The Cufflink Makers - Wordley, Allsopp & Bliss

The decades around 1920 have been nicknamed the Gold and Platinum Age of Cufflinks. In America jewelry makers, many based in Newark, New Jersey, created beautiful cufflinks in a great diversity of styles and in precious metals ranging from silver to platinum to gold. One of the more prolific makers of fine cufflinks during this period was Wordley, Allsopp & Bliss (WAB).

WAB Egyptian Revival cufflinks in 14kt gold, circa 1910.

Founded in 1909, WAB and its several successor firms created elegant cufflinks that drew upon and updated the historical revival styles of the Victorian era. WAB cufflinks were beautifully crafted in 14kt yellow and white gold and often rivaled the creations of the other preeminent cufflink makers of the period (such as Carrington & Company, Carter, Gough & Company and Wm. Huger & Company).

Pictured above is a WAB cufflink in the Egyptian Revival style with stylized lotus blossoms and papyrus fronds in a cruciform arrangement. The beveled edges of the cufflinks are highlighted with an exotic zigzagging meander of black enamel. WAB excelled at balancing an eclectic array of elements in their cufflinks without the design looking overly cluttered.

WAB Scroll and Garland 14kt gold cufflinks, circ a 1920.

The eclectic enthusiasm of WAB is nicely illustrated in these "Scroll and Garland" cufflinks set with striking cabochon-cut Sapphires. Exuberant S-scrolls dominate the cloisoned borders while classically inspired garlands fill the centers. The WAB cufflink designers successfully infused these historical motifs with the fun and pizazz of the 1920s. Sort of 18th century formalism meets Jazz.

WAB Pinstripes and Gold cufflinks, circa 1920.

Of course, not all WAB cufflinks were embellished with intricate designs. The pair pictured above is the epitome of simple elegance. The design reflects the simpler linear and geometric designs of the Art Deco period. The borders are accented with black enamel. This particular pair was given to a graduate of Brown University in 1920.

I believe WAB made cufflinks from about 1910 until sometime in the early 1930s. Like many cufflink makers of this period, production appears to have ceased or at least curtailed during the Great Depression. The firm was eventually absorbed by Krementz & Company during the 1950s.

Wordley, Allsopp and Bliss maker's mark.

The most common maker's mark for WAB and its successor firms is a "W" and a "B" resting on the sloping sides of an "A". The maker's mark is usually stamped along with the purity of the gold on the cross bar or bridge of the cufflink.

More photos of the above cufflinks can be found in the
Antique Cufflink Gallery.

Antique Onyx Cufflinks

Over the past several months, I have written about antique cufflinks set with shimmering Moonstones, mesmerizing Moss Agates and iridescent Mother of Pearl. Another beautiful gemstone that is elegant on the cuff is Black Onyx.

Carter, Howe Onyx and Gold cufflinks, circa 1890.

During the Victorian era the midnight shades of Black Onyx were most often associated with mourning jewelry and the rituals of bereavement. Towards the end of the era the inky darkness of the gemstone began to shed its more sombre connotations. By the early 1900s, elegant cufflinks and shirt studs crafted in gold and Black Onyx had become de rigueur for black tie affairs.

Onyx, Diamond and Platinum Cufflinks.

Sparkling with diamonds and platinum, these elegant Carrington cufflinks reflect the light, airy jewelry designs of the early 1900s. They feature eight-sided Onyx tops centered with small collet-set diamonds. The platinum borders are richly engraved for an added touch of elegance. Crafted in platinum and 14kt gold, they speak to the undeniable elegance of Black Onyx and diamonds.

Garrigus Onyx and Pearl Cufflinks, circa 1930.

During the Art Deco era (circa 1920 - 1940) Black Onyx remained a favorite with jewelry designers. The dark black of the Onyx beautifully contrasted with the glowing brilliance of platinum and pearls. And the easily fashioned gemstone was ideal for the bold, geometric designs of the period.

Pictured above is beautiful cufflink created by L.E. Garrigus & Company. Garrigus was a maker of fine gold and platinum cufflinks and jewels during the first half of the last century. Their cufflinks were sold by Tiffany & Company and other fine jewelry retailers.

L.E. Garrigus Onyx, Pearl and Platinum Dress Set, circa 1930.

The Garrigus cufflinks are part of an elegant dress set with a pair of cufflinks, 3 shirt studs and 4 vest buttons. The set nicely illustrates the 1920s catch phrase "Putting on the Ritz!"

To view more antique cufflinks set with beautiful gemstones,
please the Antique Cufflink Gallery.

Moonstone Cufflinks

Carter, Howe moonstone cufflinks, circa 1900.

The shimmering, billowy sheen of Moonstone was eagerly embraced by late Victorian and Art Nouveau jewelers. Gently rounded Moonstones enhanced the romance and mystery of jewels and contrasted with the sharper edges of faceted gemstones. This note illustrates a striking pair of gold and Moonstone cufflinks created by the jewelry firm Carter, Howe & Co. in the years around 1900.

Moonstone and 14kt gold cufflink, circa 1900.

Crafted in 14kt gold, the cufflinks feature cabochon-cut oval Moonstones set in beautifully chased gold bezels. The simplicity of the design complements and heightens the beauty of the gemstones.

Carter, Howe & Company, along with its successor firm Carter, Gough & Co., created beautiful gold and platinum cufflinks, dress sets and accessories during the early decades of the last century. The principals of the firm appear to have had a particular affinity for lesser known, more unusual gemstones like Moss Agate, Onyx, carved Mother of Pearl and Moonstone. Although sometimes mislabeled as semi-precious, these gems become rare treasures when found in a pair of antique cufflinks.

Carter, Howe maker's mark and gold purity mark.

The Carter, Howe maker's mark, an arrowhead surrounding a small letter "C", is stamped on the curved bridges of the cufflinks. To the left of the maker's mark is found "14K" for the purity of the gold.

Additional photographs and details of these cufflinks can be
found in our Antique Cufflink Gallery.

Winged Bridge maker, circa 1925.

The "Winged Bridge" Maker - II

In last week's note I discussed cufflinks created by an unidentified jewelry firm, nicknamed the "Winged Bridge Maker". I illustrated several cufflinks that were two-toned and featured intricately engine turned centers (see example above).

The unknown maker was not limited to beautifully executed abstract and linear designs. The Winged Bridge Maker also created striking cufflinks with rich floral and foliate centers. Two examples are illustrated below.

Art Deco "Classical Elegance", circa 1920.

The first pair echoes the formal neo-classical designs of the late Victorian period. The yellow gold centers feature acanthus leaves arranged in a swag pattern around a stylized eight-petal flower. The white gold borders feature small rosettes with flowing leaves and simple geometric corner motifs. Crafted in 14kt white and yellow gold, circa 1920.

Art Deco "Flower Power", circa 1930

The design of the second pair of cufflinks is decidedly bolder. The eight-petal flower has "exploded" to dominate the yellow gold center with spear-tipped petals. Crowded between the elongated petals are small six-petal flowers. The white gold border features bold geometric motifs with the floral designs now relegated to the corners. Based on the style and design of these cufflinks, they date closer to 1930 than to 1920. Crafted in 14kt white and yellow gold.

These two cufflinks nicely illustrate the evolution of Art Deco cufflinks from the refined, almost neo-classical designs of the early 1920s to the bolder, geometric motifs of the 1930s.

Winged Bridge Maker gold cufflinks, circa 1930.

The "Winged Bridge" Maker

Several weeks ago I wrote about a distinctive group of cufflinks created by an unknown maker. Because of the unique design of the connecting bridge, I provisionally named the maker of the cufflinks the "Acanthus Bridge Maker".

This week I illustrate another collection of striking cufflinks by an unknown maker. Crafted in yellow and white gold, these elegant cufflinks feature intricately engraved (engine-turned) centers surrounded by bold geometric and foliate borders. The cufflinks sparkle with the exuberance of the Jazz Age. A beautiful example with dramatic engine-turned centers and bold Art Deco borders is pictured above.

Reverse of cufflinks by Winged Bridge maker.

The unknown maker of this second group of cufflinks also favored a distinctive bridge design. The bridges flair out like the wings of a mythical or fantastic bird. Hence, I have nicknamed the creator of these cufflinks the "Winged Bridge Maker". Several more examples follow.

"Radiating Starbursts", circa 1925.

Striking two-tone cufflinks with yellow gold centers decorated with dramatic radiating starbursts. The Art Deco supernovas are surrounded by white gold borders embellished with stylized flowers and scrolls. Crafted in 14kt white and yellow gold, circa 1925.

"Ripples in a Pond", circa 1925.

This pair of cufflinks is more serene with yellow gold centers of engine-turned concentric circles. The design is reminiscent of the ripples created by a pebble dropped in a quiet pond. The octagonal white gold borders repeat the flower-and-scroll motif of the previous cufflinks. Crafted in 14kt white and yellow gold, circa 1925.

"Frosty Elegance", circa 1930.

Of course, not all of the the cufflinks by the Winged Bridge maker were two-toned. Pictured is a frosty pair of white gold cufflinks with elegant pinstripe centers. The octagonal borders are a bolder interpretation of the flowers and scrolls theme. Crafted in 14kt white gold, circa 1930.

To view other beautiful cufflinks from the past,
please visit our Antique Cufflink Gallery.

Elegant Ovals

During the early decades of the last century, jewelry makers created elegant oval cufflinks in gold and platinum. Eschewing the more intricate designs of the period, the oval cufflinks often featured simple concentric patterns, subtle engine turning and dramatic pinstripes. These cufflinks are the epitome of understated elegance. Here are a few examples.

14kt gold cufflinks possibly by R. Blackinton & C0., circa 1920.

The striking centers of these gold cufflinks may give rise to a slight feeling of vertigo. Surrounding the repeated ovals are borders of undulating scrolls and, for an added dash of elegance, milgrained edges. Concentric ovals, perhaps influenced by the simple geometric shapes of the Arts and Crafts movement, were a common motif during the early 1900s.

Durand & Co. platinum and gold cufflinks, circa 1910.

Durand & Company created elegant two-tone cufflinks in platinum and gold. Here yellow gold centers shimmer with richly engine-turned chevron patterns. The centers are framed by engraved platinum bands and yellow gold edges with flowing wave motifs. Durand & Company was one of the preeminent makers of fine cufflinks and jewelry during the 19th and early 20th centuries. The founders of the firm shared an artistic heritage with the American landscape painter Asher B. Durand.

J.R. Wood & Sons 14kt gold "pinstripe" cufflinks, circa 1940.

Classic cufflinks with golden pinstripes surrounded by boldly engraved borders. The pinstripe motif grew in popularity as taste moved to the simpler, linear designs of the late Art Deco period. These cufflinks were crafted in 14kt gold by J.R. Wood & Sons. Founded in Brooklyn, NY in 1850, Wood & Sons created fine cufflinks and jewels for over a century before being acquired by Lenox, Inc. in 1970.

To view other beautiful oval cufflinks from the early 1900s,
please visit our Antique Cufflink Gallery.

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.