Louis Kramer founded Kramer Jewelry Creations in 1943. The manufacturing facility was located at 353 Fifth Ave. New York, NY. Louis’ brothers Morris and Harry soon joined the business.

Louis Kramer is believed to have been closely involved in the design of the jewelry produced in the New York factory. The 1954 Jewelers’ Buyers Guide lists Kramer as a manufacturer located at 48 W. 37th Street New York, NY. The 1960 Guide lists Kramer as a manufacturer at 393 Fifth Avenue.

Kramer jewelry advertisements provide information about the scope of Kramer jewelry sales in the early 1950s. A 1954 advertisement for the Empress Collection lists Kramer in New York and Paris. A 1956 The Diamond Look advertisement lists Kramer in N.Y., LA, Dallas, and Paris. The company was quickly expanding across the country at this time.

In 1951 Kramer Jewelry Creations entered into an agreement with Christian Dior for Dior’s American costume jewelry line. The jewelry was signed Christian Dior by Kramer and is highly collectible today.

Even though Kramer Jewelry Creations had a jewelry factory, it is accepted by most collectors that Kramer also contracted with wholesalers to produce Kramer jewelry. This is supported by the wide variety of designs and manufacturing techniques seen in Kramer jewelry. Regardless of the manufacturer, Kramer jewelry was well-made using quality materials.

Kramer Marks

There are many different Kramer marks. Not all pieces were marked and not all pieces in a set or group are marked. Some marks are stamped into the metal, and some are part of the mold.

Dating Kramer jewelry by the mark is difficult. If there is a copyright symbol the piece was made after 1955. However, the lack of a copyright symbol does NOT necessarily indicate the piece was made prior to 1955.

A piece marked Christian Dior by Kramer (not shown) dates to after 1951.

Jewelry marked Amourelle was designed by Frank Hess after 1963.

Some of the most commonly found Kramer marks include:

GALLERY

Sets:

Advertised in 1959 as Waltz Time this set features gold plating and faux alexandrite stones.

The distinctive design of this set is created by combining semi-circles of metal and high-end rectangular rhinestones. Note the beautiful crescent-shaped line of the earrings. They are asymmetrical and designed to “climb” the ears.

The use of gold loops topped by high-end stones draws the “eye” to the central decoration. Except for the earrings, all pieces are symmetrical so the jewelry “eye” loves them.

Advertised for Christmas, this set sold for between $7.50 and $15.00.

This arrow-shaped pin features the same alexandrite rhinestones. The design does not match the lacy-looping design of the Waltz Time set but works well with the ear-climbing earrings.

Kramer sets often immitate the look of fine jewelry. This beautiful faux emerald and diamond necklace and earrings set features marquis-shaped emerald rhinestones surrounded by clear crystal rhinestones.

The construction of this necklace is more complex than it appears. The links are attached at different angles, so the necklace lays flat on the neck. This is the kind of detail that separates a simple link necklace from this Kramer high-end beauty.

There are many interesting design elements in this distinctive ruby Kramer set. To the jewelry “eye” the amethyst stones work as colorful shadows for the more vibrant ruby stones.

Open-work leaves curl over the design emphasizing the abstract floral motif theme. Elements curved over a design are called “wire over”.

A smaller link, consisting of three round rhinestones, separates each larger link.

Rare and stunningly beautiful, the next Kramer set was designed by Frank Hess. Frank Hess was head designer for Miriam Haskell for many, many years. In 1963 he designed jewelry for Kramer that incorporated some of the elegance of Haskell hand-wired bead work with the glamor of Kramer jewelry. This association with Frank Hess was so important, the Hess designs were given a special signature. They are signed Armourelle on a heart-shaped cartouche or in script on the earring backs. Not all pieces in a set are signed.

Armourelle jewelry is rare, especially sets as eye-catching as the following ruby set. It is a monochromatic design in contrasting red and black colors. The pendant is symmetrical and detailed.

The ruby beads are glass and hand-knotted with black thread. The floral pendant features clusters of rhinestones, hand-wired to a lacy/floral back.

Author’s Note: I purchased this set many years ago. The previous owner converted the earrings to pierced. The remnants of the original clips are visible.

This summer set is also a Frank Hess design. Two rows of glass white beads, individually knotted, attach to a bright yellow, white, and green clasp. When worn as shown the necklace is symmetrical. However, the clasp can be worn to the side for a touch of asymmetry.

The white and green clasp is enameled. The yellow centers are beads hand-wired to the filigree back.

The olivine/capri blue bi-color stones dominate the design of this eye-catching Kramer set. The design of the symmetrical bracelet looks like a railroad track with alternating links. The baguette-shaped, bi-color stones draw the “eye” along the track.

The brooch and earrings are signed Kramer. The bracelet is signed Kramer of N.Y.

The light sapphire Kramer set below contrasts with the bold set above. Both sets feature interesting art glass stones. The blue/green stones in the vibrant set above are called bi-color stones. The light sapphire stones in the set below, with a swath of color across the surface, are called givré stones.

The close view of the pin showcases the variety of stones used in this design. Beginning left to right: light sapphire baguette, navette-shaped givré stones, round aurora borealis stones, round light sapphire stones, and light sapphire pearls. All of these prong-set elements are rhodium plated.

This pastel rhinestone and pearl set is perfect for spring. Tear-drop shaped amethyst, sapphire, peridot, and jonquil stones are set in textured gold plated metal. Creamy white pearls form the brooch’s central decoration and dangle freely from the coordinating earrings.

Brand Trait: Kramer earrings are often asymmetrical even when the design of the brooch is symmetrical.

Reminisscent of DeLizza & Elster designs featuring dangling beads, this Kramer set likely dates to the early 1960s.

The following close view shows the textured and smooth beads covering the bracelet. They are attached by pins curved around a loop.

The construction of the bracelet is clear from the back view. Two rows of rhinestone chain are separated by three bars of smoky topaz rhinestones.

The beautiful push-in clasp is shown below.

Curves and semi-circles draw the “eye” in this distinctive Kramer design. The design of the brooch is consists of both symmetrical and asymmetrical elements. Semi-circular shiny metal elements draw the “eye” to a symmetrical wreath shape on the left. Then navette-shaped stones cascade freely along the bottom and right side.

The selection of colors adds to the overall design. The wreath features blue aurora borealis stones, eye-catching pops of capri blue stones, and molded glass leaves. Montana blue and smoke topaz stones add the look of shading to the design.

Only the earrings are signed Kramer.

Many brands designed white jewelry. The Kramer white jewelry designs are especially well-made with the same attention to quality as the colorful sets.

The Kramer brooch and earrings are a matched set. The bracelet was added later. All pieces feature prong-set white and crystal stones set in rhodium plated metal.

Advertised in 1961 in the My-Lady: The Fluid Beauty of Fall this set was sold in a multitude of colors including “crystal, topaz, ruby, emerald or sapphire with gold; or a rajah’s multi-mix of them all.” The necklace was twenty dollars and the earrings were four dollars.

Multi-chain and waterfall necklaces were popular at this time. The Kramer example shown here is lushly and expertly crafted.

Brand Trait: Kramer designs feature interesting combinations of colors.

The colors pink, blue and purple are near each other on the color wheel so when combined in the same design, they produce a peaceful, interesting mood in this bracelet design.

The curving metal detail over the cluster of stones is called pavé icing by collectors. The rich shades of purple and blue coupled with the pavé icing add royal elegance to this design.

Brand Trait: The construction shown above is not exclusive to Kramer, but is found on many Kramer designs.

Fun to wear, this Kramer set includes disk beads in shades of blue and white. The beads are glass and pleasantly clink together when worn. The necklace has three strands of beads dotted with crystal beads. The bracelet has four strand of beads with lacy filigree bead caps. All pieces feature silver tone metal.

Kramer jewelry with plastic elements is as elegant and lovely as the designs featuring glass. This wide bracelet consists of flexible rows of white plastic bars outlined with prong-set aurora borealis rhinestones all set in gold tone metal.

Pins:

This rare signed Armourelle pin is packed with beautiful design elements. It is a floral bouquet with textured blue enamel leaves, a blue daisy flower and pong set jonquil rhinestones. The elements are hand-wired to a decorative filagree back.

Kramer produced beautiful pins at several different price points. This lovely red and white pin features gorgeous enamel. The contrasting red and white color scheme is bright and eye-catching.

Elegant and as beautifully made as Miriam Haskell designs, this Frank Hess for Kramer floral pin features rows of hand-wired black beads covering each of the five petals. When a surface is covered with beads in this way it is called “Tapestry” beading.

Kramer dove right into the 1960s surrealism trend with these two “eye” pins. The uncharacteristically bold designs were made to Kramer’s high-quality standards.

The Salvadore Dali style blue eyeball pin features a HUGE 1 1/4″ art glass center. The setting faithfully depicts an eye including a fringe of metal eye lashes.

Both pins are signed Kramer.

In the late 1950s and 1960s an abundance of art glass stones, and decorative elements were available to costume jewelry designs. Other brands, including Hollycraft, incorporated large leaf stones in their designs. The large glass leaves in this Kramer set are in distinctive settings signed Kramer.

The ruby rhinestone Kramer floral brooch features wire-over leaves. The stones are set in open-backed settings.

This delicate floral pin is an especially lovely Kramer design featuring tear-drop shaped flawed emerald stones.

Bracelets:

In the style of 1930s line bracelets, this Kramer example features geometric rows of crystal and light sapphire stones.

Brand Trait: Kramer bracelets were made in several sizes.

The bracelet shown below was advertised in 1959 as “Versailles…blue enamel with rhinestones on gold finish..”.

Another well-made Kramer bracelet is this large, hinged clamper bracelet with a large topaz rhinestone center. The large stone is held in place with decorative prongs and an elaborate frame.

Necklace:

Purple, red, and green plastic nuggets decorate this interesting Kramer necklace.

Conclusion:

When I wrote Collecting Costume Jewelry 101 in 2004, I recommended Kramer as a great brand for beginning collectors. I stand by that recommendation today. The jewelry is beautifully designed with rare, interesting stones. The good quality plating has lasted through the years. Kramer made sets with multiple pieces, so it is fun to find a beautiful, signed Kramer design and then look for matching pieces. Kramer sets continue to do well in the collectible market.