Thank you for purchasing Warman's Jewelry, 4th ... - Antique Trader

C h a p t e r 7 

Materials 

Basic Composition 

Arts & Crafts porcelain enamel pin, Eastern 

Turret Fleur-de-Lys motif in primary enamel 

colors, hand-made silver filigree flower 

frame and bezel, old c-clasp. Purchased in 

Russia, brought to U.S. in 1940s. Probably 

dates from the 1880-1900 era. Unsigned, 

1 1/2”. • $125-$150 

Jewelry courtesy GreatVintageJewelry.com; 

photo by Veronica McCullough 

Antique Chinese cloisonné earrings, large 

domes with seashell or koi design in golden 

brown, cobalt and light blue. Unusual wire 

inlay bubble designs. Earrings may have been 

buttons at one time. Unsigned, 1920-1930s, 

1 1/4” each. • $100 

Jewelry courtesy GreatVintageJewelry.com ; 


Metals may excite, bling may thrill, but enameling 

makes jewelry as aesthetically delicious as icing on 

a cake. To carry that metaphor further, collectors are 

currently eating up mid-century enamels by, for example, 

Kay Denning and Andrée Bazot, known for their trademark 

raised frit “cookies.” 

Enamel is the rich, colorful result of fusing powdered glass to 

metal by firing. The glass powder melts, flows and hardens to a 

smooth, vitreous coating on metal, glass or ceramic. Enameling is 

an old technology (cloisonné dates from the 13th century B.C., for 

example) used by ancient cultures on either pottery, stone or metal. 

They produced enamel powder by pulverizing colored glass (or mixing 

colorless glass with metallic oxide colorants). Enameling’s bright, 

jewel-like colors made the technique especially favored among Art 

Nouveau and mid-century copper jewelry designers. 

Enamel work is tempting simply to appreciate rather than understand, 

because when words such as substrate, potash, flux and fondant 

come up, the mind starts glazing over and an urge arises for a piece 

of cake rather than science studies. But it’s as simple as knowing the 

ingredients of glass, and the name for the creamy paste preparation 

melted and fused 

onto the material 

below the 

surface. That 

was easy. Let’s 

fire up a kiln. 

Andrée Bazot link bracelet in blue and white with safety chain; fused glass 

and foil enamel technique; 8 1/2”, marked Andrée Bazot Paris on reverse; 

terracotta-color counter enameling. • $500-$800 

Jewelry courtesy JazzleDazzle.com; photo by Lisa Corcoran 

Kay Denning set, copper enamel link 14” necklace, 1 3/4” pin, green, blue and beige 

color scheme; white counter-enameling (typical of Denning’s work); 1960s-70s; 

necklace signed Denning on reverse; brooch unsigned. • $200-$300 


116 • Warman’s Jewelry

M a t e r i a l s 

In jewelry, qualities exist such as luster, clarity, 

translucence, etc. Enamels have different degrees of 

diaphanousness, or diaphaneity. Enamels are transparent 

or opaque after firing, and opalescent enamels 

get their milky opacity from extended firing. Vitreous 

(glassy) enamel can be applied to most metals 

and has excellent decorative properties: smooth, 

hard, chemically resistant, durable, with brilliant 

long-lasting colors. Less optimally, it may crack 

when the metal is stressed or bent. The technique of 

counter or contra enameling on reverse strengthens 

the substrate. The beautiful colors of enamel appear 

with the addition of minerals, metal oxides such as 

iron or cobalt. If you’ve always wondered how the 

fondant stays on sculptural, convex shapes during firing, 

powdered gums applied first hold it in place and 

then vanish during firing. The technique of “ronde 

bosse,” enameling a 3-D object, obviously requires 

great stick-to-it-iveness. 

Artists initially used precious metals (gold and silver), 

but copper was far less expensive and became 

a reliable substitute beginning around the 12th century. 

Enamel’s popularity waxed and waned as most 

decorative styles do, fading in the 1700s and roaring 

back in the 1800s with Renaissance Revival styles and 

the Art Nouveau movement. Five of the most famous 

enamel artists in jewelry were Camille Fauré, known 

for vibrant geometrics and florals; cloisonné masters 

Falize (Alexis, pere, et Lucien, fils) and plique-à-jour 

geniuses André Thesmar and René Lalique. Easier to 

acquire, Andrée Bazot’s work is feminine, fresh and 

colorful, with a hand-crafted artistry exciting to collectors 

of postwar enamels. 

Deer pendant, Modernist design, 

shades of blue and black matte 

enamels on brass, blues range from 

lapis to turquoise. Reverse counter 

enameled speckled lapis-blue; 2”, 

paper-labeled Christa Rhaue; initials 

CR in enamel; 1960s. • $175 

Jewelry courtesy MyVintageClothesline.com; 

photo by Bonnie Watkins Shriver 

Wiener Handwerk necklace and bracelet set, round enamel pendant, bracelet 

with five enameled segments. Coiled wire circles appear to hang on silver wire, 

creating yo-yo effect, wavy metal pendant disc. Enamel is pearlescent white 

and purple over “crinkly” surface. Speckled finish on reverse typical of German 

enamels. Pendant 2”, bracelet 7 3/4”; paper label says Wiener Handwerk; 

1960s. • $425 set 

Jewelry courtesy MyVintageClothesline.com; photo by Bonnie Watkins Shriver 

Thistle pin-pendant, glossy enamels in style of George Hunt, somewhat 

abstract, executed in sparkling enamels on robin’s egg blue background. 

Reverse counter enameled; 2”, unsigned, 1940s (setting). • $195 


Arts & Crafts-style enamel brooch set in sterling silver, exceptional enamel disc 

with almost lacy look, executed in pastel shades of blue and pink on coppery 

background; accents of gold enamel scattered throughout. Substantial sterling 

silver setting hand-fabricated, 2 1/2”, disc is marked with large H and E (top) 

part of the H and C (bottom). Frame similarly marked, plus Sterling and Hand 

Made; 1940s-50s. • $275 


Warman’s Jewelry • 117


Andrée Bazot fused glass and foil enamel necklace in yellow and pink; 20”, 

1950s-60s; marked Andrée Bazot on reverse; terracotta-color counter 

enameling. • $600-$950 


In jewelry, enameling techniques include: 

Champlévé, from French for “raised field,” the 

surface carved out to form pits in which enamel is 

fired, leaving original metal exposed. Celts already 

used it by the time it caught fire in Limoges, but Byzantine 

cloisonné is believed to be the inspiration for 

champlévé work. 

Plique-à-jour, French for letting in daylight, features 

enamel applied in cells, similar to champlevé 

and cloisonné, but with no backing, so light shines 

through transparent or translucent enamel. It has a 

stained-glass appearance. With the metal background 

removed and partitions filled with transparent or 

opalescent enamel, a sheet of mica or thin plate of 

metal (later to be etched away in acid) must hold the 

fondant during firing. 

Taille d’épargne is closely related to champlevé, 

but in taille d’épargne method, metal makes up most 

of the surface. 

Guilloché is a symmetrical pattern engraving 

technique produced by a mechanical engine-turning 

table. 

Basse-taille, from French for “low-cut,” in which 

a metal’s surface is decorated with low-relief design 

that can be seen through translucent and transparent 

enamels. 

Andrée Bazot multicolor fused glass necklace, 15 1/2”, marked PARIS on 

reverse; terracotta-color counter enameling. • $300-$500 

Andrée Bazot blue enamel and foil brooch with fused pale pink glass 

“cookies,” 2 1/2”; marked Andrée Bazot on reverse; terracotta-color counter 

enameling. • $150-$250 

Andrée Bazot brooch/pendant with red and silver fused glass and foil enamel, 

2 1/4”, marked Andrée Bazot Paris on reverse; terracotta-color counter 

enameling. • $150-$250 


Fish and sea horse enamel and silver link bracelet, matte 

finish enamel, six links with whimsical fish, seahorses and 

tiny starfish; metal, 800 silver (marked on catch). Counter 

enameled; 7”, signed with impressed heart, 1950s. • $225 


Kay Denning collection, copper-enamel link bracelets, signed Denning or 

K. Denning; 1960s-70s; typical length, 7 1/4”. • $100-$200 each 




Cloisonné, French for “celled,” thin wires are applied 

to form raised barriers containing different areas 

of enamel applied above the original metal form. 

Flattened wires are patterned on base metal sheets 

forming compartments. After the design is created, 

compartments are filled with fondants of different 

colors, firing alternating at different required temperatures. 

After cooling, metal wire rims are leveled 

using a carborundum file, then polished. 

Painted enamel (peinture sur émail) is an enamel 

design painted onto a smooth surface. Grisaille and 

Limoges enamel are two categories of émail peinture. 

Grisaille, French for “graying;” had a dark (often blue 

or black) background applied, then Limoges or translucent 

opalescent enamels applied on top, building 

designs in monochrome gradients, paler as the thickness 

layers of light color increases. Limoges enameling 

(made in Limoges, France, European center of 

vitreous enamel production) is the technique of painting 

with a special enamel, blanc de limoges, over a 

dark enameled surface to form detailed pictures. 

Stenciling, in which powdered enamel is sifted 

over it. The stencil is removed before firing; enamel 

remains in a slightly raised pattern. 

Sgrafitto uses an unfired layer of enamel applied 

over previously fired layer in contrasting color, then 

is partially removed with tool to create design. 

Counter enameling applies enamel to the back of 

a piece, sandwiching the metal to prevent tension and 

cracking. Kay Denning is noted for her white counter 

enameling; Andrée Bazot’s is a terracotta color. 

Modern cloisonné pendant, unusual geometric design with vibrant 

pearlescent metallic enamels trimmed in gold-plated metal, 1970s, 

unsigned, 2 1/2”. • $75-$100 

Jewelry courtesy GreatVintageJewelry.com; photo by Veronica McCullough 

Mid-Century Modern dragon necklace, unique three-tier copper enamel 

design. Glossy glazed enamels trimmed in polished copper, 1960-70, 

unsigned, 3”. • $75-$100 

Jewelry courtesy of GreatVintageJewelry.com ; photo by Veronica McCullough 

Jules Perrier copper enamel pin, abstract modern biomorphic shape with swirled 

translucent vitreous enamels in cherry red, burgundy, black, white and metallic 

gold. Artist signed Jules Perrier. Probably 1950-1960, 2”. • $50-$65 


Eisenberg bracelet-earrings set, Cubist art style, moody blue and green glossy 

enamels. Recessed geometric patterns outlined in glossy black enamel on 

satin-textured gold metal. All signed Eisenberg ©. Bangle bracelet 2 1/4”, 

1970s, hoop clip earrings, 7/8”, (matching medallion necklace was also 

made). • $135-$165 set 




Andrée Bazot segmented bracelet, green and yellow fused glass enamel, 

terracotta counter-enameling; 1 1/2” wall; marked Andrée Bazot on 

reverse. • $500 


Jewelry dealer-collectors Bonnie Shriver, Lisa 

Corcoran, and Veronica McCullough all have excellent 

pieces of enameled jewelry in their inventories 

and collections. We present their enamels here. The 

1950s witnessed a revived interest in enameling, 

leading Bazot to take it up in Paris. Americans today 

are definitely digging Bazot’s language of layered 

translucent enamels on gold-edged or silver-foiled 

copper. Other French artists used the same color 

of counter-enameling, as in Limoges pieces by the 

renowned Camille Fauré. American artist Kay Denning, 

who made jewelry for Bovano in the 1960s and 

’70s, is a particular favorite with aficionados of enamels 

in the 21st century. Both Bazot and Denning created 

dramatic colors on copper and are known for 

the raised frit “cookies” (those intentional globs) that 

give enamel work extra depth and flavor. These are 

hot names in an arena of copper long dominated by 

Renoir, Matisse (the jewelry firms, not the painters) 

and Rebajes. 

Andrée Bazot set, segmented bracelet and matching brooch with red and blue 

fused glass against silver foil enamel; terracotta counter enameling. Bracelet 

1 1/2” wall; pin, 3 1/2” with trombone clasp. Both pieces marked Andrée 

Bazot Paris on reverse. • $500-$800 set 

Reverse of Andrée Bazot pin, showing counter-enameling and signature. 

Jewelry courtesy JazzleDazzle.com; photos by Lisa Corcoran 

Modern 

copper 

enamel earrings, 

Spanish dancers, splatter and hand-painted, 

1960s, unsigned, 2”. • $75-$85 


Matisse copper and red enamel link 17” necklace and 1” clip earrings in 

“Honeybear” pattern. All pieces marked Matisse. • $150-$200 




Pierre Bex black orchid pin, glossy black enamel with 

metallic pink highlights on silver metal, silver metal outline, 

1970s, unsigned but with Pierre Bex cross-hatch pattern 

on reverse, 1 7/8”. • $50-$75 


Eisenberg Enamels mushroom parure, in style of Peter Max pop art, 

polished gold plate trim. All pieces signed Eisenberg ©, 1970s. Pin 

2 1/2”, clip earrings 1”. • $100-$150 set 


Panetta butterfly pin, Monarch in sapphire 

and emerald glossy enamels with rhinestone 

pavé accents. Signed Panetta ©, 1955-65, 

2 1/4”. • $75-$100 



Vintage peacock pin, 1940-1950s, silver 

pot metal with glossy peacock-color 

enamels and faceted Marcasites. Unsigned, 

2 3/8” x 5/8”. • $85-$110 



Heron pin, exceptional early silver pot 

metal figural with white, green, sienna 

glossy lead enamels, clear and citrine 

rhinestone accents. Unsigned, 1940s, 

2 5/8”. • $150 



Eisenberg Enamels butterfly pin and earrings 

in style of Peter Max pop art, all pieces signed 

Eisenberg, 1970s. Pin 1 1/2”, clip earrings 

1 1/8”. • $75-$100 set 





Matisse necklace and clip earrings set, Waltz design from 1955-1965. Fancy 

copper scrolls, elongated oval copper enamel cabochons. Necklace and 

earrings have enamels in regal Christmas red, but design was also made in 

several other colors. Signed Matisse ©, necklace 23” long x 1” wide, earrings 

1 1/2”. • $250-$300 set 


Matisse shimmering ochre gold enamel parure, 

uncommon 1950s design, rendition of Peter Pan 

design, 17” necklace, 1” clip earrings, 7 1/4” bracelet, 

all signed Matisse ©. • $250-$300 



Matisse Peter Pan parure, copper with white enamel necklace, bracelet, 

clip earrings. Common 1950s-60s signed Matisse suite, striking in 

white. • $150-$225 


Boucher enamel earrings, uncommon for late 1960s. Boucher did not make 

a great deal of modern-art enamel jewelry. Black, white, pale yellow recessed 

enamel squares and rectangles, framed in polished gold-plated metal. Signed 

Boucher ©, clip earrings, 2 1/2”. • $50-$75 




Aluminum 

Less reflective than silver or chrome-plated steel, aluminum was 

also more affordable than other metals in the Twenties – which made 

it popular with designers. One of the few metals that retains its full 

silver reflection factor even in powdered form, aluminum is a key 

ingredient in silver paints. By nature, it’s lightweight, soft and tensile, 

and varies from bright silver to dull gray (depending on surface hardness). 

A thin surface layer of aluminum oxide (formed when exposed 

to air) makes it highly resistant to oxidation and corrosion. It’s the 

most abundant of all metallic elements (and third of all elements, 

after oxygen and silicon). Jewelry manufacturers used it widely because 

of its durability and shine. Its modernism makes it a perfect foil 

for geometric designs, which may be found in pieces created from 

the 1920s to 2020, if we should last so long. Aluminum jewelry may 

be inlaid, embossed, engraved, enameled, etched or electroplated. 

Aluminum cartoon man figural, 3 1/2”, 

1980s, unsigned. • $50-$100 

Floral earrings, aluminum metal 

clip earrings with satin pearlescent 

enamels in pools of red, purple, 

cobalt. Signed West Germany, 

1950s, 1 1/2”. • $50 



Resin 

Sometimes the world seems made of resin, probably because resins 

are so versatile. They can be cast, molded, painted, made to look 

like most other media, ivory to jadeite. Lightweight and affordable, 

resins are an ideal material for jewelry. Laid up or cast as pourable 

liquids, resins, whether acrylic, polyester, urethane or epoxy, are 

flexible and can be laminated. Polyester is the most commonly used 

resin and is normally glass clear. It may be tinted in various transparent 

and opaque colors using special pigments. Polyester resin comes 

in both laminating and casting formulas. 

Epoxies are stronger and more expensive than polyesters, with better 

temperature tolerance. Epoxy compound ingredients are mixed 

in different rations to create different formulations, and tinted 

or colored with pigments in opaque and almost transparent 

colors. Epoxy has replaced what most people think of as 

enamels in modern costume jewelry. The most popular 

uses for resins in jewelry are as bangles, brooches, bead 

necklaces and pendants. 

Five aluminum bracelets, 1980s, four signed 

© Glen Yank – New York City. • $150 each 

Jewelry courtesy TheLushLifeAntiques.com 

Resin bangle bracelet, real gemstones; 

unsigned, 1 1/2” wide. • $300 

Jewelry courtesy Barbara Wood Antiques; 

photo by Mary Cochran 

Scarab pendant, green, molded epoxy, thick but 

lightweight, unsigned, 1980s, 3”. • $25 


Thank you for purchasing Warman’s Jewelry, 4th Edition, by Kathy Flood. 

Your book will be shipped directly to your home starting May 31, 2010. 

Author Kathy Flood is a is a journalist, author and owner of the online antique 

jewelry shop www.ChristmasTreePins.com. She is the author of Warman’s Costume 

Jewelry Figurals and has worked for The Collecting Channel, the Chicago Tribune 

as an antiques and collectibles columnist, and as editor of 

other collectibles publications. Her latest book, Warman’s 

Jewelry, 4th Edition, will be released in July from Krause 

Publications. 

If you like Kathy’s book, don’t 

miss her jewelry column, In the 

Loupe, runing regularly in Antique 

Trader magazine! Visit Shop. 

Collect.com to order your 40-issue 

subscription for just $24.98! 

Now that you’ve purchased Warman’s Jewlery 4th Edition, 

consider adding these equally valuable reference books to fully complete your collection: 

Answers to Questions 

About Old Jewelry 

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Warman’s Costume 

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