Dating boucher jewelry

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  4. The costume jewelry of Marcel and Sandra Boucher
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She eventually sold the business to Davorn Industries in Jewelry by Boucher is almost always signed meaning a marking signifying authenticity was put on the piece and has an inventory number on it somewhere. If a hundred pieces were created in they would have any series of the following numbers imprinted on the back of the piece of jewelry, as well as the name.

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Boucher used to visit his mother in Canada because she emigrated to Montreal, Quebec. I have seen a good selection of Marcel Boucher Signed Jewelry on the Internet, at many different auction sites. Here are some examples of his work: Gold plating enamel was used with 3-dimensional designs using the 4 precious stone colors on jewelry of exotic birds, insects, and flowers. Imitation diamond beautiful rhinestones , ruby, sapphire and emerald stones, and simulated pearls.

One solution he found was to have the cabochon stones made exclusively for Boucher in non-standard sizes.

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Ostrich and mother-of-pearl jewelry. Boucher also designed a series of dogs with his habitual attention to detail. The only freelance design produced during this time was the skunk, which Marcel and the Neiman Marcus buyer both favoured. You are commenting using your WordPress. You are commenting using your Twitter account. The beauty of this set is that the pin's "wings" move and can be placed in different positions.

To view, click on thumbnail. The "4" is worn and there may be a number that precedes it but there is no indication. These beauties are gold-wash over white metal? I would say early 's. This beautiful rhodium-plated pin is set with round and baguette clears and has a faux opal center stone. Again I would say early 's. This is my favorite bracelet. The rhinestones are not yellowed, it's a reflection from the scanner. In the larger view I have tried to show how it fits on the wrist.

Marcel Boucher

It is far more beautiful than my scan makes it look. This gorgeous gold-tone bracelet is made up of two different types of segments; one has 13 open-worked twisted ropes studded with gold-tone disks running horizontally, the other has 8 twisted ropes running vertically and emphasized by bands of solid gold-tone. It looks incredibly like real gold and is a stunner.

I would say mid 's. This silly little guy is just adorable. Great workmanship in the heavy granulation of the crab's body. Initially, Marcel would create the themes and design concepts and then pass them on to Sandra to develop or to complete a specific task. Increasingly Sandra would develop her own designs and take them to Marcel for comment. He was a pain in the neck! A nice pain, but very demanding of himself and others, very difficult, and he always wanted nothing less than perfection," says Sandra.

Just before Sandra joined the firm, Marcel moved to a new showroom on an upstairs floor of the Accessory Building" at Fifth Avenue, where the buyers could see jewelry, accessories and watches all under one roof. He decorated the new showroom very elegantly in beige with black accents.

It was very modern for its time with jewelry displayed everywhere and oriental design curtains and plenty of flowers. The showroom was staffed with two saleswomen, and he would be there during "market season," a week every two months or so when the store buyers made appointments to see the new lines.

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The costume jewelry of Marcel and Sandra Boucher

The general public was never allowed in the showroom. Costume jewelers worked in a small world, and every firm immediately followed the others. Marcel was plagued by people who pirated his designs and he hated it. In the early days it could be stopped by having a lawyer write a letter to a store pointing out it was selling copies. One solution he found was to have the cabochon stones made exclusively for Boucher in non-standard sizes.

Although the pirates could buy a casting and copy it, they could not get stones to fit: When he decided to produce a Boucher line of precious jewelry in the s, the new designs were copied and in the stores on 47th Street before he could even start production. He found the culprit but abandoned the idea of fine jewelry in disgust. Marboux, Ciro and Canada. Marcel started his Marboux line to provide lower cost jewelry and fill the gap left by his premium line, but it no longer was produced when Sandra joined 9.

He sold jewelry to Ciro, which had stores in New York, London and Germany, and they bought in such quantity that he agreed to add their name on the back of the designs produced for them. He expanded abroad and was paid a royalty from his sales arrangement in Belleville, Canada, and started a similar arrangement in in Paris. France was a difficult market and the effort petered out, but Sandra remembers the stylish presentation at the sumptuous Hotel Le Crillion with models wearing the Boucher jewelry.

The Canadian market was more receptive, although it was more conservative than America. The Canadians would come to New York to choose the designs they wanted for their market, and the molds were made in New York and then sent to Canada for production. Marcel would go to Canada and take the opportunity to visit his mother who had emigrated to Montreal. Marcel wanted to keep his business small, and it reached a peak of employees in the s.

They only made to order after producing the first models, and as few as 50 pieces might be manufactured if a design proved unpopular. He never had ambitions to be big, like Trifari: He knew Alfred Philippe of Trifari personally and admired him as a fine designer-a real artist. By the mids, Marcel was becoming increasingly dissatisfied with the lowering of standards in the costume jewelry industry.

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In they had to send some Boucher designs to Providence to have them made cheaply enough to fill the low end of the line. To save costs they stopped polishing the back of the jewelry around the catalog number, and Sandra points out that this is one way to date the later pieces. Price competition forced a reduction in quality to whatever the market would bear. The buyers were a large part of the problem-previously the better stores employed their own buyers who had been with them for many years and knew the "look" each store wanted to project.

Later, younger buyers simply ordered what the figures said they sold most of, which may have been good for their short term profit, but did not encourage innovation and quality. To Tiffany and back. She headed a department of three to four designers and reported directly to Mr. She only met him once since he was involved with his own designs in a unique style which she greatly admires.

By , Sandra again found fine jewelry too conservative-more a manipulation of gemstones than the kind of design she enjoyed, and she returned to Boucher. It was in this period that she designed the enameled Boucher peacock with Marcel.

The model makers did a fine job with the modulation and it was one of his favorite pieces, because it was such a good seller. They experimented with leather and ostrich and mother-of-pearl jewelry. Marcel also designed a series of dogs with his habitual attention to detail.

Vintage Boucher Jewelry

The only freelance design Sandra remembers them producing was the skunk, which Marcel and the Nieman Marcus buyer both loved. In October , Sandra and Marcel were married. But on returning from their honeymoon, he was told during a routine medical checkup just before Christmas that he had 6 months to live.

He died only six weeks later. It was a very difficult time, with Sandra taking care of work by day and designing by night.

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  • She is an accomplished designer and not a business woman and she had no experience of things like negotiating loans with bankers. Some in the industry said she would not last six months in this competitive business, but she kept it going until She found her peace in these difficult times by taking vacations in faraway places without telephones like Nepal, the Amazon and Antarctica.

    One of her many designs was her "Bees on Honeycomb" which was a great success although Marcel had rejected it when he was alive. Finally, it was enough. Meeting payroll each week was a strain and she could make more money as a freelance designer, so she sold the business to Irving Ornstein, the co-owner of Davorn Industries Part of the agreement was that Sandra would design watches and some costume jewelry for Davorn for five years, and it is during this time that watches marked "Marcel Boucher" were made to her designs.

    Sandra had many opportunities when she left Davorn.