RAPAPORT... By contemporary standards, vintage diamond jewelry is a merging of imprecisely cut stones in a myriad of shapes and sizes and metalwork that was thrummed and hand-burnished in places no one would readily notice. Yet, when viewed from an artistic standpoint, appreciating handcrafted jewelry is a different story entirely. The old-fashioned workmanship is what makes an Art Deco bracelet so eminently desirable. But what is it about old-world craftsmanship that, with few exceptions, sets estate jewelry apart from its newborn progeny?
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To begin with, there was a guild system in place that required its members to experience every aspect of the process, from gemsetting to metalsmithing. Theirs was a very rare, 360-degree view of their profession and the products produced through the collaborative effort of skilled artisans. Apprentices learned how to polish raw, untreated and difficult-to-reach surfaces by using strips of leather and jeweler’s rouge, known as thrumming. Hand-burnishing required the use of a score or more of tools to create a mirror finish in barely visible places, like the inside of a ring’s shank or in between its prongs. Both of these techniques are now considered economically impractical and unnecessary by many of today’s manufacturers.
Diamond cutting was an art form guided by the intuition of the craftsman. “It was mostly guesswork,” explains forensic gemologist and master goldsmith Gary L. Smith of Montoursville, Pennsylvania. “It was done according to the cutter’s artistry. New stones are cut identically, whereas old diamonds are different sizes and each one displays the distinctive imprint of the cutter, which gives them their individuality.” Smith goes on to say that while these gemstones may have been asymmetrical in cut, their phenomenal dispersion and brilliance gave the jewelry a handcrafted warmth and beauty. He further notes that “Old cut stones are uneven and the diamond setter would carve out a perfect seat for that particular stone using an engraver; the setting was built around the diamond.” In comparison, modern technology employs the use of rotary burrs to cut away the metal and the stone is then pressed into place.
Touching old jewelry is instructive. “If you run your hand over a piece, you won’t feel a lot of rough edges or poorly made prongs,” observes Randi Williams, principal of Williams American Art Galleries in Nashville, Tennessee. “Attention was paid everywhere, not just the obvious places.” Appraiser and auctioneer Joseph DuMouchelle, president of Joseph DuMouchelle International Auctioneers in Grosse Pointe Farms, Michigan, agrees. “These pieces were made so well, they were as nice on the back as they were on the front,” he points out.Designs were fully formed concepts that required a great deal of planning. They were also quite focused, following the contours of the artistic idiom of their time. “Vintage pieces look different than modern ones,” says James McConnaughy, vice-president of S.J. Shrubsole in New York. “Older pieces have the romance of age.” For Gus Davis, principal of Camilla Dietz Bergeron Ltd. in New York, Edwardian and Art Deco jewelry have a purity of line and form that defies its age. “The designs weren’t diluted or confusing; there are so many adaptations now. These vintage pieces are as fresh today as they were then.”
AESTHETICSOne of the most important characteristics of great vintage jewelry to Lee Siegelson, owner of Siegelson in New York, is its overall attractiveness. A work of art, according to his connoisseurship, combines aesthetic beauty with design innovation. He looks to see “if they did something cool and different with the piece or something unexpected.” DuMouchelle adds, “The great designs started with a sketch, drawing or gouache. They spent a lot of time thinking about the jewelry. Cartier did a lot of enamel pieces and they took as much time to consider the enameling as they did the gemstones.”
It is a tribute to the old workmanship that there remains an intensely interested audience for antique and estate jewelry. “There are more collectors now who want to spend their money on jewelry,” DuMouchelle says, “and it’s a wider range of people who value these pieces.” Williams’ clients appreciate the narrative behind the pieces she sells. “It’s the idea that the object had a previous history and the versatility in jewelry has been lost over the years, where clips can become a single brooch or a pendant doubles as a pin.” Davis sees more and more of his clientele building jewelry wardrobes. “It’s just as important as fashion now and we are getting a younger group — those in their early 30s — taking an interest in jewelry.”
There also remains a singular quality to vintage jewelry that ups the desirability factor tenfold; this distinction can never be overlooked or underestimated. According to DuMouchelle: “A good piece of jewelry should last a long time. These pieces have a lavish quality, even if they are not necessarily expensive. Years ago, if something really wonderful came onto the market; it was available to a select few. Now, these pieces are more accessible to buy.” One prime example of the demand for individuality in jewelry is the vintage diamond engagement ring market, which has risen dramatically over the course of the last several years. “About once a month, a young lady comes into the shop,” says McConnaughy, “wearing a modern engagement ring and remarks about wanting something more distinctive.”
So what telltale indications of quality craftsmanship do retailers and dealers look for in old jewelry? S.J. Shrubsole started business as a retailer of antique silver. McConnaughy notes that metalwork will commonly speak to him first. “We like pieces of jewelry where the work is particularly fine; we are known for our pierced and engraved platinum mountings,” he says. Davis looks for a strong, balanced design and good-quality stones. Williams checks for well-set, well-matched gemstones that are used in a creative way. She also inspects them for color consistency and liveliness. All of these elements are what gave the jewelry its character and spoke of the artisans who made it. “The craftsman put himself into the piece,” Smith says with admiration. “It was a statement of his artistic ability.”
Article from the Rapaport Magazine - February 2007. To subscribe click here.