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her design predecessors in the Art Nouveau era, Miriam Haskell
sought to design and manufacture jewelry that evoked nature in
their subjects and construction. Haskell first began making jewelry
commercially about 1924, and intensively began to create the unique
flowers, animals, and other organic materials in her jewelry.
Frank Hess joined her in the company as the lead artistic designer,
and he was a master of new and technically complex production
techniques that allowed their vision for the jewelry to come into
being. Hess worked as the lead designer until he retired in 1960,
and he was succeeded by Robert Clark who continued the traditions
but incorporated some of his own ideas into production and used
new materials such as mother of pearl. Lead designer Larry Vrba
joined the company in 1970, and he more than his predecessors
introduced completely new and more exotic designs that reflected
the times of the 1960s and 1970s. Millie Petronzio became the
first woman to lead the design department at Miriam Haskell in
1980, continuing to make some of the old designs, often with archived
older materials, but as those before her continues to introduce
new designs and design elements in their lines.
Miriam Haskell jewelry
has always been noted for the detailing, which directly translated
into the time it took to make and thus the cost, and for the
asymmetry of many of their designs. In the early years, Haskell
jewelry was not marked and production was limited, suggesting
that the proliferation of "unsigned" Haskell jewelry is questionable
as to authenticity. There are of course distinct characteristics
an expert looks for, including the design itself which often
incorporates surprises or irregularities that one looks for.
Quality was always evident, with finer quality materials and
all prong set in the design. Haskell jewelry is known for its
use of elaborate filigree and careful wiring, all handmade and
accommodating a variety of designs. Haskell filigree was typically
electroplated goldtone metal in an antique gold finish. She
purchased her beads mostly from France and Venice, Italy, while
most crystals came from Bohemia. The advent of World War II
forced Haskell to sometimes use alternative materials including
for the first time plastics, and she purchased more of her beads
and crystals from sources closer to home. However, production
did continue during the war years, and she introduced patriotic
designs to contribute to the war effort.
After the war, styles
changed as soldiers returned from Europe and Asia and the women
of the country awaited. Clothing once again could be made of
more luxurious materials, and the designs became more vibrant,
colorful, and feminine as the 1950s approached. Haskell designs
also became more elaborate to include larger pieces, necklaces
of multiple bead strands, the use of pearls imported from Japan,
and other looks largely impractical during the war. In the late
1940s, Miriam Haskell jewelry started to be marked for the first
time, as fashion returned to the pages of the newspaper and
designers began actively marketing their creations and growing
their businesses. Several styles were used according to the
design including an incised "Miriam Haskell" on the hook, "Miriam
Haskell" in a crescent shaped cartouche, and an oval stamp "Miriam
Haskell" on the clasp. Some designs during the fifties were
incredibly elaborate, combining stones, pearls, beads, and filigree
in new and exciting ways. The company was sold to Frank Fialkoff
in 1990 and is still producing today, making some of the older
designs such as the Retro line introduced in the early 90s as
well as doing custom work.
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