The Neiger Brothers' Jewelry

Anyone who collects Art Deco jewelry will eventually run across the Neiger name.  And one may become hooked on the designs; complex, exotic, beautifully crafted jewelry that evokes the riches of King Tut's tomb or carries ancient Chinese motifs. As colorful and over-the-top as the Art Deco era itself. Trying to identify a piece as a true Neiger however, is no easy task.

Neiger Egyptian Revival brooch courtesy of www.etsy.com/shop/hipcricket

 Norbert Neiger graduated from the Gablonz, Poland technical school's bjouterie program in the early 20th century and started a jewelry company in the basement of the family home.  After his early success his younger brother Max joined him in the business. Norbert ran the business and Max designed the jewelry and ran the workshop.

After WWI the brothers focused solely on Max's designs, and also produced filigreed scent bottles. In 1926 they employed as many as 24 workers as demand from America and Europe for their jewelry was very high.

Neiger jewelry is characterized by beautiful Czech glass and lovely metal parts. Max designed the jewelry and the pieces were assembled by their workers.  They also did not stamp their parts, but bought them from estamperies, or local metal crafting shops. This is one reason why identifying a true Neiger is so difficult.

Neiger necklace courtesy of www.etsy.com/shop/boylerpf

Their best known works derive from the Egyptian design craze that began after the opening of King Tut's tomb in 1922.  They also added other fanciful lines, with Chinese and Indian motifs. They produced "hypnotizing brooches, beautiful beaded necklaces and fascinating bracelets, all of the highest quality."  (Value This Now Blog - 6/25/13). Their finishes were commonly gilded and rhodium plated.  The designs were composed of small enamalled and stamped floral patterns set with glass stones.

Neiger Chinese brooch courtesy of www.etsy.com/shop/GrandVintageFinery

Not only did they not stamp their jewelry, but
with their success other local jewelry makers began to emulate their work -- the parts were available to all from the same local manufacturers from whom the Neigers bought. Though their competitors' jewelry does not equal theirs in workmanship or style, these practices are why today pieces are often described as being "attributed" to the Neigers instead of being given full recognition -- certainty is often difficult.

The Neiger brothers came to a tragic end.  When WWII began they moved their operations to Bohemia, thinking it would be safe.  It was not.

Neiger buttons courtesy of www.etsy.com/shop/artfuloldies

They were sent to Auschwitz during WWII and both died there.  Today there are Neiger jewelry clubs dedicated to identifying true Nieger pieces.  There are quite a few Boards on Pinterest for Neiger Jewelry, creating not only virtual museums but also places to help with identification of newly discovered pieces.  That the brothers' jewelry is so popular today and commands such high prices is a testament to their workmanship and the eternal nature of their designs.



Sources: Value This Now Blog; 6/25/13: Gillian Horsup Vintage: Jewels Collecting Dust.

V For Victory!! World War II Victory Pin Jewelry

Post on courtesy of:http://cobayley.com/blog/?p=295

V for Victory!!  World War II brought out the fierce patriotism in people from all walks of life and from all parts of the world.  I bought the pin shown above on a recent buying trip.  As I and the gentleman selling the pin studied it, we both decided, that yes, it had to be a WWII era Victory pin.  I thought the little chick was adorable, but couldn’t fit that in with wartime. A friend suggested perhaps “a chicken in every pot’, or even relating to victory gardens.

I did a search on Google and there, through a couple of referrals met a charming and most interesting lady who collects among other wartime items, Victory pins.  Her name is Christine Lurk and she has graciously consented to me sharing some of her knowledge and a couple of her photos from her extensive Vee Pin collection.  Christine shares that she became a collector of these pins after seeing another person wearing one at a  World War II era air show in Reading PA.  She was instantly “hooked” (or should we say pinned?) and her amazing collection was born.  Below is the photo of the pin that started it all, MacArthur in a V for Victory.

“I  decided I had to have one of those, and like potato chips, I couldn’t just get one. Now I would say I have a world-class collection and I have started taking it on the road. Last year they let me set up non-profit tables (since I don’t sell anything) at the Reading airshow and elsewhere. I have branched out from just victory pins to other victory items (like license plate toppers)….and to Kilroy stuff….and to Uncle Sam stuff. And this year I have been invited back and am having fun expanding my display to include items that newer generations might not recognize and that demonstrate homefront sacrifices, like ration books and tokens and gas stickers, V mail, blackout bulbs and paper for covering windows, headlight masks, Victory gardens, airplane spotter cards, etc. I’ll make it into a Test-Your-Knowledge game too (with prizes, of course!).”

The pin above is a mystery pin.  The couple are obviously dancing the tango and it’s certainly a V for Victory pin, but it’s a mystery what the connection is between the dance and the V.   2nd unusual feature of this V pin is the musical notes depicted.  Typically, victory pins that contain musical notes are the audible representation of the Morse code symbol for “V” which is dot-dot-dot-dash.  Bring to mind the opening bars of  Beethoven’s Fifth Symphony and you will recognize the rhythm.  That is why during WWII Beethoven’s Fifth was used as the opening theme music–the call sign–for BBC’s foreign language programming to occupied Europe.  It was easily recognizable and echoed the message of VICTORY and hope in the dark days of war.

The same pin, but only in blue.

And, another musical themed pin.

This is just one of many trays that include all sorts of V for Victory emblems and insignia.  Christine does not sell any of her collection.  She very generously shares it at shows and gatherings of Wartime Memorabilia collectors.  I’m very grateful to Christine for sharing her knowledge and photos of her collection with me.  If you are ever in the Reading PA area in June, do attend the airshow.  There, you will find Christine and her fabulous collection!!

Juliana costume jewelry

Juliana costume jewelry was produced by DeLizza & Elster, which was founded in 1947 to manufacture everything from buttons and buckles to pins and pendants for such venerable costume jewelers as Hattie Carnegie, Hobe, Kenneth J. Lane, and Weiss. In 1967, chief designer Frank DeLizza and business partner Harold Elster decided to create a brand of their own by placing paper tags with the Juliana trademark on some of their pieces. The brand lasted barely two years, but it became synonymous with DeLizza & Elster. Vintage Juliana pieces (which include unlabeled pieces created before 1967 as well as those with Gloria and Tara hang tags) typically feature vibrantly colored rhinestones such as aurora borealis, clear crystals, faux hematite, and fake opals.

Juliana Aurora borealis
On courtesy of:
https://www.etsy.com/il-en/listing/205748691/vintage-delizza-elster-juliana-aurora

Juliana hematite
On courtesy of:
https://www.etsy.com/il-en/listing/156871899/vintage-hematite-colored-rhinestone

Juliana Easter Egg Brooch 

On courtesy of:

https://www.etsy.com/il-en/listing/205079190/juliana-easter-egg-brooch








Striking colors such as purple and teal or green and pink are routinely combined. In other Juliana pieces, large speckled (or "Easter egg") cabochons are set within rings of smaller, colored stones. Unlike much of the vintage costume jewelry from this period, Juliana pieces are almost all stone, with very little metal showing. Cluster settings for brooches are popular. In addition to such basic stone cuts as pears, baguettes, ovals, and rounds, some of the more fancy vintage Juliana pieces have stones cut into the shapes of keystones, arrows, anchors, and hearts. Brooch designs range from flat to domed to tiered, while earrings are arranged in clusters, cascades, or clumps with dangling jewels swinging free. Some pieces suggest natural forms like leaves on a branch, flowers, and crystals. Some pieces resemble birds; others looks like snowflakes or shooting stars. Milk glass is occasionally used as a cool accent or centerpiece, as are so-called watermelon rhinestones, which catch light and return a rainbow of colors to the beholder’s eye. The hardware on vintage Juliana helps collectors identify real piece from fakes. Earrings are mostly clip-backed; screw backs are rare. Necklaces tend to be clasped with J-hooks, which allow the wearer to adjust the length. Light necklaces have single hooks, heavier ones use double hooks, and some hooks are even adorned with rhinestones in closed-back settings. Juliana's vintage bracelets usually have fold-over clasps, some with ridges or stripes, some with arrow patterns, and some with rhinestones. Box-and-tongue clasps are used on flat-backed bracelets, clamper bracelets are hinged, and bracelets of all types frequently have safety chains.

Brooch mint green milk glass
On courtesy of:
https://www.etsy.com/il-en/listing/197010483/vintage-rhinestone-flower-brooch-

Juliana Watermelon Brooch 

On courtesy of:

https://www.etsy.com/il-en/listing/198467364/juliana-watermelon-brooch-

For more Juliana jewelry:

https://www.etsy.com/il-en/pages/vintage-vogue-team/juliana-jewelry

https://www.etsy.com/il-en/search?q=vogueteam%20juliana%20

Data on courtesy of:
http://www.collectorsweekly.com/costume-jewelry/juliana

Be Good to Mother Earth - Buy Vintage

Wearing vintage clothing and jewelry is in fashion right now.  Vintage accessories, from cosmetic compacts to purses and shoes, are very popular.   And the fun things one finds while treasure hunting, from mixing bowls and lovely old crocheted quilts to fine china, will never go out of style for some people.  But there is another reason besides personal tastes why it is a very good thing indeed to buy and use vintage items -- it's good for our aching planet.

Today's consumer culture churns out an ever increasing amount of material items in a manner that is not sustainable.  The use of finite and toxic resources such as petroleum along with the pollution caused by large clothing factories, adds even more of a burden to our strained environment. And using new materials, from cotton to metals for jewelry, when we already have so much vintage clothing in existence doesn't always make sense.

Dress: www.etsy.com/shop/DaisyandStella

An article in the March 16, 2014 edition of The Observer of London by Lucy Siegle had this to say about the ethics of wearing vintage:

If we think of a hierarchy of ethical ways of dressing, vintage is near the top.  It is the antithesis of throwaway fashion, being rare, covetable, and tradeable,  Rewearing old clothes also displaces the need to make new virgin fibres -- manufactured with oil-based petroleum or using cotton, both with hulking environmental impacts (add in dyeing, finishing and the use of factories with dubious ethics).


Although even new clothes can be coveted and traded, she does have a point. Obviously the market for new clothes will never disappear, nor should it. Fashion Week depends on it!  But there is room in the clothing industry for lovely vintage pieces to be brought back into use again. The throw away consumer culture that we live in can perhaps be tamed a bit if we all began thinking about the way our newer clothes are being produced and the harm caused by not only using petroleum products in new fibers, but the unsustainable agricultural practices used to grow massive amounts of cotton to make clothes that will end up in a landfill after a season or two. Clothes made out of petroleum and chemical products don't degrade well. What if we stopped chucking our perfectly good clothes when the fashions changed? (giving them to thrift stores is a fine idea! Then they are vintage!!)

The quality of older pieces cannot be denied either.  Just a few generations ago most clothes for the mass market were of much better quality than so much of what is made today.  They were made of natural fibers, made to last and to be passed down -- and boy did a lot of these pieces last!  There are a lot of vintage clothes and jewelry still in fantastic condition.  Just a nip and a tuck here and there and they will fit better than the generic small, medium and large ever will!

Dress: www.etsy.com/shop/MerakiVintageShop

 

Shoes: www.etsy.com/shop/KickAssStyle

We aren't all fashion designers and there are vintage pieces that don't fit today's aesthetic.  But a push to begin rescuing older clothing and either wearing it outright or reusing the fabric would go a long ways in giving the planet some breathing room.  Perhaps someone can enlist the likes of Tim Gunn to do an entire new television design show using only vintage clothing and jewelry!! Get the current Ralph Lauren interested in the clothes the younger Ralph made.  Take vintage right to the center of Fashion Week!

Wouldn't it be wonderful to see top fashion designers begin to "repurpose"old garments?  The same fabric could be used to keep up with current trends.  Or to use the original beautiful garment as it is and just kick it up a bit to so that women (and men) would be scouring thrift stores and garage sales to get the "new" look?

There is also a growing market for vintage jewelry  -- so many older costume pieces are strikingly beautiful -- and they already exist.  Bringing them back into circulation lessens the need to consume precious materials and generate toxic waste by making new.  After all, the older pieces were made to be thrown away -- and yet they are more popular than ever!  The old saying that everything old is new again is very true when it comes to fashion, so let's use the old as much as we can and not reinvent the wheel.

Earrings: www.etsy/com/shop/ZephyrVintage

                                           

Trifari jewelry

Since the 1920s, Trifari has been one of the most respected and admired producers of costume jewelry in the United States. Founded in the 1910s by Gustavo Trifari, the Italian-immigrant son of a Napoli goldsmith, the company has designed jewelry that’s been worn by countless high-profile clients, from Mamie Eisenhower to Madonna.

The success of Trifari, and the reason for its collectibility today, is most often credited to French designer Alfred Philippe, the company’s chief designer from 1930 until 1968. His use of invisible settings for stones, which he originally developed for Van Cleef and Arpels, added a level of craftsmanship and technique that had not been previously seen in costume jewelry.

Among Philippe’s countless contributions are the Trifari Crown pins from the late 1930s to the1950s. The crowns were so popular that Trifari incorporated a crown into its mark in about 1937. Authentic Trifari jewelry is typically marked with "Jewels by Trifari," "TKF" (for Trifari, Krussman & Fishel), or "Trifari," depending on when it was made.

Crown Trifari Alfred Philippe                                                        

https://www.etsy.com/il-en/listing/192893387/on-sale-crown-trifari-alfred-philipp

 

Some of the Trifari Crown pins feature eye-catching, brightly colored cabochons. Others are composed entirely of clear crystal rhinestones for a monochromatic effect. Naturally, a series of Coronation Gems was produced in 1953 to celebrate the ascendancy of Elizabeth II to the British throne.

Trifari’s Jelly Belly pins of seals, poodles, roosters, and other animals appeared in the1940s. Each animal’s "belly" consists of a solid Lucite "pearl" with settings of sterling silver or gold plate. Although any Jelly Belly from this decade is going to command a good price, the poodles are especially rare.

                                                                    Trifari Jelly Belly Brooch 

                 https://www.etsy.com/il-en/listing/127727046/vintage-trifari-jelly-belly-brooch

Other categories of vintage Trifari costume jewelry to look for are the vintage floral pins from the 1930s and the fruit and vegetable pieces from the 1950s. In particular, collectors like the miniature fruit pins (apples, pineapples, grape bunches, and strawberries, to name a few) from the late 1950s through the 1960s. These single pieces, usually finished in a matte silver or gold, were worn by themselves or in groups. Also popular are the patriotic pins from the 1940s of American flags and red-white-and-blue eagles.

                                                            1960s Trifari Strawberry Brooch Set 

https://www.etsy.com/il-en/listing/194671738/1960s-trifari-stra?ref=wberry-brooch-set-red

Like all manufacturers during World War II, Trifari was unable to use metal in its products due to rationing. This forced Trifari to switch to sterling silver during the war, which tripled prices for Trifari products (although that didn’t seem to hurt sales). Post-war, Trifari wanted to go back to less costly, maintenance-free metal, but its audience was now used to silver. To hype the return to a cheaper base metal, the company began advertising a "revolutionary" new metal called Trifanium, which was a made-up name for their basic metal — unlike silver, it could be given a no-polish rhodium finish.

The campaign worked so well that by 1953, Mamie Eisenhower felt perfectly comfortable to break with tradition and wear costume jewelry to the inaugural ball. To match the First Lady’s pink satin gown (studded with 2,000 rhinestones), Alfred Philippe designed an "orientique" pearl choker with matching three-stranded bracelet and earrings, each laden with eight pearls. Three sets were made: one for the First Lady, a second for the Smithsonian, and a third for the Trifari archives. Mrs. Eisenhower was so pleased with the ensemble that she had Trifari make jewelry for her second inaugural ball in 1957.

Mamie Eisenhower wearing Trifari jewelry with her inaugural ball gown

http://kimberlymoorerings.com/blog/2014/08/trail-blazing-trifari/

                                                          Trifari Earrings with White Cabachons 

https://www.etsy.com/il-en/listing/204421718/huge-sale-trifari-earrings-with-white

Article courtesy of 

http://www.collectorsweekly.com/costume-jewelry/trifari

For more Trifari jewelry:

https://www.etsy.com/il-en/search?q=vogueteam%20trifari%20

https://www.etsy.com/il-en/pages/vintage-vogue-team/trifari-jewelry?ref=pg_index_32

:Data on courtesy of
http://www.collectorsweekly.com/costume-jewelry/trifari

Coro jewelry

Cohn and Rosenberger was established in 1901 by Emanuel Cohn and Carl Rosenberger, Later incorporated in 1943, they shortened the name to Coro, Inc., combining the first two letters of the two rounders last names. 

Founded as an accessories boutique in New York City, Cohn and Rosenberger were businessmen who focused on business operations and growth, but they nevertheless had a good eye for the arts, hiring very talented professional jewelry designers who were allowed to develop their own creative visions at Coro. 

Even manufacturing was outsourced until they finally purchased their own facility in Providence, Rhode Island in 1929. This facility grew to be the largest costume jewelry manufacuting operation in the world, using advanced production line technology and employing up to 3500 workers at the peak of operations.

Many talented jewelry designers worked at Coro over the years, and it was the job of Adolph Katz to select from among the competing designs the ones that Coro would manufacture and introduce to the market. He also reviewed some of the many independent designs that were submitted to the company, and he often selected designs from this pool as well for Coro to manufacture. Katz also filed most of the Coro patents including some interesting filings for mechanisms that were used in some of the Coro jewelry designs. One example of a patented mechanism was the Coro Duette, a double clip patented in 1931 that you could combine into a single pin through an innovative interlocking catch.

Designers: 

Among the well known jewelry designers who worked at Coro at some point in their careers were Gene Verecchio, Robert Geissman, Massa Raimond, Oscar Placco, and Francois, who specialized in floral pins and went on to found his own jewlery company. Despite this roster of talent, most Coro jewelry is not individually marked with the designer's name and is only marked as the work of the company.

 As a result, Coro came to be known for a certain design aesthetic that was largely correlated with the designs that Adolph Katz chose to commission for the company. The company made a wide variety of pieces from figural to floral, and they developed different lines marketed at different price ranges but always with recognizable quality. 

The company also expanded overseas, establishing the Corocraft brand in England in 1933 and moving into Canada soon thereafter, and they soon had design stores in most major American cities. Coro made a great deal of patriotic jewelry during the years of World War II including the Emblem of Americas brooch that is quite rare and avidly sought by collectors. They also made jelly belly jewelry with lucite and multi-colored glass cabochons for which they become quite well known, but a style which was pioneered by Trifari. Coro was not above exploiting the design innovations of others, and especially Trifari and Monet, but they also created some unique styles of their own such as the Coro Duette from their own roster of designers. 

Vintage jewelry; Corocraft bracelet, 1940

https://www.etsy.com/il-en/listing/199888645/vintage-jewelry-corocraft-bracelet

Richton International Corporation of New York purchased Coro in 1957 and continued production at the Providence factory into the 1970s. They were not well positioned in their manufacturing capabilities to produce the bead styles worn in the 1960s or the simpler goldtone jewelry produced in the 1970s by companies such as Monet and Asian manufacturers. Coro ceased ongoing operations in the U. S. in 1979 and continued 

producing jewelry in Canada until the mid 1990s.

Coro Duette - Moonglow Lucite Brooch 

https://www.etsy.com/il-en/listing/200563038/coro-duette-moonglow-lucite-brooch-dress

   

Coro Sterling Silver Ruby Red Glass Love Birds Brooch                                          

https://www.etsy.com/il-en/listing/204312747/coro-sterling-silver-glass-jelly-b:

Article courtesy of

http://www.collectics.com/education_coro.html

                                                           For more Coro jewelry please visit

                                                  https://www.etsy.com/il-en/search?q=vogueteam%20coro

https://www.etsy.com/il-en/pages/vintage-vogue-team/coro-jewelry?ref=pg_index_31

                                                                                        References

http://www.collectics.com/education_coro.html

http://www.illusionjewels.com/costumejewelrymarkscoro.html

A Short, Rich History of Haviland Limoges China -- Shelli Nelson and Julia Arndt

Haviland Limoges china represented elegance as well as socio-economic success during the eighteenth and nineteenth centuries.  Its present day aesthetic appeal provokes the ambiance and fashion of those earlier times.  To own a Haviland Limoges item today is to own a piece of Haviland's rich and adventurous history which, for David Haviland, all began with a broken cup.

Teacup courtesy of www.etsy.com/shop/Classic Endearments

One day in 1839 a customer arrived at Haviland's New York City china shop with a broken cup wishing to have it replaced.  Haviland immediately recognized the quality of the porcelain but not the maker.  He thought this fine type of porcelain came only from China.  Perplexed, he researched the origins of the cup and discovered it came from France.  He traveled to France with high hopes of finding a match to his cup.

It would be in the city of Limoges that a determined Haviland finally found the cup's match and learned of a 75 year old ongoing history of china production in the region.  This was due to the discovery in the Limousine region surrounding Limoges of soil rich with deposits of kaolin and feldspar -- two principal ingredients that make hard paste, or high fired porcelain,  Kaolin is a type of earth and feldspar is a mineral that provides strength to the paste and, when fired at a high temperature, becomes translucent.  The finished result is an object that is vitreous, or glass like, and what china collectors have long admired in fine porcelain china.  As a result, Limoges has been home to numerous porcelain manufacturers over several centuries and today the name is synonymous with high quality porcelain.

Plates courtesy of  www.etsy.com/shop/PeriodElegance

                                                     Serving Dish courtesy www.etsy.com/shop/GrandVintageFinery

Haviland and Company established a foothold in Limoges in 1842 and by the late 1800s created one of the largest and best factories there, making porcelain for the American market.  For nearly 25 years prior to establishing the Limoges factory, Haviland had run his own New York City retail and import china business and so had the experience to make the new factory a success.

Haviland not only recognized the superior quality of the hard paste porcelain, he also sought to import and decorate dishes with patterns, styles and techniques that appealed to Americn aesthetics. As a result, he achieved extraordinary success and fame in Europe and America.

He shipped large quantities of undecorated, or "blank," Limoges porcelain to America and created studios to import and decorate them.  He employed his own artists under the direction of Felix Brocquemond, a renowned ceramics decorator.  Brocqemond entertained artists such as Monet, Manet and the Damousse brothers, who influenced many of the floral designs.

Haviland porcelain was a tremendous success the 1853 World's Fair in New York City; it caught the attention of the White House, which began using the china.  Americans loved the Haviland decorated products and the demand for his china increased greatly.  David Haviland quickly became known as a leader in the making of fine china and instrumental in creating the American market for Limoges porcelain, thus making it a household name.

Plates courtesy of  www.etsy.com/shop/PattysPorcelainEtc

Today's fine china collectors are delighted when they discover a piece with the renowned Haviland mark.  That mark represents a rich history that spans four generations of enterprising Haviland porcelain makers.  They established the most distinctive, best quality porcelain and set new artistic achievements in the making of fine china.  The next time you are out treasure hunting and find a piece of Haviland, you may find your heart pounding. If the piece speaks to you then you should surely snatch it up!

Resources:  Collector's Weekly