Hollywood Jewelry
Eugene Joseff's bold designs were made for Hollywood, and Hollywood made him. He designed "the jewelry of the stars," taking inspiration from historical precedents and reinterpreting them, larger than life, to be clearly seen on the silver screen.
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| Hollywood Jewelry |
Born in Chicago in 1905,
Eugene Joseff worked as a graphic artist in an advertising agency in the early
1920s, designing jewelry in his spare time. By 1927, he was training as a
jewelry designer while working in Los Angeles to escape the Great Depression that
was gripping the rest of the country.
It was during a discussion w ith Walter Plunkett, an
established costume designer, that Joseff was challenged to start designing for
the movie studios. When Joseff criticized
The Affairs of Cellini, in which Constance Bennett's costume was accurately styled to the 16th century but her jewelry was 20th-century, Plunkett told him: "Well, if you're so smart, let's see what you can do."
The Affairs of Cellini, in which Constance Bennett's costume was accurately styled to the 16th century but her jewelry was 20th-century, Plunkett told him: "Well, if you're so smart, let's see what you can do."
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| Hollywood Jewelry |
Joseff's career took off in 1931 with the production of
one-off, historically accurate pieces for Hollywood studios, made in his own
workshops.
Astutely, he rented these pieces to the studios, allowing for potential re-hire and amassing an archive of over three million pieces, which is still owned by the Joseff family today. In 1935, he opened a
Astutely, he rented these pieces to the studios, allowing for potential re-hire and amassing an archive of over three million pieces, which is still owned by the Joseff family today. In 1935, he opened a
The Wizard of Oz and Gone with the Wind in 1939; and Casablanca in 1942.
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| Hollywood Jewelry |
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| Hollywood Jewelry |
Through the 1940s, Joseff was the major costume jeweler Hollywood Jewelry producing most of the pieces seen in historical films. In the
February 1948 issue of Movie Show magazine, he
gave his advice on styling and accessorizing: "Remember, gold can be worn
with more things than silver and topaz is a good stone that looks smart with
almost every type of costume." Joseff died in a plane crash in September
that same year. The company continued under the aegis of his widow, Joan Castle
Joseff (died 2010) and is still family run today.
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| Hollywood Jewelry |
Tn the
1930s and 40s, perhaps as a result of the uncertainties Acaused by the Great
Depression, Americans became fascinated by astrology and the
"secrets" it could reveal. Inspired by this, Joseff of Hollywood
created a series of Signs of the Zodiac pins and earrings which have proved to
be perennially popular. Of the twelves designs, the Leo examples have become
the most valuable with collectors today because they are considered to be
"cuter" than the others. The pin, which features a friendly lion, can
fetch $450 (£300) —more than twice the value of those for other symbols.
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| Hollywood Jewelry |
The key feature of Joseffs work is the semi-matte Russian
gold- plating, a finish he developed specifically to overcome the problem of
viewing highly reflective jewelry under strong studio lighting. This finish
acquires a dark patina over time.
Joseff s work embraces a huge range of styles. He was
inspired by history and drew on the spectrum of influences that had gone
before, from Art Deco to Oriental styles, and he studied fine art to select
motifs, such as the seashcll inspired by Botticelli's
Birt/i of Venus.
The company's designs worn by Elizabeth Taylor in the
1963 film Cleopatra were based on pieces found at
Tutankhamen's tomb in Egypt.
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| Hollywood Jewelry |
'typically, Joseff produced demi parures of a necklace or
pin with earrings. His designs were unusual in costume jewelry at the time—
plain metal pieces or pieces featuring neutrally colored pastes or faux pearls,
used sparingly. Black, ivory, or Bakelite examples of his work also exist.
However, like other designers of costume jewelry of the time, he maintained a
deliberately "faux" impact.
Forms were taken from nature: flowers, animals, and shells were favorite themes. A recurring form for necklaces was a decorative chain from which several large, repeating pendants were suspended, usually presented with matching earrings. Movement often featured in the form of stones on jump rings, or in undulating forms within the design.
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| Hollywood Jewelry |
Forms were taken from nature: flowers, animals, and shells were favorite themes. A recurring form for necklaces was a decorative chain from which several large, repeating pendants were suspended, usually presented with matching earrings. Movement often featured in the form of stones on jump rings, or in undulating forms within the design.
Key pieces include the
"Sun God" and "Moon God" pins, and the Elephant-head necklace
and earrings parure, which is probably the most valuable of his designs.
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| Hollywood Jewelry |
According to family sources, Joseffs earliest pieces are
marked "Joseff Hollywood" in block capitals. From 1950 onward, the
mark gradually became "Joseff in script, on an oval plate soldered to the
back of the piece, but the overlap between marks was long, so this is not an
accurate way of dating pieces. Joseff of Hollywood Jewelry work has been faked, and
fakes may be identified by their more highly polished gold-plating. Stills of film
stars wearing the original piece may contribute to the buyer's interest.
In the last decade or so, new pieces have been assembled
from original Joseff components. As they use the limited stock of original
material, they are not reproductions and arc self-limiting, but prices have
dropped slightly because of these pieces.
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