Eisenberg

Dates of operation: 1920s (1930s for jewelry) – at least 2011

1920s Eisenberg only made fashions.

1928 Eisenberg is officially incorporated.

1930s Eisenberg added rhinestone elements to fashions and by the mid-1930s started a jewelry line.

1958 Eisenberg stopped selling fashions to concentrate on jewelry.

From the beginning, Eisenberg jewelry was designed and manufactured by jobbers including but not limited to Agnini & Singer, Reinad Novelty Co. and Fallon & Kappel. At this early time, the designs created by these companies were not necessarily exclusive to Eisenberg. An excerpt from the book Eisenberg Originals The Golden Years of Fashion, Jewelry, and Fragrance, 1920s – 1950s by Sharon G. Schwartz and Laura Sutton describes early Eisenberg designs.

The earliest Eisenberg jewelry was marked “Eisenberg Original” and the pieces were made of pot metal. These pieces could be gold washed, gold plated, be given antiqued finishes, coated (which has a more polished patina), or left unfinished which has a dull appearance similar to pewter. Schwartz, p. 201
Schwartz, Sharon G. and Sutton, Laura. Eisenberg Originals The Golden Years of Fashion Jewelry and Fragrance, 1920s – 1950s. Atglen, PA: Schiffer Publishing Ltd., 2017. p. 201.

In the early 1940s, two important “jewelry” decisions were made. First, Ruth Kamke was hired by Fallon & Kappel as a jewelry designer. Then in 1943 Eisenberg formed an exclusive relationship with Fallon & Kappel to design and manufacture jewelry for Eisenberg.

Ruth Kamke was fresh out of high school when she was hired at Fallon.

She won the position by bringing in a fashion design sketchbook in which she had created individual jewelry pieces to match her original clothing. Since dresses with adornments were a staple of one of F & K’s largest clients, Eisenberg, they snapped her up. A week later they made her their sole in-house designer.
Schwartz p. 196

From 1943 until Fallon & Kappel closed in 1972 Eisenberg designs were created by Ruth Kamke. Some design patents list Florence Nathan as the creator, but Nathan applied for the patents. She may have helped select the designs to be made, but it is believed she was not the designer. After leaving Fallon & Kappel, Kamke designed for Panetta.

Working at Fallon & Kappel, Kamke learned the intricacies of manufacturing, so she was quickly able to create designs that conformed to what was “possible” in the manufacturing world.

Eisenberg Marks

Author’s Note: I’m always delighted to see an Eisenberg mark on a piece of jewelry. It’s wonderful Eisenberg signed many of their creations! However, the range of dates for the various signatures differs from one source to another. In addition, Eisenberg did not immediately retire one signature in favor of another. Therefore, dates and date ranges shown here are my best analysis from this research. It is essential when dating Eisenberg to not only look at the signature style, but also to consider the use of materials, construction, and fashions of the era.

1935 – 1945 *Eisenberg Original* in dotted letters or hand-written style script, pot metal

1943 – 1948 Eisenberg Original in dotted letters with sterling or script with sterling

Sometimes stone setters marked the jewelry with a letter or number, sometimes in a circle. This mark was in addition to the Eisenberg signature. Stone setter marks alone do not authenticate a piece as an unsigned Eisenberg.

The Eisenberg jewelry made in Mexico has the hand-written style of Eisenberg with sterling (not shown)

Briefly from 1942 – 1945 block print E in pot metal (not shown)

1943 – 1948 Script E with sterling

1948 – 1958 Block Eisenberg no copyright

From 1958 – ~1970 Some sources state that Eisenberg from this period is unsigned except for a paper label. Some say Eisenberg was always signed. Others state that some pieces at this time are signed but many were unsigned except for a removable paper label.

From ~1970 – 2011 Eisenberg Ice with the copyright in block letters

Author’s Note: Eisenberg Ice was used in advertising prior to ~1970 but not marked on jewelry until around that time.

1970s “Artist Series” marked E with the copyright symbol

1980s Enamels with rhinestones marked Eisenberg in block letters with the copyright symbol, some marked E with the copyright symbol

Jewelry from the 1994 and 2000 Classics Series is marked Eisenberg Ice in script with a date

Author’s Note: Some designs signed Eisenberg without the copyright symbol are marked with a four-digit number stamped into the rhodium plating. See an example of this mark in the gallery (sets) below. It is on an authentic Eisenberg pin that was also featured in a 1959 advertisement. To date, there is no information on these four-digit numbers.

Eisenberg Color Combinations

Bobye Syverson was a well-respected author and historian on Eisenberg jewelry. She wrote many articles for Vintage Fashion & Costume Jewelry magazine published by Lucille Tempesta. In 2004 Syverson shared interesting information on rhinestone color combinations Eisenberg preferred over the years.

In the beginning, most of the stones were colorless crystal color, resembling diamonds. As colored rhinestones were increasingly used, some favorite color combinations emerged. Rose and aqua stones complimented each other. Light and dark topaz stones looked rich and glowing. Aqua and sapphire, from the same color family looked good. The combination that has always surprised me is putting rose and amethyst together.
Syverson, Bobye, Article in Vintage Fashion & Costume Jewelry Vol. 14 No. 3: Published by Lucille Tempesta. 2004. Back Cover.

In the same article Syverson also listed the colors available to Eisenberg customers in the 1961 catalog.

…emerald, ruby, sapphire, lilac, rose, honey, and beige. And of course, crystal. There were a few more colors added later, such as jet, alexandrite, Montana blue, various greens and peach. …Eisenberg jewelry very seldom used AB stones in their designs.
Syverson, Back Cover of Vintage Fashion & Costume Jewelry Vol. 14 No. 3. 2004.

Eisenberg Quality

Until 1972 when Fallon and Kappel closed, Eisenberg jewelry was designed and produced by one company, so the quality standards were consistently high. They had to be. Eisenberg jewelry was expensive.

The quality was maintained in the 1970s and 1980s with their hard-enameled jewelry line. Some pieces in that line required many, many firings!

The last known date for Eisenberg designs was 2011. At that time unsigned Eisenberg designs were being sold on cards. The quality of this unsigned Eisenberg jewelry, unfortunately, does not confirm to the otherwise high Eisenberg standards.

Eisenberg Gallery

The dating information provided with each piece is based on the style of the signature AND the design of the piece including the use of materials and traits found in vintage advertising. The dates are approximate.

Usually when dating vintage costume jewelry, the presence of a copyright symbol indicates the piece was made after 1955. Eisenberg did not strictly follow that guideline. It is believed the copyright symbol did not appear with the Eisenberg signature until ~1970.

Pins and Clips

~1935 – 1945 Eisenberg Original 3 1/4″ pin

Dot matrix Eisenberg signature and stone setter mark 1

This early Eisenberg pin is a well-balanced asymmetrical design. It is pot metal with a gold wash. Note the thick metal sides on this heavy piece. The large square rose rhinestones and the smaller navette rose rhinestones are all prong-set and accented with crystal (faux diamond) stones. Rose is a color associated with early Eisenberg. The larger stones are open in the back.

Brand Trait: Except for accent stones, most Eisenberg rhinestones are prong-set, especially in the early years.

~1943 – 1948 Eisenberg Original Sterling clip with stone setter’s mark 2

Resembling a beautiful feather, this design is a study in ovals. Two sizes of high-end oval crystal rhinestones are capped with curving lines of pavé rhinestones.

~1943 – 1948 Eisenberg Sterling fur clip (dress clips have shorter prongs)

This clip has hooks at the bottom to hold the prongs in place. The top of the clip has two holes on the bar.

This 2 3/4″ piece is signed Eisenberg with stone setter’s mark (unreadable) and sterling

This wonderful, asymmetrical design depicts a rhinestone ribbon wrapped around a bouquet of rhinestone blooms. The graceful twist of the longest ribbon is a high-end designer trait and indicative of the care taken in this design. It is rhodium plated.

Brand Trait: Eisenberg used rhodium plating for crystal designs to add to the sparkle of the high-quality stones. Large pins and clips with high-end crystal stones and rhodium plating is a “look” associated with Eisenberg, especially the early Eisenberg.

The non-use of sterling and the dot matrix signature suggests this 2 1/4″ clip dates to the late 1940s. It is signed Eisenberg with a stone setter’s mark (unreadable, possibly an H)

The center of this design consists of layered, pavé semi-circles. These semi-circles add dimension to the design and are the main focus of the design. The semi-circle design elements will appear again in later Eisenberg designs. (see Eisenberg bracelets.)

~1943 – 1948 2 3/4″ Eisenberg sterling clip with stone setter mark 34

This lovely clip has several interesting design features. It is a symmetrical design with only slight asymmetry at the top. The central point of focus is a six-petal flower surrounded by curving vines set with crystal stones. The sterling has darkened along these curves beautifully outlining the design. The outer edge is decorated with rare, high-end demi-lune rhinestones. The jewelry “eye” loves this design!

Brand Trait: The six-petal flower design is a recurring element in many Eisenberg designs.

~1943 – 1948 Eisenberg 2 1/2″ pin signed with the script E, sterling, and stone setter’s mark 5

This design was constructed in two pieces held together by thick hooks or pins.

This pin is shown on page 57 of Eisenberg Originals the Golden Years of Fashion, Jewelry, and Fragrance, 1920s – 1950s by Sharon G. Schwartz and Laura Sutton. The book piece features a blue center stone and dated to the early 1940s.

It is a symmetrical design with an innovative design element. The double row of spokes stops at the top and is replaced by a single row. This change transforms the design from the full circle the “eye” expects to a semi-circle.

Brand Trait: This way of altering a circle is a design technique found on other Eisenberg designs.

~1948 – 1958 Eisenberg 2″ pin with ruby, amethyst, and light amethyst stones. The comma-shaped curls of gold plated metal is called pavé icing and is a design trait of many Eisenberg creations.

A 1953 Eisenberg advertisement called jewelry with curls of rhinestones “Ribbon Ice”. It reads, “Ribbon Ice melting into frozen fire…big, bold, beautiful blaze of brilliance for a season of glittering elegance.”

Tiny 1 3/4″ crystal rhinestone ~1948 – 1958 Eisenberg bow pin

This little pin is rich with design details. The bow consists of high-quality tear-drop stones gathered together by a ribbon of pavé stones.

Brand Trait: Throughout their long history, Eisenberg created beautiful bow motif pins.

Author’s Note: A 1952 advertisement for Eisenberg Ice reads “The lavish look that’s made to be worn…” That is certainly true for this little bow pin. It is one of my favorite pieces to wear.

~1970s – ? Pretty for fall, topaz combinations were a favorite of Eisenberg. This piece features Madeira and smoked topaz rhinestones in an abstract floral design.

Sets

~1948 – 1958 Three-piece Eisenberg set in its original gray box.

The 15 1/2″ necklace, 7″ bracelet and 1 1/3″ clip earrings feature oval-shaped pavé, rhinestone decorative elements and sapphire and light sapphire rhinestones. All pieces are rhodium plated.

Brand Trait: The oval shaped pavé icing elements shown above are a trait of many Eisenberg designs.

Brand Trait: The style of clasp shown above is an Eisenberg trait for post war necklaces; however, other brands, specifically Weiss, used it.

~1948 – 1958 Eisenberg pin wheel motif 2 1/2″ pin and 1 1/4″ earrings

This innovative design places the typical Eisenberg pavé icing element over curving rows of stones to give the illusion of a spinning pin wheel. This versatile design was made in several color combinations including the smoked topaz shown here.

Brand Trait: The round stabilization ring at the back is a typical Eisenberg construction element.

This set features light sapphire and peridot rhinestones. The brooch is shown in a 1959 Eisenberg advertisement for a series of pastel rhinestones designs. The advertisement is titled “Watercolor Originals in Eisenberg Ice” and reads “Masterpiece fantasies in pseudo-crystal…afire with the brilliance of real jewel tones, iced with rhinestones.” The 15 1/2″ necklace and 6 1/2″ bracelet were purchased as a set. The 3″ brooch was purchased separately but is an excellent match in color and design. (Advertisement found on www.morninggloryantiques.com)

The four-digit number below is stamped into the rhodium plated back of the pin. Different numbers are found on other Eisenberg designs of this era. Their significance is unclear.

The design of this set exhibits several Eisenberg design traits including the nonuse of aurora borealis stones, three-dimensional design, quality rhodium plating, pavé icing in an oval or horse-shoe shape, and high-quality Swarovski stones.

Necklaces, Bracelets, Earrings

This pin matching this Eisenberg bracelet is shown in a 1941 advertisement on page 167 of Carla Ginelli and Roberto Brunialti’s book *American Costume Jewelry Art & Industry, 1935 – 1950 Volume A – M* published by Schiffer Publishing in 2008. Although this bracelet is unsigned, other signed bracelets (some in crystal) have been found.

The bracelet measures 7 1/4″. The central deco motif design is heavy, so it was likely worn tightly clasped over gloves to keep it in place. The central stones and side stones are in remarkably wonderful condition for the age, continuing to sparkle like the day they were first set.

The plating is gold over pot metal. When snapped closed, the clasp is hidden.

7 1/4″ Eisenberg bracelet signed Eisenberg in dotted script possibly late 1940s, early 1950s.

This classic design is a symmetrical double row bracelet with pavé icing and high-end crystal stones.

Mid to late 1950s Eisenberg 15 1/2″ necklace featuring high-end rectangular and round rhinestones with thick rhodium plating.

This necklace feels soft and buttery. It is a pleasure to wear and provides a level of sparkle that can be seen across a large room.

Two pair of Eisenberg Ice earrings dating to the 1960s – 1970s. Top: 1 1/4″ and a nice match for the bracelet shown above Bottom: 3/4″ Both have thick rhodium plating

Eisenberg Enamels

Easily recognized, this mid-1970s Eisenberg King Tututankhamen pendant measures 2 1/2″ and comes with a 24″ snake chain. It is signed three times: Eisenberg with the copyright symbol on the back of the pendant, on the cartouche attached to the necklace clasp, and on the paper hang tag.

It is hand-painted and plated with 18K gold electroplate.

The 3 1/4″ owl, 3 1/4″ turtle and 3/4″ earrings are part of Eisenberg’s 1973, 1974 “Artist’s Series” of designs inspired by famous artists including Braque, Miro, Chargill, Calder, Versarely, Picallo and Pucci. The enameling for some pieces in this series required as many, many firings. The owl is signed with the block E and the copyright sign. The turtle is signed Eisenberg with the copyright symbol.

This 2″ Enameled mushroom pin from the “Artist’s Series” has beautiful tan, orange, and red enamel applied to enhance the curving shape of the pin. It is signed with the block E and the copyright sign.

The designs of the “Artist’s Series” jewelry represents some of the most interesting use of enameling in costume jewelry history. The placement of the colors shade and highlight the curves of each figure the way a painter uses light in a painting to add depth and realism to a flat canvas. The gold tone edges where the enameling is carefully wiped away, outline each color and emphasize the shapes.

Author’s Note: This series is a masterpiece in innovative, design, and execution. Amazingly, the Eisenberg “Artist’s Series” enamels remain affordable in the collectible market.

An article in the magazine *Vintage fashion & Costume Jewelry* Vol. 15, No. 1, 2005 by Bobye Syvenson reveals that the enamels with rhinestones were made in the 1980s. This bird pendant measures 3″ and is signed Eisenberg with the copyright symbol.

This 2 1/4″ Eisenberg owl has an adorable, cartoonish expression. Like the bird above it was made in the 1980s.

The designs of the Eisenberg 1980s era enamels are equally well-made but differ in the level of whimsy. The bird above is latched onto the necklace chain the way a fish is caught on a hook. It seems to fly around with the necklace is worn. The happy owl exudes joy.

Christmas Trees

Eisenberg trees were first produced in 1972. Most of the trees are marked Eisenberg Ice with the copyright symbol. An exception is the cone tree shown to the left below.

On page 249 of her book Kathy Flood dates the cone tree to 1975 in glass and 1976 in Lucite. (Flood, Kathy. Comprehensive Jewelry Guide to Christmas Tree Pins. Volume II: Signed Edition A. K-Pub, 2013-2014.) The example shown here is Lucite and measures 2 1/2″. The innovative design is a recognizable and hard-to-find Eisenberg tree. Unlike most trees, this pin is signed Eisenberg with the copyright symbol.

The middle tree measures 3″. The emerald, navette-shaped stones are set in gold-plated metal. The gold prongs, placed evenly against the emerald background, become part of the design. The tree on the right measures 2 3/4″ and features open-backed clear crystal stones. The middle and left trees are both signed Eisenberg Ice with the copyright symbol.

The designs of these three Eisenberg trees are similar to signed trees by other makers. The photo below illustrates this similarity.

Three of the trees in this group are signed Eisenberg Ice with the copyright symbol. The other trees are signed by other brands. Top row left to right: The Eisenberg Ice tree on the left is a close match to the Regency on the right. Bottom row: The Eisenberg Ice tree on the far left matches the design of the Weiss tree on its right Bottom row: The third tree from the left is signed Eisenberg Ice. The Warner tree to the right is a similar, not exact, match.

There is a strong resemblance of Eisenberg trees to trees signed by other brands.

For years, every summer, collectors began anticipating the late-summer arrival of new Christmas trees their dealers acquired at market. The best trees are original to Eisenberg; others are twins of trees from many other companies, supplied by design manufacturers and wholesalers to Eisenberg.
Flood, Kathy. Comprehensive Jewelry Guide to Christmas Tree Pins. Volume II: Signed Edition A. K-Pub, 2013-2014. p. 245.

Conclusion

Today in the collectible market, Eisenberg retains its long-standing, well-earned reputation for high-quality jewelry designs. Although the ownership of the company changed hands Karl Eisenberg, the grandson of founder Jonas, remained with Eisenberg for many years to maintain his family’s legacy for excellence.

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