| One of the biggest challenges for the new
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| | collecting is profitable or just a hobby.
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| collector is determining which pieces of
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| | Remember, the most popular designs are
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| vintage costume jewelry are most
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| | not necessarily the prettiest or most
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| profitable to target and which to avoid.
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| | unique, but they will be more profitable
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| While fine jewelry was often hand-made
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| | to collect. However, demand for a
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| using precious materials like diamonds
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| | particular piece is stimulated most often
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| and rubies, costume pieces were made in
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| | by the actual design of the jewelry.
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| mass batches using semi-precious
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| | Collecting vintage costume jewelry for
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| materials like quartz and topaz. However,
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| | profit is complicated by the fact that
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| you should never mistake vintage costume
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| | most of the pieces are actually unsigned.
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| jewelry with the cheap glittery garbage
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| | Seasoned collectors will not hesitate to
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| you see in most department stores today.
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| | shun a signed piece in favor of an
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| American soldiers were the first to
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| | unsigned one featuring a unique and
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| purchase costume jewelry in French
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| | impressive design, as unsigned jewelry
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| boutiques during WWI, making the jewelry
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| | tends to be undervalued and the most
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| widely popular after they returned home.
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| | profitable to collect. One sure way to
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| In fact, by the end of the 1920's, the
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| | identify a particular manufacturer is by
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| once-European industry was dominated by
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| | design. Some manufacturers consistently
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| American companies like Coventry,
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| | produced pieces of exceptional design and
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| Eisenberg, and Coro creating many of the
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| | are highly coveted by collectors like
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| most prized collectible pieces.
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| | those made by Bogoff and Hollycraft.
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| Profitable collecting definitely boils
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| | Although the design is critical to the
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| down to identifying the valuable pieces
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| | overall demand of any particular piece,
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| while avoiding the pretty but worthless
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| | the materials and construction techniques
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| ones. Ultimately, the value of any piece
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| | used to make the jewelry ultimately
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| is determined by: Supply Demand Design
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| | validates or repudiates the legitimacy of
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| Materials Condition If other pricing
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| | the design. Pay particular attention to
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| factors are held constant, then the
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| | the type and quality of gemstones on any
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| rarity of the piece will greatly
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| | given piece since the stones will greatly
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| determine value. With so many producers
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| | affect value. Gemstones of exceptional
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| of costume jewelry, no uniform batch size
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| | quality were consistently used by a few
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| was established, causing supply to vary
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| | of the major manufacturers such as:
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| dramatically according to manufacturer.
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| | Bogoff Bergere Weiss Eisenberg As is the
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| Production runs tended to be relatively
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| | case with any vintage costume piece,
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| large for big companies like Coro and
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| | final antique value assessment will
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| Brooks, producing a larger market supply,
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| | ultimately be based upon condition of the
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| and thus less demand. As with any product
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| | piece. But remember, even vintage pieces
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| or service, greater demand will always
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| | showing considerable signs of wear can
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| translate into a higher price. Eisenberg
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| | still command $100 or more. By knowing
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| jewelry will likely always be a hot item
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| | what to look for, seasoned vintage
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| in the collectibles market, but be on the
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| | costume or fashion jewelry collectors can
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| lookout for Miriam Haskell pieces as they
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| | still make great profits even off of
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| are popular at the moment. Some designs
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| | slightly damaged or worn pieces.
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| are collectible while others are not.
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| | Jon Kreps is a vintage costume jewelry
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| Learning to tell the difference between
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| | collector specializing in period sets.
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| the two will ultimately determine whether
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