed her name from Eleanor Mariani when she emigrated from Italy) in 1956. He was only 17 at the time and eagerly learned about not only the making of Vendome jewelry but the costume jewelry industry overall while shadowing Marion.

After attending the Rhode Island School of Design, where he learned about making jewelry models and samples, Angeli took a more prominent role as a designer for Vendome. During a well-received presentation in 2015, Angeli educated Costume Jewelry Collectors Int’l convention-goers about what Coro considered to be the “expensive jewelry line” he helped to create. Many of these designs were more elaborate than other Coro styles; some were hand-wired, and the fine materials used to craft these pieces also boosted the selling prices along with the quality.

Even after leaving Coro in 1966 and starting his own jewelry business, Hillcraft Inc., he remained close to his mentor. When Marion passed away, in fact, she bequeathed to Angeli all the Vendome prototypes and remainder components she’d been holding onto since she retired. Many of those prototype designs were not put into production because they were too labor-intensive to create or the materials were too costly to source.

What Makes Vendome Special

One of the things that makes Vendome jewelry appealing to collectors is quality craftsmanship that stands the test of time. While some of the styles, especially beaded necklaces and earrings, are akin to pieces marketed by other brands during the late ‘50s and early ‘60s, the components used in Vendome jewelry set them apart. This includes an abundance of Austrian crystal beads and rhinestones that still sparkle brightly today.

The plating on Vendome jewelry is also superior. Gold-plated Vendome jewelry usually holds up extremely well. Pieces with silver-colored metalwork are very often thickly plated with rhodium and look close to new when viewed from the back. Even most of the hand-wired designs have held up remarkably well, with all the components in place 50 to 60 years after they were made.

Another exceptional feature found on many pairs of Vendome earrings is adjustable clip-backs. Using a small screw head, you can adjust these baubles to have just the right amount of tension so the earrings stay in place without pinching your earlobes too tightly. This isn’t the only brand that has used this type of clipback, but Vendome incorporated them frequently, and it’s a definite plus for collectors who love to wear their vintage pieces.

Vendome bead and rhinestone set with
tension-adjust earrings, early 1960s, $75-$125.

Values for Vendome Jewelry

One series of Vendome brooches that has a following among collectors was influenced by the art of Georges Braque. Marion designed these clever pieces in 1963, offering a wearable nod to Cubism to Vendome’s clientele. They’re considered hard to find today, with each one in the set of six easily selling for $300-500 apiece.

DeLizza & Elster, the makers of Juliana jewelry, also produced a few ornate rhinestone necklace styles that were branded Vendome. These collar necklaces are quite elaborately embellished with rhinestones and usually sell for $500 or more when they occasionally come on the market. Other large, extravagant necklaces branded Vendome can also sell in the hundreds. These are generally decorated with rhinestones or very intricately beaded pieces.

Vendome prototype beaded flower brooch, early 1960s, $175-$225.

Most of the Vendome prototypes that Angeli inherited have been sold to dealers and collectors at this point. When they re-enter the marketplace, they usually sell for more than average since they’re largely one of a kind. How do you know you’re really getting a prototype? That’s where trusting the seller comes into play. Of course, when you try to find another Vendome piece exactly like one of the prototypes through online research, it can become evident that you’re being offered a unique item.

At the other end of the spectrum are Vendome earrings featuring clusters of beads. These can frequently be purchased for less than $30 a pair. The vast majority of Vendome jewelry, however, falls somewhere between these extremes in value. Many 1960s multi-strand “granny” necklaces sell in the $50-100 range, or even less, depending on the beads used. A number of brooch styles can also be found moderately priced.

No matter the price, though, Vendome jewelry very often lives up to the “very elegantly yours” expectation with remarkable quality and style. It’s a brand most certainly worth looking at more closely the next time you get the chance.

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at Chic Antiques and Costume Jewelry Collectors International.

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Vintage Revival

While I already knew the name Heidi Daus back in the early 2000s, I really didn’t take notice of her jewelry until one of my friends began carrying her Deco-inspired designs in the upscale boutique she owned. These pieces had an abundance of light gray rhinestones set in brassy antiqued settings. They were pretty enough and sold well, but they weren’t really knock-your-socks-off styles, in my humble opinion.

Heidi Daus pansy earrings, early 2010s, $50-$75.

About a decade later, another friend who was a frequent estate sale shopper in our area tipped me off to an opportunity I couldn’t resist. The contents of a particular sale belonged to an avid Home Shopping Channel (HSN) shopper, and there were oodles of jewelry pieces available. I didn’t even know if I would be interested, honestly, but decided to take a chance and drive over to a neighboring town to check it out.

Well, to say I hit the mother lode as a jewelry hunter is quite an understatement. Over the course of two days, I brought home two large grocery bags full of costume jewelry, much of which was branded Heidi Daus. The reason I purchased so much, other than the lure of the bargain estate sale prices, was the magnetism of the goods. They were very nicely crafted, and the colors were gorgeous. Much to my surprise, though, they were made in China.

Heidi Daus butterfly necklace for HSN, early 2010s, $75-$150.

My perception of Heidi Daus jewelry changed during that shopping spree. It was not only jewelry I would personally enjoy wearing, but I could also totally understand why someone would want to collect it – no matter how old it happened to be or where it originated. So, with that in mind, I’d like to share a bit more information about a brand of jewelry that may not be on your radar yet. If you love vintage-inspired styles, and Deco in particular, it’s worth knowing whether you seek out vintage Daus pieces or snag something from one of her latest collections.

Heidi Daus Deco revival necklace, early 2010s, $100-$175.

History of the Brand

Heidi Daus founded her namesake business in 1981. She got her start handcrafting beaded necklaces and selling them to shops in New York City. Beginning in 1990, she partnered with a financier to establish Heidi Daus for Jim Walters. The jewelry marked with this branding sold in showrooms on 5th Avenue in New York and hundreds of stores around the United States as well as in Europe and Canada. While some of the jewelry designs produced during this period had Deco influences, many “dress for success” tailored styles were offered as well. Being more than 20 years old now, these are all considered to be vintage pieces.

After that partnership ended, Daus kept her business going, selling to boutiques. Then, in 2012, she collaborated with HSN for the first time. The initial collection was produced to coincide with the release of the movie “Snow White and the Huntsman,” which included a rhinestone-encrusted brooch shaped like an apple with a bite missing, along with several lovely necklaces. Numerous collections have been produced since then, with some being HSN exclusives. Many have the Deco revival look that has been a mainstay in Daus jewelry designs for decades now.

Daus moved her design studio to Montclair, N.J., in 2019. She also sells current lines not available through HSN on her website. To add to the allure of her jewelry pieces, many lines have clever names like “The Devil Wears Heidi,” “It’s Good to be Queen,” and “Many Shades of Fabulous.” These rival the HSN designs of a decade ago; some newer lines made for the shopping channel don’t seem to be quite as stylish.

Most jewelry pieces marketed by this company since 1999, whether sold through boutiques or HSN, are marked Heidi Daus. Many pieces will also be marked to indicate that they were made in China, whether China is spelled out or abbreviated as CN.

Heidi Daus dangle earrings, early 2010s, $50-$75, and Deco revival necklace for HSN, early 2010s, $100-$175.

How Collectible is Heidi Daus?

When looking at contemporary jewelry, we often view these pieces as collectibles of the future. But even new Heidi Daus jewelry makes its way into the collections of both vintage mavens and folks building a wardrobe of fashion jewelry. With no fewer than six Heidi Daus groups on Facebook, several of which have thousands of members – including the Official Heidi Daus Group owned and operated by the brand – it’s clear that this jewelry has a following.

What draws collectors to these designs? Heidi Daus jewelry is not only beautiful on display, but it also looks amazing when worn. Folks have also gotten to know Daus through her charismatic appearances on HSN and feel that they know her personally. That adds to the appeal of owning one (or several!) of her designs.

Another important aspect to collectors is the quality. Yes, much of this jewelry has been produced in China, and that can be a concern considering the array of quality levels being produced in Asian factories. In my opinion, though, this jewelry is as high in quality as it gets for imports at this price point. With sparkling Swarovski stones, lovely glass beads, and cast metal components, it’s fashion jewelry worth owning.

Values for Heidi Daus Pieces

As with many types of vintage and collectible jewelry, elaborate Heidi Daus statement necklaces are fan favorites. Many sell new for several hundred dollars apiece, and they tend to hold their value or increase. These are generally large bibs or collars, and some are limited editions. Sea creatures, mythical beasts like dragons, and Egyptian revival themes are reflected in these styles, along with Deco-inspired designs. Some holiday necklaces with a bevy of enameled bats for Halloween or a bounty of vegetables for Thanksgiving also bring good prices in the secondary marketplace.

Heidi Daus turtle brooch, early 2010s, $50-$75.

That’s not to say there aren’t many bargains available as well. Some earrings, rings, and pins can be picked up for less – sometimes way less – than $20 each. As you might imagine, the better something sold on HSN, the more likely it will be low in price when it comes back on the market for resale. No matter your budget or taste, though, there truly is a Heidi Daus treasure for everyone.

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at Chic Antiques and CIJI Costume Jewelry Collectors International.

All photos courtesy Jay Siegel

Hollycraft Jewelry

Hollycraft pastel necklace, 1953. $150-$175 Photo: Jay B. Siegel

By Pamela Wiggins Siegel

Years ago, when I met Joyce Chorbajian at an event for jewelry collectors, her passion for her late father’s work was clear. His legacy as the man behind Hollycraft was important to her, and she freely shared that history with the collecting community. This includes providing some much appreciated and simply beautiful artist’s renderings of Hollycraft holiday pieces published as jewelry as art features in CJCI Magazine years later.

Many of the facts, anecdotes, and tidbits of information we have to cherish about the costume jewelry of yesteryear were gleaned from folks like Joyce Chorbajian. Given the holiday season is upon us, it seems like a great time to explore the topic of Hollycraft, including the company’s collectible Christmas jewelry.

Hollycraft rhinestone earrings, 1955, $30-$45. Photo: Jay B. Siegel

A Brief History of Hollycraft Jewelry

The business responsible for making Hollycraft jewelry—Hollywood Jewelry Mfg. Co.—was established in New York City in 1936 by Joseph Chorbajian. As the firm grew, Archie Chorbajian and Jack Hazard joined the business as his partners. By the 1940s, the company was marking jewelry with foiled string tags that read “Hollycraft” on the front and “Created by Hollywood Mfg. Co. New York” on the back.

When collectors think of Hollycraft jewelry, pieces decorated with a bevy of pastel rhinestones often come to mind. These styles were indeed popular in the early 1950s, and some were made again later in the decade. However, the company used a wide array of rhinestone hues during this period in both monotone and multicolored designs.

Swarovski introduced the aurora borealis rhinestone in 1955, and Hollycraft embraced the look to produce many attractive pieces accented with these iridescent stones thereafter. In 1958, they also incorporated specialty stones shaped like shells and foiled cabochons in eye-catching designs. Most of these 1950s pieces are dated, making them attractive to collectors who like to know the exact point in time when their jewelry was made. Unmarked pieces of Hollycraft jewelry from this era are found occasionally, but most pieces were indeed signed.

Moving into the 1960s, the look of Hollycraft jewelry changed. Pieces dating to this era have more metalwork in the designs and a thicker type of gold or silver plating. The styles are also more distinctively 1960s and ‘70s, with large necklaces and drop earrings being some of the most remarkable. They are usually marked Hollycraft© without a date. Hollycraft jewelry from the ‘50s and ‘60s is often moderately valued, with a few elaborate necklaces and bracelets selling for higher-than-average prices.

Hollywood Jewelry Mfg. Co. produced many pieces of jewelry under their Hollycraft brand, but over time, they made jewelry for other companies like Pakula, Kramer, and Weiss, to name a few. Even though the business was sold in the late ‘70s, Joseph Chorbajian worked as a jewelry designer through 1980. He died in 1991 at the age of 91.

Hollycraft multicolor bracelet, 1954, $100-$125. Photo: Jay B. Siegel

Hollycraft’s Christmas Jewelry

During the 1960s, Joseph Chorbajian also put a great deal of emphasis on creating Christmas jewelry. His holiday designs were varied, ranging from clever triangular Santa pins and lanterns decorated with enameled holly to a bevy of multicolored Christmas tree pins.

Hollycraft Christmas tree pin, 1960s, $65-$80. Photo: Jay B. Siegel

The tree pins were the most popular sellers, with shoppers who often picked them up as holiday gifts. Given that they sold well back in the day, they still come on the secondary market fairly frequently today. Some marked Hollycraft, in fact, are similar in style to examples produced for other companies like Pakula. These were worn seasonally and largely fell out of fashion by the 1970s. Given their limited wear when they were new, they’re often found in nice condition overall with very little plating damage.

Back in the late 1990s and early 2000s, when vintage Christmas jewelry became very collectible, Hollycraft tree pins were among those snatched up by eager buyers. Demand elevated the prices of these little beauties, but values have moderated somewhat since then. If you’re looking to add one to your collection, expect to pay $35 to $75 for most designs. A few more unusual styles will top $100 and may sell for even more since advanced holiday jewelry collectors still avidly seek them. Earrings to match select Christmas tree pins can be found reasonably priced in the $25-$40 range, depending on the style.

Caring for Hollycraft Jewelry

While Hollycraft jewelry is quite lovely to wear and makes for a really pretty collection on display, there are some caveats to keep in mind. First, most of the stones were glued into the settings. Over time, that old glue has given way, so it’s quite common to find Hollycraft pieces missing stones. The good news is that most are round stones in common colors, so they can be replaced without too much bother.

The exception is that some of the baguette stones in their Christmas tree pins are odd sizes and shapes, making them a bit difficult to replace. Overall, though, the stones in their Christmas pieces tend to discolor more frequently than falling out. That can be a condition issue you need to watch for as well in terms of value.

Storing Hollycraft pieces, especially ones dating to the 1950s, in small archival plastic zipper bags is recommended. This won’t keep the stones from loosening up and falling out, but at least they’ll be contained so you can glue them back in place if necessary.

Also, keep an eye out for excessive plating wear on the back of 1950s pieces, especially necklaces and bracelets. While this condition issue does impact the value of Hollycraft jewelry somewhat, it’s also quite endearing since it means that someone wore the heck out of a piece when it was new. The thicker plating on 1960s pieces wore much better and usually doesn’t show a ton of wear.

As for cleaning Hollycraft, I’ve personally gotten many pieces wet without an issue. Sometimes, that’s just necessary when vintage costume jewelry is extremely dirty. However, you can often get away with spraying a little glass cleaner on a cotton swab and lightly running it over the face of the jewelry to remove light dust. Sunshine Polishing Cloths do a good job of brightening up metal work, too, but won’t restore worn plating once the base metal is exposed.

Even though you’ll have to plan on babying much of your Hollycraft jewelry to keep it looking its best, seeking out this brand can yield an eye-catching wearable collection.

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at Chic Antiques by Pamela and Costume Jewelry Collectors International.

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My Holiday Obsession

When it comes to festive costume jewelry, our author has a passion for the fashion of Bettina von Walhof.

By Pamela Wiggins Siegel

B&M von Walhof Santa dog brooch, early 2000s, $200-$250.

As I ponder all the jewelry I’ve admired and worn since I avidly started collecting in the late 1980s, my thoughts often turn to people I’ve had the pleasure of meeting during that time. I can’t think about my favorite holiday jewelry pieces without remembering Bettina von Walhof and her daughter Michelle. I met them in the late 1990s when they displayed a collection of Bettina’s designs at a jewelry collectors convention we were attending. It took about two minutes until I was awestruck by the imagination held in every single one of those creations.
That weekend I walked away with a von Walhof Santa brooch with a fringy dangling rhinestone beard measuring more than five inches long. That was the beginning of a collection of Santa brooches and other Christmas jewelry that grew over the years to hold dozens of selections. I still pick this brooch to wear during the holidays more often than any other; it’s that special. I didn’t stop with Christmas jewelry, though, and later purchased Halloween pieces by the von Walhofs that I love equally as much. What makes them so unique is that they’re conversation starters as much as adornment.

Bettina von Walhof Santa brooch with a dangling beard, late 1990s, $225-$275

The von Walhoff story doesn’t stop with the jewelry. However, that’s actually just the beginning. Exploring what inspired the von Walhofs to come up with their clever designs is part of the fun, too.

Bettina von Walhof’s Inspiration

When looking at Bettina von Walhof’s jewelry designs, it’s hard not to notice that there’s an abundance of animals in the mix. There’s a good reason for that: Bettina was born into a family of traveling performers who worked extensively with all types of animals. This included television appearances when she was young on programs like “Wild Kingdom” and “The Ed Sullivan Show” as well as movies with Johnny Weismuller, who famously portrayed Tarzan. She was performing with her family by the time she was 4, in fact, and grew into a beautiful young woman with a deep appreciation for the animals surrounding her.

As her career later shifted, Bettina owned an antique business and other retail establishments, marketing both new and vintage jewelry. She decided to develop her passion for adornment into her own line of figural rhinestone brooches around 1996. Her love of animals always figured into her work with designs ranging from eagles and elephants to cats and camels. What they all have in common is being colorful and bold, with many measuring four inches or larger in height.

If you’ve never heard much about Bettina von Walhof jewelry, that’s likely because it isn’t overly plentiful in the vintage marketplace. Many collectors, like me, purchased pieces from her when they were new, and we’ve hung on to them for decades now. The other reason is that each style was made in very low quantities. Even my favorite fringy Santa was limited to just a few pieces made.

B&M von Walhof Valentine
kitty brooch warms collectors’
hearts, early 2000s, $225-$275.

B&M von Walhof Jewelry

By the early 2000s, Michelle von Walhof (now Michelle English) took on a more prominent role in the family jewelry biz. In addition to managing customer orders, questions, and requests, she started designing, too. Animals were always a big part of the line, but Michelle expanded the idea by creating brooch designs based on vintage holiday illustrations. As an admirer of all types of vintage holiday collectibles, this really hit home with me.

Unable to resist, I added these whimsical and fun brooches to my collection as often as my budget would dictate. I collected jack-o’-lantern brooches, including one with a grimace and another called “Grumpkin” with an appropriate frown. Others include a black cat wearing a top hat and another ebony kitty perched on a big smiling moon that looks quite a bit like Bob Hope in profile. Oh, and a huge witch head that is frighteningly cool. What makes all these so endearing is that they bring to mind old die-cut Halloween party decorations, just as Michelle intended.

Costume jewelry expert Pamela Siegel wearing B&M vonWalhof grimacing
and “Grumpkin” jack-o’-lantern brooches, early 2000s, $150-$225 each.

Beyond the Halloween pieces, I fell in love with a set of pink poodle dog brooches. A Scottie dog wearing a Santa hat and coat also trotted home to me. I even purchased another kitty, but this one was holding a big red heart. It made me think of all the Valentine’s Day cards I’d exchange with my grade school friends back in the late 1960s and early ’70s. All the nostalgia wrapped up in these glittering rhinestone pieces is truly what makes them so heartwarming.

I’ve also learned by keeping in touch with Michelle that she’s become an avid animal rehab specialist in recent years, helping orphaned and injured animals until they can survive on their own. Considering her mom’s background and love of animals, it’s only natural that she would inherit the same type of interest and compassion.

There’s less bark and more wag with B&M von Walhof Pete the Puppy
inspired by “The Little Rascals,” early 2000s, $275-$325.

Marks on von Walhof Jewelry

The late 1990s pieces of jewelry marketed by the von Walhofs are marked Bettina von Walhof on an oval signature plaque. Very occasionally, you will run across a piece of jewelry from the same era with Bettina von Walhof’s name, and that of another designer like Lawrence Vrba or “The Show Must Go On” (the mark of David Mandel), as these independent jewelry artisans collaborated. Pieces made after Michelle became more involved in the business are marked B&M von Walhof on a heart-shaped cartouche.

While this mother/daughter duo is no longer producing jewelry, Michelle does offer a selection of new and old stock on Etsy.com (von Walhof Jewelry). I’ve noticed several Halloween and Christmas figurals available, along with other animal designs, and I’ve been able to add a couple of long-coveted pieces to my collection over the past few years. Both, in fact, were birthday gifts from me to me, including a recent parrot purchase. Yes, I’m also a parrot head, so the Bettina von Walhof McCaw brooch flew to Texas in remembrance of my very favorite singer and songwriter, Jimmy Buffett. If you visit and see something you like, snatch it up because it may be a good while before you have an opportunity to purchase another one

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at www.chicantiques.com and www.cjci.co.

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From Cartier to Costume, The Unmistakable Beauty of Fruit Salad Jewelry

Gripoix Glass Jewelry – Getting a Grip on an Identity Crisis

Flat-Out Gorgeous

By Pamela Wiggins Siegel

Back when it first ran from 1985 to 1992, I didn’t catch too many episodes of the classic television series “Golden Girls.” Now that I’m a golden girl myself, I’ll admit to watching the reruns from time to time, especially when I’m under the weather. The shows have their funny moments, no doubt, but I often find myself checking out the earrings, especially those worn by Dorothy and Blanche. The ones I admire the most—like the dangling deep blue pair Blanche donned when the girls crashed a 40-year high school reunion—are encrusted with oodles of flatback rhinestones.

What are flatback rhinestones? These stones, as the name implies, have smooth, flat backs making them perfect for gluing in a pavé fashion so that a surface is completely covered with stones. From the front, both clear and colored versions are super sparkly. They were used—along with opaque black and red flatbacks for a more dramatic look—to embellish many objects in the ’80s, including jewelry and fancy handbags. These stones look similar to Hotfix stones used to embellish clothing these days, but that type is more permanently affixed using heat. The best flatback stones were made by Swarovski, and they’re sometimes called crystals instead of rhinestones.

Richard Kerr clear flatback rhinestone earrings, 1980s, $100-$150.
Image courtesy Jay B. Siegel

I had no clue about the makers of the pretties fashioned with these stones when I first owned a pair back in the day, nor do I know which brand Blanche wore in that “Golden Girls” rerun. I have learned over time, however, that there were several designers and companies associated with the style, including the most well-known: Richard Kerr.

Richard Kerr Flatback Jewelry

First, let me say the history of Richard Kerr’s design career is sparse. We know that his firm was located in Dallas, and he marketed his jewelry beginning around 1980. One source of information, however, seems to confuse him with another Richard Kerr, who followed in his father’s footsteps with a family jewelry business in Illinois. I noticed that particular gentleman supposedly retired in 1983, however, Richard Kerr’s flatback jewelry designs appeared in magazine spreads well into the 1990s. I can only surmise that we’re looking at two different men here, and the one in Dallas is responsible for the pieces I ardently admire.

Even though we don’t know much about Kerr, his work is still important since this type of jewelry is often associated with his name. Unmarked pieces decorated in this way will inevitably be labeled as “Richard Kerr style” when sold online. And when you compare the quantities of Kerr designs that come into the secondary marketplace to others working with flatback rhinestones, the quantities available mount into the thousands compared to only hundreds marked with other brand names. He was clearly the most prolific marketer of this style of jewelry.

Richard Kerr multicolor earrings, 1980s, $100-$150.
Image courtesy Jay B. Siegel

Kerr’s designs, in my opinion, are also some of the most creative since he drew on Memphis style in form and color for some of them. He also embraced the popularity of animal print accessories prevalent during the 1980s incorporating big cat patterns into several noteworthy designs. You’ll find many more pairs of earrings than other types of jewelry marked Richard Kerr, but he produced bangle bracelets and necklaces encrusted with flatback stones popular with collectors as well.

James Arpad’s Flatback Designs

James Arpad is another designer who made jewelry using flatback rhinestones. Although collectors don’t find his work as often as Richard Kerr’s, a little more is known about his background and life. He got his start in 1987 after shifting his focus from architecture to designing fashion accessories. He was inspired by his father, Steven Arpad, who used rhinestones to decorate accessories ranging from handbags and shoes to jewelry during the mid-century era. Arpad’s dad named the technique he later replicated “pavee.” One famous example of the elder Arpad’s work is a jewel-encrusted Salvatore Ferragamo pump made for Marilyn Monroe, which is now held in the Salvatore Ferragamo Museum collection in Florence.

Jewelry by James Arpad was marketed all over the United States through upscale department stores. He also sold pieces from a New York City showroom. Many of these were similar in style to Kerr’s work, including numerous pairs of earrings, but he did add fabric tassels and filigree metal elements to some of his pieces. In 1992, he also designed red leather AIDS charity ribbons decorated with flatback stones that were worn by celebrities, including Liz Taylor and comic Richard Pryor. He retired in 1999 after his father’s death and moved to Georgia to be closer to his mom.

James Arpad dramatic black dangle earrings, 1980s, $50-$75.
Image courtesy Jay B. Siegel

Other Designers and Brands

Another name I always look for in this genre of jewelry is Barbara Groeger. Years ago, Groeger’s sister contacted me after she saw a pair of her sibling’s earrings for sale in one of my online selling venues. I remember her telling me that Groeger’s life was cut short when she succumbed to a brain tumor. This sad news led me to believe that’s why I don’t run across flatback jewelry with Groeger’s mark more often. Her pieces are usually quite bold with a decidedly ’80s look about them, including colorful earrings that resemble targets.

Barbara Groeger clip earrings, 1980s, $65-$85.
Image courtesy Jay B. Siegel

Bellini by Formart is another name to watch for this style of jewelry and evening bags. The company was started in New York in 1988 and became known for making jewelry worn by beauty pageant contestants around the world. Unlike the other businesses associated with this style, this one is still in business although the brand’s current offerings are rather ordinary beaded styles rather than the flatback rhinestone sparklers produced decades ago.

Values for ’80s Flatback Jewelry

Many vintage jewelry shoppers are not as familiar with Arpad, Groeger, and Bellini by Formart in comparison to Kerr’s work, so there are still some bargains to be had with a little shopping diligence. Snagging an eye-catching pair of earrings for $50 or less isn’t out of the question. Exceptions include more unusual designs and out-of-the-ordinary color combinations.

When seeking Kerr pieces, which generally bring the highest prices, expect to pay $100-$150 for the best earring examples and $50 and up for smaller button styles. Suites including a necklace, bracelet, and matching earrings can sell in the $200-$300 range depending on the design

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at Chic Antiques by Pamela and Costume Jewelry Collectors International.

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Gripoix Glass Jewelry – Getting a Grip on an Identity Crisis

By Pamela Wiggins Siegel

As a lover of adornment, I have a few pet peeves. One big one is misidentifying jewelry components as Gripoix glass. Gripoix (pronounced gre-pwuh) is a term misused repeatedly. And when I say repeatedly, I can’t add enough overs to over and over to convey the problem. This is likely a monkey-see, monkey-do situation for many novice sellers. They see brightly colored cabochon stones in jewelry and think it’s Gripoix glass because someone else called it that.

Other times, I feel quite sure the sellers are educated enough to know better and do some keyword stuffing to try to get more eyes on their goods and make a sale in a competitive market. Either way, it’s an issue widely found across the internet, so it never hurts to get the word out to a few more folks who value being educated. Let’s start with some background on Gripoix.

Gripoix Glass Basics

Gripoix glass was first made in Paris in 1869 by Augustine Gripoix. She already had a reputation for adeptly creating simulated pearls and branched out to add poured glass (known as pâte de verre in French) to her offerings. Using the poured glass technique to create jewelry components, melted glass is literally drizzled into a metal frame. From the front, they look amazing, but they can be a little messy when viewed from the back, depending on the style.

Many of these little beauties are shaped like flower petals and leaves. The handmade nature makes each one a bit unique and costly to produce. They were used in jewelry made for some of the most well-known couture houses in the early 1900s, and some of those relationships continued for years thereafter. Poured glass elements, however, were not used by American manufacturers like Trifari and Coro as some online resources will lead you to believe. The designs produced by those companies were made with molded glass petals or leaves surrounded by metal in imitation of poured glass.

Other types of glass components in every color imaginable have been made by Gripoix as well. Among these are small drops of glass and little lozenge shapes that look almost good enough to eat. They also have produced many beads in a variety of shapes that are used as accents or mounted on wires for use in complex designs. Some have texture, although many are smooth. Faux pearls have also continued to be a mainstay for Gripoix, including many large oval-shaped examples collectors sometimes describe as “potato” pearls.

 

Gripoix branded long necklace with glass “potato” pearls, early 2000s, $400-$600.
Photo courtesy of Jay B. Siegel

Learning to distinguish Gripoix glass from ordinary molded glass cabochons isn’t hard. Molded cabochons can often be colorful just like Gripoix glass, but they’re mass-produced rather than made by hand. That means molded cabochons will be more uniform in shape and size when compared to Gripoix components. Examining the back, you won’t ever see that less-than-perfect look where glass was poured into a frame. And while molded glass can contain bubbles, they’re often more noticeable in older poured glass components. The bubbles, in fact, give the components a light and airy look that adds to their beauty. Being made in France, they’re also seen in high-end European jewelry rather than American-made pieces.

Brands Associated with Gripoix

On rare occasions, you will run across a piece of vintage jewelry made in the United States that contains a genuine example or two of poured glass. Some contemporary designers, including Chris Crouch for his Moans Couture brand, have been successfully producing poured glass elements and employing them in jewelry, too. These are described as Gripoix by sellers sometimes, even though they were made by Crouch. Much more often, though, Gripoix components are found in French jewelry, with Chanel designs being some of the most famous.
By the time Coco Chanel first worked with the House of Gripoix in the 1920s, Augustine Gripoix had already made stage-worn jewelry for the famed actress Sarah Bernhardt, along with the Charles Worth couture house. She also partnered with the famed French fashion designer Paul Poiret. It was her daughter, Suzanne Gripoix, who continued to grow the business working with Jean Piguet and Jeanne Lanvin, along with creating jewelry for Chanel.

Chanel Maltese cross necklace with Gripoix poured glass components, the 1970s, $2,000-$3,000.
Photo courtesy of Jay B. Siegel

As the decades passed, more and more workshops creating couture jewelry recognized the beauty of Gripoix components and used them in their designs. This includes pieces made for Dior, Balenciaga, Balmain, and Givenchy, among many others. Not all components in jewelry marketed under these brands were made by Gripoix, however. Rhinestones, resin, and other types of glass were used as well.

Christian Dior brooch with green Gripoix glass elements, 1970, $800-$1,000.
Photo courtesy of Jay B. Siegel

Gripoix has even produced top-notch examples of costume jewelry under their own brand over the past few decades and is still in business in Paris. Thierry Gripoix, grandson of Suzanne Gripoix, started his own firm in 2007 called Augustine Paris in honor of his great-grandmother. He passed away in 2022, but the legacy of creating remarkable poured glass jewelry is being carried on in his memory.

As you explore the intricacies of Gripoix, keep in mind that not all glass used in French jewelry is associated with this family. Other firms also skillfully produced handmade glass components during the 20th century. Techniques like lampworking are also confused with poured glass at times. The look is a bit different, however, and advanced collectors learn to recognize the nuances of different artisans and companies who have created various glass components around the globe.

Gripoix branded large brooch with glass elements and faux pearls, early 2000s, $1,000-$1,500.
Photo courtesy of Jay B. Siegel

Learning More Online

There’s nothing like a video to encapsulate jewelry making and all its wonder. I recommend looking up a couple on YouTube related to Gripoix.

The first is a very short video from the House of Gripoix that shows some of the techniques they have long used. The other was produced by Augustine Paris, and it is a lovely glimpse into how the Gripoix family’s tradition of making handmade glass components for use in jewelry fabrication lives on. Seeing how these special pieces are brought to life helps with differentiating them from American costume jewelry made in greater quantities over most of the 20th century.

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at Chic Antiques and Costume Jewelry Collectors International.

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From Cartier to Costume, The Unmistakable Beauty of Fruit Salad Jewelry

There are lots of nicknames costume jewelry collectors have given their favorite styles over the years. None are so fun, perhaps, as “Fruit Salad.” This term pertains to adornment made by one of the giants in the costume jewelry business to imitate a particular type of Art Deco era fine jewelry. And, as with many other terms associated with high-end costume jewelry, this one is often used incorrectly to draw attention in online listings.

By Pamela Wiggins Siegel

 

Fruit Salad Jewelry Origins

We like to think of costume jewelry companies and designers as great innovators, and some of them certainly have marketed their share of unique creations. Very often, though, fine jewelry styles have trickled down to yield some of the most popular and costly costume jewelry designs over the years. Pieces made with Fruit Salad stones fall into this category.

Before there was Fruit Salad made by top costume jewelry businesses in the 1930s and beyond, there was Tutti Frutti by Cartier. The term Tutti Frutti, which is still in use today, describes carved emeralds, sapphires, and rubies shaped like fruits, flowers, and leaves set into precious metals. Other accompanying stones are dome shaped or ribbed, and of course there are almost always diamond accents sprinkled within these magnificent pieces.

Cartier called these designs “foliage” or “Hindou jewels” when they were first made in the 1920s and ’30s. Much like the term Art Deco coming about in the late 1960s, Tutti Frutti wasn’t coined to describe these works of wearable art until the 1970s.

Jacques Cartier, who ran the London branch of his family’s famed French jewelry house, was responsible for bringing the carved stones back to Europe from India. He would quickly share them with his brother Louis, the heir of Cartier. Both men were greatly inspired by not only these carved jewels, but the culture of India. They channeled their scholarly pursuits on the topic into the creation of some truly outstanding jewels.

These vividly colored imported gemstones were not as fine as some of the others being used in Cartier jewelry during the period. This led the first Tutti Frutti pieces to be priced lower in comparison to designs crafted with more flawless stones. As noted in The Cartiers: The Untold Story of the Family Behind the Jewelry Empire by Francesca Cartier Brickell, these pieces were all about color, so quality wasn’t as much of a concern.

Socialite Daisy Fellowes embraced everything about the exotic look of Tutti Frutti designs and had Cartier create the famed Collier Hindou in 1935 using her own stash of carved gems. It was a convertible necklace that could be taken apart to wear the central element as a clip brooch. Tutti Frutti designs on par with that piece are still being produced for Cartier’s high jewelry collections today.

Marketing Fruit Salad Jewelry

Trifari is the undisputed winner of the inspired by Cartier prize when it comes to imitations of Tutti Frutti jewelry. This shouldn’t be too surprising since their lead designer, Alfred Philippe, worked for Cartier before joining the Rhode Island-based firm in 1930.

By that time, Tutti Frutti jewelry was already being marketed to Cartier’s elite customers. Demand had shifted due to the Great Depression, however, and Philippe was inspired to design similar styles with imitation stones for Trifari. Most of these pieces are marked with the initials TKF for Trifari, Krussman and Fishel, the early signature used by Trifari. Decades later, just like Tutti Frutti, the stones in these pieces were nicknamed Fruit Salad.

While Fruit Salad stones are often described as carved by sellers, they’re actually made of molded glass rather than hand carved like genuine gemstones. In addition to the jewel-toned colors of green, blue, and red popularized by Cartier, Trifari branched out to include imitations of moonstone, turquoise, coral, and other gems. The shapes include tiny lemons, pears, melons, and leaves.

Trifari, like Cartier, was also known for making convertible jewelry. Trifari’s versions featuring imitations of carved gemstones include a particularly rare and desirable bracelet with a pair of the brand’s Clip-mates dress clips fastened at the top. The clips can be removed and worn separately, and other Clip-mate styles can be swapped in their place. Clip-mates were also made into convertible “duette” brooches that can be worn together as a pin or separated into two clips.

Some other jewelry companies made their own versions of jewelry using colorful molded glass stones. Mazer is the most prolific in terms of what collectors describe as Fruit Salad. The stones in this brand’s pieces are usually molded glass leaves or flowers but sometimes include fruit shapes. While these stones were used sporadically later, and those designs are desirable as well, the most sought-after Fruit Salad designs date to the 1930s. Later styles by Trifari will be marked with the crown over the T signature rather than TKF.

What Fruit Salad Jewelry Isn’t

Online sellers sometimes take license in describing their wares, especially in listing titles. Fruit Salad is a term used incorrectly quite often, and sometimes it’s a case of mistaken identity when a piece contains oodles of colorful stones. Some describe Italian glass or plastic fruit jewelry as Fruit Salad simply because they include fruit shaped beads. Other sellers, however, use the term intentionally to draw attention.

Why does this even matter? At the end of the day, most collectors just look at the jewelry and scroll on if it’s not described correctly. They do take notice, however, and tend to avoid sellers who habitually describe things inaccurately feeling they may be overlooking flaws or other pertinent details. Bottom line, if you want to be seen as a trustworthy, do your research and save the term Fruit Salad for stones that mimic the look of carved gemstones shaped like fruits, leaves and flowers.

Values for Fruit Salad Jewelry

While you might not be able to afford a piece of Cartier Tutti Frutti jewelry for your collection, you just might be able to snag a Fruit Salad piece that’s more in your price range with some shopping diligence. Smaller brooches and pairs of earrings start in the $125 to $300 range with prices going up from there. Many of the Trifari designs from the 1930s, though, easily sell in the thousands now.

Demand is strong in this area of costume jewelry collecting, especially from Asian buyers, so values are on the way up. Keep that in mind as you contemplate a purchase since the nicest pieces don’t stay on the market for long now when priced to sell.

 

PAMELA WIGGINS SIEGEL has been buying, selling and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at www.chicantiques.com and www.cjci.co.

 

Cartier Tutti Frutti multi-gem bangle featuring carved rubies, emeralds and sapphires, pear-shaped diamonds, round diamonds and emeralds, platinum and gold, signed Cartier, $550,000.

Courtesy Christie’s

 

Mazer Fruit Salad brooch, c. 1940, $150-$250.

Trifari Fruit Salad Clip-mate “duette” brooch, 1930s, $450-$550.

Trifari Fruit Salad dress clips pair, 1930s, $350-$450.

 

Trifari Fruit Salad “Floraleaf” set, 1947, $450-$550.

Trifari Fruit Salad and mother-of-pearl earrings, early 1960s, $125-$225.

Images courtesy Jay B. Siegel