Book Review Unsigned Beauties of Costume Jewelry

Finishing up the book are an extensive glossary and a bibliography that will tempt you with many titles of books about antique and vintage costume jewelry.

Now what about starting a collection? The chapter on collectibilty will show you what to look for, how to choose, how to examine condition, and how to evaluate craftsmanship.

A fascinating chapter on rhinestone history takes you from the kings of France through Daniel Swarovski's processes to the present time. Several pages of photographs of rhinestone butterfly pins finish the chapter.

For the next 227 pages you'll be treated to photographs and detailed descriptions of unsigned brooches, necklaces, earrings, parures (sets), dress clips and accessories.

Why do we call it costume jewelry? Page 15 tells us.

There's a comprehensive section on dating your jewelry, including a time chart, fashion style dating and art trends, followed by expert advice on care, restoration and storage.

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This book is a must-have for the collector or anyone who buys and sells costume jewelry. It's a visual treat and a well researched book that you'll refer to over and over.

Marcia "Sparkles" Brown has given us some answers, and hundreds of gorgeous photographs in her book, "Unsigned Beauties of Costume Jewelry, Identification and Values".

The book is divided into sections, with many photographs illustrating every page. It not only shows a multitude of unsigned jewelry pieces, but also gives you history, concepts and the basics of starting a collection.

We learn about different metals used in costume jewelry, such as white metal, gold plating, sterling silver, vermeil, rhodium, silver plating, enamel, japanning and gun metal. More photos illustrate this section.

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But what about the literally millions of pieces of beautiful costume jewelry that have no signature? And why, when there was such obvious artistry and craftsmanship involved in producing the piece, was it left unsigned?

Stone shapes and settings are examined and illustrated with drawings and examples.

We love our costume jewelry, and when we find a piece that has the designer's name, or "signature" on the back, we know we have a piece that can be dated and its value better understood.

One reason is that fine jewelry of gold and gemstones was worn by ladies of wealth and position, while the cheaper, "fake" jewelry was worn by the poor or women of "ill repute". Makers of fine jewelry were proud to put their signatures on their creations, while artisans who made fake jewelry were just working to make a living — it was a lower class profession without the pride of putting one's name on one's products.

Costume jewelry was made in vast quantities in mass production, and to keep up with demand the makers did not always take the time to stamp their name or company logo on each individual piece.

Sometimes manufacturers made unsigned jewelry that was sold to department stores, which then put the jewelry in boxes with the store's name.