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.
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.Â
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.Â
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.
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.
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
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.
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.
Q: I received as a gift from a friend 17 years ago, a beautiful Hobe Flower Photo Brooch dated 1966. I have not been able to find this brooch on the Internet. I’m interested to know what the value of this lovely Hobe brooch might be. Can you help me? A: Once you’ve started looking […]
We are fortunate to have an array of experts at our fingertips, including the talented Pamela Wiggins Siegel, an expert in costume jewelry who writes regularly in this magazine. We turned to Pam for her assistance to answer this question. Her response follows:
“These types of locket brooches aren’t very common, as you’ve noticed looking around online. Like you, I did not find exact examples in my appraisal resources. I did find several similar brooches with lockets marketed by Hobe’ dating to the mid-1960s. As an appraiser, looking at values for items that are close in comparison is the next best thing to finding an exact match. Normally I would look for items that had sold recently to get a more accurate value but I’m not seeing any at the moment. With that said, I am seeing a few similar ones with asking prices in the $150-200 range. My gut feeling (based on buying and selling costume jewelry for many years) is that the actual selling prices will be in the $100-150 range when they are purchased, if not a bit lower, and that’s where I would value your piece.”
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
Judy Lee Sunflower Pin
Q: I inherited this vintage sunflower pin from my grandmother. It’s marked “Judy Lee.” What is it worth? A: Judy Lee jewelry was made by Blanch-ette, Inc., of Chicago. The company was founded by Blanche Viano in 1949. Later, her husband, Aldo, became general manager of the company. In 1958 the company introduced a line […]
Kovels On Antiques & Collectibles August 2022 Newsletter Now Available
Kovels’ August 2022 newsletter features Murano glass, American country furniture, North Dakota School of Mines pottery, toy boats and costume jewelry, all with photos and prices.
Kovels’ August newsletter pictures an assortment of antique country furniture that auctioned in Ohio. Most pieces were made in America in the mid-1800s, and collectors love (and pay for!) its rustic charm and warmth. Find country cupboards, cabinets, shelves and tables and see what buyers are paying. And learn some tips about buying old furniture.
Teachers and students at the North Dakota School of Mines put their state’s native clay to elegant use, making vases, bowls, plates and other pottery. And it is sought by enthusiastic collectors. A recent auction in Chicago offered several prized pieces of UND pottery. See priced examples and learn a bit about the school’s history in Kovels’ August issue.
More than 300 pieces of costume jewelry were sold at an Indiana auction. Kovels’ latest newsletter pictures bright and sparkly necklaces, bracelets, pins and earrings by legendary designers—think Chanel, Dior, Yves St. Laurent, Miriam Haskell, and others—along with their prices.
And an annual toy auction in New Jersey sold about a dozen toy boats. Kovels’ latest issue has examples that range from small tin penny toy boats to not-so-small gas-powered race boats.