MIRIAM HASKELL JEWELRY
1926-Present

By Sheila Pamfiloff 

Older unsigned Haskell densely beaded pieces in rich colors....

All the jewelry shown in this article is courtesy of Sheila Pamfiloff, Cathy Gordon and Jane Clarke.

Some are pins and some are clips, but all are magnificent!

The difficulty in collecting these ‘Old Ladies’, then and now, is in acquiring adequate information to be able to make wise decisions in purchasing. Anyone today can see by a search through eBay, while viewing countless numbers of signed and unsigned Haskells, that knowledge is crucial. How would someone know that the person selling this jewelry is correct in his or her declaration that this is unsigned, old, or is it even a real Haskell? This holds true at antique shows as well as antique shops. Is it a Miriam or isn’t it? Is it old or isn’t it? To quote just a few of the statements that can be read or heard from sellers, "This is an unsigned Miriam, because I got it from an estate belonging to an elderly lady who collected jewelry and they said........!"  Or, "This is an unsigned Miriam because only Miriam used unusual beads and pearls and filigree." Or, "I know it’s a Miriam, because I’ve been a dealer for 20 years." My aim here is to give you a STANDARD for looking at Old Haskells, not the "exceptions."

For the purposes of this article, I’m narrowing the discussion from the vast area of designs produced by the Haskell company to include only those with distinctive Haskell traits.

The first tool is to invest in and read good books. Two exceptional books are "The Jewels of Miriam Haskell", by Deanna Cera and "Jewels of Fantasy", edited by Ms. Cera. Additional examples of Miriam Haskell can be found in many Costume jewelry books written by well respected authorities such as Harrice Miller, author of "Costume Jewelry: Identification and Price Guide," and other recently published books. Other examples may be found in vintage magazines and advertisements.  

The second tool is learning to use your eyes to compare. Always compare! Comparing what you know to be true to the unknown will help you develop a detective’s eye. For example, collect visual examples of molded leaves, beads, stampings, filigree parts, findings, and link chains and then compare these to the piece you would like to identify. Look at the construction in era-specific pieces that you know, and then compare this to the prospective purchase.

For the sake of identifying and dating Haskells, it is easier to impart information if that information is broken down into smaller specific categories. When I think of the company’s years of production, in helping with identification, I think in terms of three broad categories: pre-signature era (1926 to late 1940s), early signature era (late 1940s through the 1960s), and the later signature era (1970’s to the present). Then I think of the other more specific categories such as the designers, findings and metalwork, beads, materials, assemblage, and, very importantly, styles or colors that were predominant in any given period in the history of fashion.

There is a warning that I would like to give when dating Haskells, however. The theme of tapestry beading on filigree runs from the late 1940s to the present, coupled with the fact that the company purchased mass quantities of materials, which they used decade after decade with some still in use today. This makes accuracy a problem. However, by keeping in mind these ideas, much can be established in identifying Haskell jewelry and dating it.

Her vision was enhanced when she hired FRANK HESS to be her head designer. Through his career with the company, asymmetry would be the hallmark of his designs. In thinking of his tenure as head designer, think detail: "The beauty is in the construction."

During the early Hess years these designs were sometimes playful, and very often complex and luxurious. Era fashions tended to be sophisticated with high culture and European designers being the model. Much of the Haskell jewelry was created to enhance the necklines of these fashion garments, making a statement of crafted art complementing sophistication.  

Hess's art can be seen in the designs where beads terminate in tiny little glass beads, prong set rhinestones, or brass findings. Tiny motifs such as flowers or berries were often placed in such a way as to cover the entire backing. If there were bead fringes, they would usually be in uneven lengths.  A single bead could very often be treated as an artwork by surrounding it with smaller accent beads or rhinestones, enhanced with additional complementary beads and findings in elaborate treatments.  

Before WWII, beads were from France and Venice and crystals from Bohemia and Gablonz. The connecting wire threading moved from layer to layer, linking beads, motifs, and metal backings in an intricately planned process. The first metal backings were mostly hand-cut perforated metal shapes with fitted solid back plates. At the beginning of WWII, a variety of stamped pierced-metal backings came into use.

There are many many claims about jewelry being unsigned Haskell. For the sake of argument, I would guess that at least 90% of these claims are incorrect. Unsigned Miriam Haskell pieces are rare and for most people are difficult to identify. Because of the irregularity of materials, findings and other components, be sure that you have some examples of documented attributions when confirming unsigned pieces. Again, comparing the era’s components, construction, and correct style help greatly. If it looks like 1950s or 1960s, it probably isn’t unsigned Haskell.

In the late 1940s, the famous Haskell filigrees started being produced by a lengthy gold electroplating process, resulting in an antique gold finish, which was then lacquered for protection. These filigree backs came in a variety of shapes and sizes, often laced together, and were entirely covered by the motifs created of beads and stones. At this time, the 'Hess' signature look was introduced, with tapestry beading, and expanded use of pearls and rose montées in wonderfully busy pieces.

Note: Very soon after starting the use of these filigrees, Haskell started signing their work. Unsigned Haskell with filigree is very, very rare!

When identifying Haskell of the late 1940s through the 1950s, think of pearls, asymmetry of construction, and look for perfection. Pay careful attention to the way the pieces are wired together. Think about the back of the piece. Is it wired carefully to the front? Is it all hand made? There should never be glued-in pearls or rhinestones. Pay attention to the spacers. Are they consistent with Haskell metal or seed bead spacers and are the pearls capped? Are the marks correct? Hess was an artist and made sure the colors worked together; if they don't, be suspicious.

When identifying Haskells, remember that hang tags can easily be removed and placed on non-Haskell jewelry. Other Haskell signature forms and closures are also often used on non-Haskell jewelry. Beware of the glued on oval tag, and the sometimes glued on hang tag. All of these various marks have been used on non-Haskell jewelry and used with various combinations of Haskell parts and non-Haskell parts to make re-creations. Look for the other correct traits and make sure that the construction is consistent when identifying a Miriam Haskell. In the older Miriam Haskell necklaces, the stringing is unique. They always used silk thread and backstrung the thread through the tiny jump ring and back through 3 to 5 beads, for strength.

Robert Clark left Miriam Haskell in 1968 and for a brief period Peter Raines took over as head designer.
 

These designers were and are important to the company in sustaining the old traditions and adding to the new. You should be familiar with the distinctions in different approaches and influences brought to the Haskell company during each period.  

Armed with some information in methods of construction, types of materials used at different junctures in the history of the company, the styles and colors favored in any given era, and knowing the appropriate marks, you can go far in identifying old Haskells, with a possible date approximation. And, much better, you’ll be able to eliminate the non-Haskells and the risk of purchasing a BAD HASKELL!

© 2001 Sheila Pamfiloff, All rights Reserved

All the jewelry shown in this article is courtesy of Jane Clarke, Sheila Pamfiloff and Cathy Gordon.

BOOK: Miriam Haskell Jewelry
By Sheila Pamfiloff and Cathy Gordon
Schiffer Publications

A comprehensive collector's guide to
Miriam Haskell Jewelry.
Over 600 Illustrations of delicious collectible pieces, with the mysteries of identification unveiled.