Oh My, Miriam (Haskell)!

Since I started thinking about the possibility of selling my jewelry, I have been on a bit of a journey in discovering what jewelry elements I most enjoy creating with. This week I both read a blog post by Amy Hanna and listened to a podcast with art quilter Martha Sielman  on Art and Soul radio where there was mention of being led by your passion to create with certain materials over others.

This is part of the (very slow!) process of uncovering my own jewelry design style. While I mentioned my obsession with Miriam Haskell vintage jewelry before, I wanted to go into more detail in this post because I think it may, ultimately, influence my own style a bit.

The more I pour over my Miriam Haskell Jewelry book by Cathy Gordon and Sheila Pamfiloff, the more I narrow down the reasons I love vintage Haskell design. First is the use of color. Always a statement, and sometimes surprising in their combinations, the use of color in each piece is wonderful.

A Miriam Haskell bracelet I own (dated c. 1950s)

The second attraction I have is bold design. Almost never understated, the Haskell look is eye-catching and elaborate. The earliest designs by Frank Hess often featured asymmetry, a jewelry feature I also tend to favor.

This style signature dates my piece to the 1950s at earliest 

The other thing of note, as I observe pictures of Haskell jewelry very closely, I do notice great skill in execution as well. There are almost always prong-set stones, hand wired and/or hand strung beads form the foundations of each piece.

There is some debate as to whether my bracelet was designed by Fank Hess or Robert Clark because of the domed clasp

Because there is an avid collector’s market for Haskell, prices for vintage pieces are steep. For this reason, this beautiful bracelet is my one and only Miriam Haskell.

Interested in learning even more about Miriam Haskell? Check out these wonderful resources:

Miriam Haskell Information on Morning Glory Antiques and Jewelry

Haskell Signatures