These back plates help us identify Miriam Haskell jewelry. Miriam Haskell used a solid back plate onto which the decorative elements were attached. Modern necklaces have toggle clasps and lobster clasps, in addition to box clasps and hooks.This clasp was discontinued in the 1980's. Known as the slide clasp, it featured a flat oblong shape with the patent number 3,427,691 on one side and the Haskell signature in block capitals on the other. In the late 70''s the decoration was dropped from the hook on less expensive necklaces, though it was still signed.The hooks were signed ''MIRIAM HASKELL'' and were usually decorated, either with an eight-petal ''flower'' with pearls/beads as petals, or, more rarely, a dove or a turtle attached to the top of the hook. The hook and tail design consisted of a distinctive hook on one end and an extender on the other consisting of several pearls or beads. This allowed the necklace length to be varied. After the war, and during the signed period, Haskell introduced the hook and tail design.The distinguishing feature of this clasp is that it did not have the protruding prong (the ''thumb'' part). The other main clasp used was a very simple spring ring clasp.These were quite elaborate and decorated with beads, pearls, or rhinestones, and either oblong or round, if the piece had multiple strands. Early unsigned necklaces tend to have box clasps.
Lucille Ball even wore some pieces on her major television show, I Love Lucy! Joan Crawford is rumored to have owned almost all of the pieces Miriam ever made! Stars such as Joan Crawford, Lucille Ball and the Duchess of Windsor were often seen wearing Miriam Haskell jewels. With this exposure, they gained a large celebrity clientele. They continued to spread to Miami and London. Miriam’s popularity continued to grow, with an expansion to 392 Fifth Ave, a location in Saks Fifth Avenue and Burdines Department Store. Together, they put out affordable costume jewelry from the 1920s to 1960s, when a new creative director joined the company.
While Miriam may have designed some of the earlier pieces, many feel it was Hess who was the true creative genius behind their jewelry. Hess was previously a window dresser from Macy’s, but Miriam saw his greater talent: jewelry design. It is said that Miriam was the business brain behind her company, adding a creative partner shortly after that first shop opened, Frank Hess. Within the year, Miriam opened her second store on West 57th Street. This first store was located in the old McAlpin Hotel on Sixteenth Street. It is said she had $500 to her name when she moved, which proved to be enough to open a gift and jewelry boutique in 1926.
#Miriam haskell earrings full
Full of creativity and a business drive, Miriam moved to New York City in 1924, after completing three years at the University of Chicago. Pair them with jeans and t-shirt.Miriam Haskell was born in Indiana on July 1, 1899. These earrings are the perfect everyday vintage touch. We can identify these earrings as being an early 1960s piece because the adjustable screwback on these earrings was utilised in the earliest part of the decade. He loved achieving three dimensional effects with filigree. The earrings were produced when Robert Clark was head designer. Produced in the 1960s, these earrings resemble the make do and mend inspired pieces manufactured by Haskell in the Forties. These earrings illustrate that the Haskell company always worked to allude to its heritage. To find out more about Miriam Haskell jewellery, visit our 'Designers' section. They are signed - 'MIRIAM HASKELL' is stamped around the circular panel, which attaches the clip to the earring and 'HASKELL' is also stamped onto the back of the clip. The earrings feature an adjustable screwback clip produced exclusively for Haskell by the AroSac company, which can be tightened and slackened for the comfort of the wearer. The earrings have a gilt metal filigree backing and they are clip on. These earrings feature a circular design constructed from yellow silk thread and milk glass cabochons.
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