Carrington & Co. sunray cufflinks, circa 1940.

The Weakest Link?

When you begin to scrutinize the backs of antique cufflinks as closely as you admire the fronts, you have undeniably caught the cufflink bug. In your defense, a close examination of the reverse of a cufflink is an important step in assessing condition and wear. Always remember, a cufflink is only as strong as the weakest link.

In this note I feature a striking pair of Carrington sunray cufflinks in the style moderne of the late Art Deco period. The original owner loved and cherished these cufflinks. They are in beautiful condition with nary a scratch or ding across the top or along the edges.

Reverse of Carrington starburst cufflinks, circa 1940.

When we turn the cufflinks over we can see just how much the owner loved them. From the wear on the cross bars and brackets, it is evident that these cufflinks were worn frequently, if not every day. Otherwise the backs are as pristine as the fronts. These cufflinks were much loved, well cared for and frequently worn.

End of the cross bars worn thin.

When checking for wear on antique cufflinks focus on the areas where the metal parts of the linkage rub against each other. For double-sided cufflinks with a cross bar linkage, the greatest wear is usually found at the ends of the cross bars.

Wear on the link rings.

You should also look for wear on the link rings that connect the cross bars to the brackets. If the cufflinks were worn frequently the wear can be considerable. In some cases, the once round link rings may have been stretched to an ovoid shape.

Wear at the apex of the bracket.

A third area of possible wear is the apex of the bracket. When the cufflinks are on the cuff the link ring rests in the apex. Movements of the cuff can cause the two parts to abrade against each other and over time weaken the bracket.

When considering the purchase of antique and even new cufflinks, it is wise to carefully examine the backs of the cufflinks with a jeweler's loupe or magnifying glass. Focus particularly on the working parts of the linkage. With a little precaution you can avoid the tragedy of the weakest link becoming a missing link.

If you would like to learn more about cufflinks from the past,
please visit our Antique Cufflink Gallery.

Acanthus Bridge Maker cufflinks, circa 1925.

The "Acanthus Bridge" Maker

A cursory review of Dorothy Rainwater's wonderful book, American Jewelry Manufacturers, suggests that American jewelry makers numbered in the hundreds, if not the thousands, during the early decades of the last century. Some of these firms were large enterprises, many were small workshops. When you include the jewelry and cufflink makers of Great Britain, continental Europe and the rest of the world, it is little wonder that identifying the maker of a pair of cufflinks can sometimes be a challenge.

This week, I illustrate several pairs of cufflinks from an unidentified maker. Each of the cufflinks features distinctive bridges (cross bars) decorated with stylized acanthus leaves. Hence the unknown creator of these cufflinks has been nicknamed "The Acanthus Bridge Maker."

Crafted in 14kt white and yellow gold, the cufflinks share common design elements in addition to the unique bridges. From the style of the cufflinks and use of white gold, they appear to have been created during the 1920s. Each pair weighs about 6 grams and is exceedingly well crafted.

"Acanthus Bridge" gold and diamond cufflinks, circa 1925.

The cufflinks are sometimes set with small diamonds on one face. The above two-tone pair features engine-turned white gold centers surrounded by a yellow gold inner border. The string swag motif of the yellow gold border is repeated in the yellow gold and diamond cufflinks pictured at the top of this note. The white gold outer edges are nicely milgrained.

"Acanthus Bridge" white gold cufflinks.

This pair of frosty white gold cufflinks features radiant star bursts surrounded by concentric circles. Note the floral and geometric border. This border design is also found in the cufflinks featured at the top of this note. The backs of these cufflinks, like the other two pairs, are crafted in 14kt yellow gold.

Other than the distinctive acanthus decorated bridges, there appears to be no maker's mark or signature. The maker of these beautiful cufflinks remains a mystery.

Note - Dorothy Rainwater's American Jewelry Manufacturers is an invaluable resource for identifying maker's marks. The Chicago Silver website also offers a helpful on-line reference for silver and jewelry marks (http://chicagosilver.com/marks_master_list.htm).

If you would like to view more elegant cufflinks from the past,
please visit our Antique Cufflink Gallery.

George Street Celtic Revival cufflinks, circa 1900.

The Celtic Revival

In the late 1800s there was a renewed interest in the arts and ornament of ancient Ireland. Jewelry makers and designers of the era adopted the intertwining, flowing lines of Celtic design. These finely crafted gold cufflinks are a wonderful example.

Celtic Revival cufflinks, circa 1900.

Beautifully crafted in 14kt gold, the cufflinks were created by George Street & Sons, jewelry makers based in New York. George Street & Sons specialized in richly crafted gentleman's jewelry, including cufflinks, watch fobs and signet rings. The firm was particularly adept at using the sculptural qualities of fine gold to create flowing, richly detailed jewels.

Celtic Revival gold and citrine brooch, circa 1875.

Interest in the arts and ornament of ancient Ireland initially arose in the mid 1800s with the work of Irish antiquarian/artist George Petrie and the discovery of the Royal Tara brooch in 1850. Unfortunately, this initial wave of the Celtic Revival was submerged by the tsunami of Revival styles (Greek, Etruscan Egyptian, Renaissance, etc...) embraced by the mid Victorians.

In the late 1890s, Archibald Knox reignited the fervor for Celtic design. Working as a designer with Liberty and Co., Knox created the popular Cymric and Tudric lines decorated with sinuous, interlaced curves. The George Street cufflinks illustrated in this note are an example of this second wave of the Celtic Revival.

Frank Krementz two-tone gold cufflinks, circa 1925.

Frank, the other Krementz

Frank Krementz was a member of the Krementz jewelry dynasty. He was the brother of George Krementz, founder of the eponymous Krementz & Company. In 1910 Frank left his brother's firm after 38 years and established his own shop, Frank Krementz Company. One wonders if there was a dynastic split, artistic differences or just new opportunities best exploited in a new firm.

Frank Krementz Sapphire and gold cufflinks, circa 1925.

Frank Krementz cufflinks are wonderful examples of Art Deco design. They capture the fun exuberance of the Jazz Age and reflect it in light, imaginative designs. Sometimes set with small vibrant gemstones or accented with enamel work, the cufflinks were designed to dance and sparkle on the cuff. Frank Krementz links are a nice counterpoint to the bolder, heftier designs that were popular during the late Art Deco period.

Frank Krementz white gold cufflinks, circa 1925.

The white gold or two-tone tops were engraved with intricate linear or floral patterns. The prevalent use of white gold and style of the cufflinks suggests that the firm began manufacturing cufflinks in the early 1920s.

Frank Krementz Co. specialized in creating 14kt white and yellow gold jewelry. Over the years the firm produced a glittering array of cufflinks, bar pins, pendants and lorgnettes. After World War II, the firm's focus shifted to eyeglass frames and accessories. In the late 1960s the firm returned to the fold when it was acquired by the original Krementz & Company.

The maker’s mark for Frank Krementz Company is a reversed "F" joined with a "K". The mark is preceded by "14" for the purity of the gold. The maker's mark is most often found stamped on the cross bars of cufflinks. Because the cross bars are rounded the mark is sometimes obscured or only partially rendered.

Frank Krementz Company 14kt white gold cufflinks, circa 1925.

Carter, Howe Moss Agate Cufflinks, circa 1900.

Moss Agate

Diamonds are dandy and Sapphires swell, but when it comes to antique cufflinks Moss Agates have an inescapable charm. A beautiful variety of quartz, fine Moss Agate has the appearance of a watery forest of seaweed floating in a crystal, clear pool. Like fingerprints, each specimen of Moss Agate is unique. It is little wonder that this intriguing gemstone was a favorite among cufflink and jewelry makers during the early 1900s.

Carter, Howe Cufflinks, circa 1900.

One of the firms that embraced Moss Agate was Carter, Howe & Company. Carter, Howe created beautiful cufflinks and dress sets with Moss Agate set in 14kt gold. The firm often backed the transparent Agates with mother of pearl to highlight the beauty of the green inclusions. Carter, Howe was a predecessor of Carter, Gough & Co. which created beautiful platinum and gold cufflinks during the 1920s.

Carter, Howe Moss Agate Vest Buttons, circa 1900.

Ziething & Co. Cufflinks

Ziething & Co. Octagonal gold cufflinks, circ 1925.

Ziething & Company is one of the lesser known makers of fine cufflinks from the first half of the last century. The firm created intricately engraved cufflinks with beautifully engine-turned centers surrounded by bold white gold borders. The brightly engraved links literally sparkle and dance on the cuff.

Ziething & Co. Starburst gold cufflink, crca 1925

Ziething & Co. was based in Newark, New Jersey and specialized in manufacturing 10kt and 14kt gold jewelry. Based on the style and construction of the cufflinks, Ziething appears to have created jewelry (or at least cufflinks) during the 1920s and early 1930s. I suspect the firm did not survive the Great Depression, like a number of the cufflink makers from the early 20th century.

The maker's mark for Ziething is a "Z" in a diamond-shape cartouche. The maker's mark is usually found in the middle of the connecting bridge. The other side of the bridge is stamped with the gold karate mark, "10K". The Ziething mark is sometimes misidentified as an elongated "N".

Ziething & Co. "Spider Web" gold cufflinks, circa 1925.

If you would like to view more elegant cufflinks from the past,
please visit our Antique Cufflink Gallery.

Durand & Co. platinum and gold cufflinks, circa 1910
Durand was one of the many jewelry makers
based in Newark, New Jersey.

Three Books and a Museum

As the temperature climbed above 80 degrees last week, my thoughts turned to summer. Two of my favorite summertime activities are reading by the lake and visiting the air conditioned confines of museums. So here is a list of several of my favorite cufflink-related books and one of my favorite museums.

The Glitter & The Gold: Fashioning America's Jewelry by Ulysses Grant Dietz, et al

During the decades from 1850 to 1950, Newark, New Jersey was the center of fine jewelry manufacture in the United States. The majority of the cufflinks featured in the Antique Cufflinks gallery and this blog were designed and manufactured by Newark jewelry makers. In 1997 an exhibition at the Newark Museum explored the history and evolution of the Newark jewelry trade and the stunning jewels created. The Glitter & the Gold documents the exhibition and offers many wonderful pictures and informative essays. If you are interested in American cufflinks and jewelry this book is indispensable.

Cufflinks by Susan Jonas and Marilyn Nissenson

This is a fun book. It tells the story of gorgeous cufflinks and the fabulous people, le beau monde, who wore them. The book presents a sampling of fine links from the early 1700s through 1990 with an emphasis on early 20th century and Art Deco examples. The book is beautifully illustrated with wonderful photographs. This is a great read for an afternoon at the beach.

Cuff Jewelry: A Historical Account for Collectors and Antiques Dealers by Howard L. Bell

While the Jonas book samples the history of fine cufflinks, this book goes into greater depth on a narrower range. Howard Bell illustrates cufflinks from the Victorian era to the 1960s with over 1000 images. He covers diverse topics such as historical periods, materials, methods of manufacture, gemstones and makers' makers. His Chronology of Linkages is particulary interesting. Published in 1994, the book's price estimates provide a useful benchmark for how antique cufflinks have appreciated over the past 15 years. This book is a useful resource for the aspiring cufflink collector.

The Newark Museum Newark, New Jersey

An opportunity to visit The Newark Museum should never be passed up. The museum has a wonderful collection of American jewelry and decorative arts from the 19th and 20th centuries. The Museum's Curator of Decorative Arts, Ulysses Grant Dietz, has organized a number exemplary exhibitions on jewelry and related arts. Mr. Dietz is also the lead author of the first book listed above. You should visit the museum's web site to learn of current exhibitions and special events ( http://www.newarkmuseum.org/ ).

Charles Keller's Frosty Cufflinks

Featured this week are several of the frosty cufflinks created by Charles Keller & Co. during the early 1900s. Above is a nice example with the radiating spiral motif popular during the Art Deco period. These cufflinks are crafted with platinum tops and 14kt gold backs. The platinum tops are beautifully engine-turned with swirling radiant spirals. The radiant centers are accented with black enamel and surrounded by flowing leaf-and-vine borders. Crafted in 14kt gold and platinum, circa 1920.

The cufflinks were created by Charles Keller & Company. Founded in 1885, Charles Keller manufactured gold and platinum cufflinks, lockets and other jewels in workshops based in Newark, New Jersey. During the early decades of the last century, the firm specialized in creating elegant cufflinks with intricately engraved platinum or white gold surfaces. Charles Keller remained in business until the early 1930s.

The cross bars are stamped with the precious metal mark for platinum, "PLAT". To the right of the platinum mark is the maker's mark of Charles Keller & Company, an elongated "C" followed by the letter "K". In side the "C" is a karat mark, "14", for the purity of the gold.

Every so often the Charles Keller mark is misidentified as the mark of another fine cufflink maker, Carrington & Company. The Carrington mark also has a "14" surrounded by a "C" . However, in the Carrington mark the "C" is squarish and angular, not elongated and rounded like the Keller mark. As always, care should be taken when reading and interpreting makers' marks.

Here is a second pair of beautifully engraved Charles Keller cufflinks. The platinum tops are engine turned with a stippled pattern of concentric circles. This gives the cufflinks a frosty, shimmering appearance. The stylized flower (or star) motifs were created by leaving areas of the brightly polished platinum unstippled. The border is a classic egg-and-dart pattern recalling the Beaux-Arts style of the late 1800s. Crafted in platinum and 14kt gold, circa 1920.

Cufflinks ... Chicago Style?

Gold and Platinum Cufflinks by the "L-maker."

Every so often you will come across an elegant pair of gold and platinum cufflinks marked on the reverse with a small script "L". The cufflinks are usually rectangular in shape with beveled corners, much like an emerald-cut diamond. The tops are embellished with intricately engine-turned centers surrounded by foliate and geometric borders. I have nicknamed the unknown maker of these cufflinks the "L-maker". Here are a few examples.

Beautifully engine-turned 14kt yellow gold cufflinks with intricate acanthus leaf borders. These cufflinks are a nice example of the rich gold work characteristic of gentleman's jewelry in the early decades of the last century. Crafted by the "L-maker", circa 1920.

This pair beautifully displays the cool geometry of Art Deco design. Engraved and dimpled trapezoid borders surround chequered platinum centers. Crafted by the "L-maker" in 14kt gold and platinum, circa 1930.

The reverse of these cufflinks are stamped with precious metal marks and the maker's mark - a small script "L" in a lozenge (diamond shape). Hence the name "L-maker."

The mark is similar to the maker's mark of Lebolt & Co., a retail jeweler founded in Chicago in 1899. Inspired by the fashion for hand crafted silver in the early 1900s, Myer Lebolt, founder of the firm, opened a workshop to create custom silver pieces for his retail stores in Chicago and New York. Eventually the workshop included goldsmiths and platinumsmiths who created jewelry in addition to the firm's sterling flatware and holloware. It is possible these elegant cufflinks were created in the Lebolt workshop during the 1920s.

At this time, an attribution of these cufflinks to Lebolt & Co. is only a working hypothesis. The similarity of the marks is suggestive, but not conclusive. It is wise to confirm the identification of an unknown maker's mark with other sources such as old catalogs, original sales receipts and period advertisements. Family recollections and company names on jewelry boxes can also be helpful, but are sometimes less reliable. The mystery of the "L-maker" may be closer to a solution, but further research remains to be done.

If you would like to read more about Lebolt & Co. and the Chicago silversmiths, there is a wonderful book, Chicago Metalsmiths, by Sharon Darling. Although the book is out of print, it is worth a trip to the library or a secondhand book shop to find a copy.

Creature Comforts

Unger Bros. Possum Cufflinks, circa 1900.

The jewelry and taste makers of the decades around 1900 (the Late Victorian and Art Nouveau periods) were extremely fond of jewels featuring animals and insects. It is fair to say they were a little critter crazy.

Among cufflinks of this period you find a diverse menagerie of exotic and mythical creatures. From traditional links sporting foxes and hounds to the fantastic hybrid creations of the Art Nouveau jewelers. In between dwell lions, possums, dragons and griffins.

Here I feature a wonderful pair of gold cufflinks from about 1900. The cufflinks feature regal lions prowling through a jungle of swirling vines. The cufflinks beautifully illustrate the sinuous, flowing curves and asymmetry of Art Nouveau design. It is reasonable to wonder if a pair of cufflinks like these inspired C.S. Lewis when he wrote The Lion, the Witch and the Wardrobe several decades later. There is something magical about the Art Nouveau designs.

Crafted in 14kt gold, these cufflinks nicely evince the artistry and craftmanship often found in antique cufflinks. The links were created by Larter & Sons, a firm founded in 1865 and still making jewelry today. In several earlier posts I discussed the distinctive gold and enamel cufflinks created by Larter & Sons during the 1920s.

Larter Gold and Enamel Cufflinks, circa 1920

If you enjoy elegant cufflinks from the past,
please visit our Antique Cufflink Gallery.

Carrington Cufflinks - On Your Mark

Carrington & Co. Sapphire and Gold Cufflinks, circa 1930

Antique cufflinks are bright bits of history. They capture the style and elegance of a past time and bring them into the present. By closely examining the design and craftsmanship of a pair of antique cufflinks you can often estimate their age and identify the maker.

It is worthwhile to examine the backs of the cufflinks as closely as the fronts. On the backs, you will often find a wealth of clues about who, where and when the cufflinks were made. You may even discover who first wore the cufflinks and the special occasion on which they were given. To help you unravel these clues, I illustrate the maker's marks of three prominent American cufflink makers.

Carrington & Company

A more detailed discussion of the Carrington maker and precious metal marks can be found at Carrington Cufflinks and Mr. Goldsplat, the Mysterious Jeweler

Founded in 1900 by Charles Carrington, Carrington & Co. created elegant gold and platinum cufflinks and dress sets for five decades. The firm was also renowned for elegant cigarette and vanity cases, lockets and other jewels. Carrington cufflinks and accessories were retailed by many of the finest jewelers of the day including Tiffany & Co and Cartier.

The maker’s mark for Carrington & Company is an angular “C” surrounding a “14” or “18”, the gold purity mark. Platinum cufflinks may be simply marked "PLATINUM".

Carter, Gough & Co.

Originally founded by Aaron Carter in the 1840s, the firm evolved through numerous partnerships and name changes to become Carter, Gough & Co. in 1915. The firm's cufflinks ranged from heavier, gem set jewels during the Victorian era, to intricately engraved gold and platinum links during the 1910s and 20s. Carter, Gough did not survive the economic exigencies of the Great Depression and closed in the early 1930s.

The Carter, Gough maker's mark is an arrowhead surrounding the letter "C". The arrowhead is sometimes misidentified as a spade or carrot. The maker's mark is often preceded by the precious metal marks "14K" and "PLAT".

Krementz & Company

Krementz & Comapny was founded by George Krementz in 1866. In the 150 years since the firm’s founding, the Krementz family has been involved in almost every aspect of jewelry design and manufacturing. In an earlier post I illustrated several Krementz cufflinks in the Art Nouveau style. In the 1920s, the firm was a prolific maker of elegant and distinctive dress sets. Given the longevity and creativity of the firm, it is not an overstatement to speak of the Krementz family as the Bachs of the American jewelry industry.

The maker's mark for Krementz & Co. has been described as a "moustache" and, my favorite, an "upside down two-handle umbrella." In fact, the mark is the profile of a single-piece collar button George Krementz invented in the 1880s. The maker's mark is usually preceded by a precious metal mark (here "14K").

Platinum and Gold Cufflinks

Carter, Gough & Co. Platinum and Gold Cufflinks
Crafted in platinum and 14kt gold, circa 1920

Fine antique cufflinks have been made in a variety of materials ranging from precious metals to tortoise shell, pearl, ivory, Vulcanite (an early form of hardened rubber), Bakelite and glass. In fact just about any material that imaginative jewelry makers could shape, bend or mold can be found in a pair of cufflinks. Among the precious metals, platinum, gold and silver have been the most popular with palladium, a platinum group metal, making a rare appearance.

Prior to 1900, platinum's high melting point limited the metal's use in fine jewelry and cufflinks. With the development of high-heat torches the limited use of platinum began to melt away. Some of the most striking cufflinks from the early decades of the 20th century elegantly contrast gold and platinum. These two-tone cufflinks sparkle with the warmth of antique gold and cool brilliance of platinum. Here are a few examples.

An exquisite pair of platinum and gold cufflinks from Carter, Gough & Co. During the early decades of the last century, the firm created beautiful cufflinks and dress sets in the sparkling, airy style of the Edwardian period. Carter,Gough cufflinks appear to dance in the light as you move your cuffs. For another example, please revisit the photograph at the top of this post.

Elegant two-tone cufflinks in the bold Art Deco style. These cufflinks feature checker board platinum centers surrounded by engraved and dimpled gold borders. Crafted around 1930, I believe these cufflinks were created by the Chicago jewelers Lebolt & Co. There is something undeniably magical about the cool geometry of Art Deco design.

For more elegant cufflinks crafted in platinum and gold,
please visit our Antique Cufflink Gallery.

Carrington Cufflinks - A Touch of Elegance

Carrington & Company Platinum Cufflinks
Crafted in platinum, circa 1920

Carrington & Company was one of the premier makers of cufflinks in America during the first half of the last century. Founded in 1900 the firm was renowned for creating elegant jewels and accessories for men and women. The firm was based in Newark, New Jersey and produced jewels and cufflinks for the finest jewelers and luxury retailers of the day, including Tiffany & Company. After surviving changing fashions, the Great Depression and two World Wars the firm discontinued operations in 1950.

I must admit to being an unabashed admirer of Carrington cufflinks and dress sets. Working in gold and platinum, the firm excelled at creating simple, balanced designs that were bold without being ostentatious. The cliche "understated elegance" is appropriately applied to Carrington cufflinks. Here are a few of my favorites.

There is something undeniably elegant about brilliant platinum, sparkling diamonds and black Onyx. These Carrington cufflinks feature eight-sided Onyx tops with diamond centers and ornately engraved platinum borders. Truly "Putting on the Ritz!" Crafted in platinum and 14kt gold, circa 1920.

Wonderful Art Deco cufflinks featuring Mother of Pearl centers surrounded by bright-cut platinum borders. The Mother of Pearl centers are beautifully engraved with fine wavy lines. Crafted in platinum and 14kt gold, circa 1930.

Bold Carrington cufflinks with alternating stripes of engraved gold and green enamel. These elegant cufflinks epitomize the classic geometry and primary colors of the Art Deco era. The pair was retailed by Tiffany & Company and is shown with its original box. Crafted in 14kt gold, circa 1935.

Gold Carrington cufflinks that are a nice example of the bolder, more robust Art Deco designs of the late 1930s and 1940s. The dramatic horizontal and vertical stripes are reminiscent of the Abstract Expressionist art of the 1950s. Crafted in 14kt gold, circa 1945.

For more Carrington and beautiful cufflinks by other makers,
please visit our Antique Cufflink Gallery.