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Throughout history, jewelry boxes were constructed and designed by craftsmen, one box at a time. With the Industrial Revolution came the conception of mass production, avidly adopted in the United States for the duration of the late 19th century. For the original time, objects like jewelry boxes, could be cast in quantity, less costly to produce. And, there was now a Middle Class in america, competent to buy ornamental items, not just the essentials. American ladies of the early 1900s aspired to the high style of great cities like London and Paris. Mail order catalogs, Sears, Wards, and Marshall Field, enabled the intermediate family to make purchases from their homes, including jewelry boxes. Jewelry stores likewise displayed in their windows the latest designs purchased from wholesalers. Jewel boxes were available in all sizes, from the smallest ring box to handkerchief and even glove sized boxes. Their bottoms could be a beauteous as the tops. Jewel Cases, caskets, and trinket boxes were classified as Art Metal Wares, and were plated in gold, silver, copper or ivory. A ordinary misconception is that there was iron in the metal. The most mutual base metals for jewel boxes were in truth spelter or antimonial lead. Almost all alloys employed were of metals with low melting points, explaining the broken hinges ofttimes seen today. Manufacturers experimented with a heap of finishes. Most jewel boxes were basi electroplated with copper, then finished with gold or silver. Other refinements were French Bronze, Roman Gold, Pompeian Gold, French Gray, Parisian Silver. Around 1911, ivory finishes were introduced, achieved by painting with white enamel, then applying respective oxides, resulting in Old Ivory, Oriental Ivory, Old oldfashioned Ivory, and Tinted Ivory. Enamel finished boxes were more lasting than gold or silver boxes. Jewel boxes were lined with fine pale-colored silks from Japan and China, likewise with faille, satin or sateen, and were oftentimes trimmed with twisted satin cord. Some boxes were lined with velvet in more splendid colors. International trade and travel drew attention to ornamental styles all over the world. For example, the Classical styles, the Victorian Period, Art Nouveau from France, and world discoveries like the Egyptian tombs. And Americans started out to reflect on their own history, with a renewed interest in it is Colonial days. All was reflected in Jewel Boxes. The most prominent ornamental style of jewel box for the duration of the early 1900s was Art Nouveau, a romantic style noted for it is flowing, asymmetrical lines, with motifs relating to nature. Most today associate Art Nouveau with refined and tasteful nymph-like young women, but floral motifs held a major place in the American Nouveau jewelry box world. the Language of Flowers was a general conception for the duration of the Victorian Period. so, floral sentiments were reflected in the Nouveau style on jewelry boxes, the four-leaf-clover for good luck, daisies for innocence, roses for love and beauty, and so on. There were assorted American Art Metal manufacturers that designed and formulated jewel boxes. For example, Jennings Brothers, Kronheimer and Oldenbusch, Benedict, NB Rogers, The Art Metal Works, Brainard and Wilson which patented one of the initial Nouveau jewel box designs, and Weidlich Brothers which took assorted patents on their Colonial designs. Many of these manufacturers trademarked or signed their jewel boxes. However, Sears and Roebuck and Montgomery Ward implied in their early catalogs that they were the manufacturer supplying the merchandise. They did not was trademark on a lot of items they sold. So. one may find two identical jewel boxes, one with a signature, another without. Peak production lasted less than 15 years, 1904-1918, but the term Mass Production kept a altogether dissimilar meaning then than it does today. Gold and silver finished boxes were the most common. The silver boxes have not fared well, unless in truth silver-plated, a rare find. Also rare are souvenir jewel boxes with commemorative ceramic or photo discs. The ivory finished boxes, even though more or less later in development, stay elusive. Their finishes were more durable, so they may still be handed down within families. These wondrous antiquate jewel boxes were much valued, and they kept their popularity well until World War I, when the continuity of fashion was broken, re-directing interest from ornamental to the function and power of the machine. Fortunately, we may still discover examples of the almost-100-year old treasures. Further selective information with regards to ageold American jewelry boxes may be found in THE JEWEL BOX BOOK.
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