When I started to write about jewelry, one period that I initially eluded was the 1960s and 1970s. Two decades whose jewels couldn’t be more different yet more alike: the 1960s aesthetic of asymmetrical geometricism followed by the 1970s mantra of ‘anything goes’ – jewelry marked by yellow gold, bold shapes, bright colors, non-precious materials, abstract forms, and ethnic-inspired motifs.
The ever elegant Robin Katz
The one person who coaxed me into giving this period a second, more mindful look is the lovely Robin Katz. Among the very few female vintage jewelry dealers, Robin stands out among her peers with her personal sense of style that effuses the ’60s and ’70s vibe. Where some may find it difficult to wear the big, bold jewels of those two decades, Robin pulls it off effortlessly, donning a pair of carved jade and onyx David Webb pendant earrings with a black mod shift dress or a Jean Mahie 22k gold wide collar necklace with a crisp white button down. The trick, of course, is to not overdo it, and Robin has mastered this quandary to perfection.
Robin Katz mixes a bold Jean Mahie 22k yellow gold necklace with a crisp white button-down and black leather jacket.
With her own unique sense of style, at once both bold and elegant, eye-catching yet understated, Robin breaks down the barrier of such formidable jewels by showing us how they can be worn with today’s fashions. This same philosophy carries through to the vintage jewelry she sells; each piece is just as wearable and stylish today as it was five decades ago.
A Rare Bulgari Enamel Serpenti Wristwatch, formerly part of Robin Katz’s jewelry collection
Wanting to share my newfound appreciation for jewelry from the Swinging Sixties and Super Seventies, I recently met with Robin and asked her a few questions about herself as a jewelry lover, collector and dealer…
When did you first realize you had an innate passion for jewelry?
My passion for jewelry and fashion began at a very young age. In one of my favorite childhood photos I was dressed in a royal blue and red Danskin miniskirt, matching top, knee socks stretched to my thighs and my ever-present black patent leather boots. A ring adorned each finger and a strand of pearls draped from my neck.
Bulgari Lapis and Diamond 1970s Ring
Bulgari 18k gold ring set with lapis and diamonds circa 1970s. This ring relates to the stylish pieces Bulgari produced in this era from the wonderful colored hard stone sautoirs to the cleverly designed tubogas bracelets set with hard stone stars and stripes. 40 diamonds totaling approximately 2.5 cts. Size 5.5.Signed BULGARI 750 18kt.
Available at Robin Katz
When did you first feel inspired to collect jewelry? What made you jump from the buy-side to the sell-side?
I began collecting fine jewelry in my 30s while living in NYC. I became very friendly with an out of town dealer who introduced me to high style vintage pieces from the 1960s and 70s. My inaugural purchase was a bold David Webb dragon cuff the likes of which I had never seen before. That piece hooked me and I have been hooked ever since.
Pol Bury Spectacular 1970s Kinetic Ball Cuff
A stylish example of spectacular modern jewelry. Openwork 18k gold penanular cuff decorated with a curved rectangular plaque of polished gold studded with flexibly attached gold balls in various sizes. Signed Pol Bury with French assay marks present. This cuff simply slips on and measures 1″ wide with an internal circumference of 6.25″.
Available at Robin Katz
I must admit that I never completely jumped from the buy to the sell side. I manage to straddle the two as both a collector and a dealer. Some of the best dealers are also collectors. Their decisions to purchase are driven by their innate love of the jewelry and appreciation for its craftsmanship and design.
An assortment of blue jewels from Robin Katz, including a Pomellato 1960s Gold and Lapis Bracelet, a Van Cleef & Arpels Gold Link Bracelet and Charm, and a Boucheron Paris Lapis and Diamond Gold Ring
All available at Robin Katz
You are relatively new to the estate jewelry market, having started your business only 5 years ago, yet you’ve already carved a niche for yourself by collecting superbly chic 1960s and 70s era pieces – a truly remarkable feat for anyone, especially a woman, entering into this industry dominated by male dealers and ruled by generations of family-owned companies. What is it about those decades in jewelry that compelled you to focus the overall aesthetic of your collection on them?
I grew up in the 60s and 70s in a town that, while only 90 miles from NYC, had few opportunities for expressive style or creativity. The jewelry from this period moves me because it makes a statement, it takes a stand, it has a point of view and it is unafraid. Colorful stones such as turquoise, lapis, coral and malachite were often used. Designs had movement and flow. The yellow gold in which most pieces of this period were created was soft and warm while also being strong and decisive. These styles complimented the glamorous and colorful fashions of the times, each further enhancing the other. This synergy between jewelry and fashion made an unmistakable mark on the decorative arts. It also had a significant influence on my life and the way I chose to visually express myself.
David Webb Hammered Gold Coiled Nail Ear Clips
David Webb 18k hammered gold coiled nail ear clips. A whimsical motif fom the David Webb archives of the 1970s. Measures 2.5″ long. Signed DAVID WEBB.
Available at Robin Katz
What are the most memorable/important pieces that you bought for your collection and how did they help to define your collection’s point-of-view as well as your collecting philosophy?
Not surprisingly as both a collector and a dealer I have moved in and out of quite a few pieces over the years. More important than the pieces themselves are the creators I have cherished and sought to retain a representation of in my collection. While many jewelers in the period produced magnificent designs, Van Cleef & Arpels, David Webb and Bulgari above all created evocative and irresistible jewelry that strongly resonates with me. Since I only purchase pieces for my business that I would purchase for myself there is a consistent aesthetic thread throughout these collections.
1970s Stone and Enamel Gold Parrot Bracelet
A spectacular 18k gold bracelet designed as a succession of 10 parrot motif links with lapis feet and eyes, rhodochrosite beaks and ombre enamel bodies. The workmanship and detail of execution is precise as each piece of lapis and rhosochrosite are hand cut and enamel work is hand-applied. The gold work as well is in relief and mimics the feathers of a parrot. This bracelet is both charming and sophisticated with a twist of whimsy thrown in. The stone color combination of blue lapis and pink rhodochrosite was a palette used in the 1970s when these hard stones were frequently used in jewelry by Van Cleef, Bulgari, Tiffany and others. Length is 7″, width is 1 5/8″ marked 18k gold. One additional link is included and measures .75″.
Marked “3910″ on one clasp and “3485 18k” on the other.
Available at Robin Katz
You grew up in Poughkeepsie and moved to New York in 1987, where you still reside today, how does the city continue to inspire you and your collecting focus?
I found in NYC what did not exist in my experience of Poughkeepsie–a community of like minded people inspired by individuality where one’s personal sense of style is both celebrated and encouraged.
Robin Katz pairs the 1970s Parrot Bracelet and a Verdura Pineapple bracelet watch with a vintage pink crocodile skin Hermes bag, Rag & Bone jeans and Dries Van Noten pony fur shoes for a super chic casual look.
How has the industry changed since you started?
The market value for iconic pieces of jewelry across every period has skyrocketed. Websites such as 1stdibs as well as the auction houses have empowered consumers with knowledge and education and they are willing to pay for the best in design, style and execution. The allure of storied heritage brands like Van Cleef & Arpels, Cartier and David Webb have been burnished by these market conditions. Jewelry is a very crowded space overall right now but certain brands do stand out. As an estate dealer I have seen intergenerational interest in vintage jewelry pique as heirlooms and special pieces are handed down within a family and a new collector is born. Similarly, I have witnessed the resurrection of clothing and jewelry designs from the 1960s and 70s and just as fashion and jewelry are contiguous and inextricable so too are their ebbs and flows.
Fred of Paris Gold, Ivory, Wood and Horn Pendant
A very interesting and stylish pendant by Fred of Paris designed as a fluted ivory ball, a tubular-shaped ebony wood center element and a circular horn drop banded in 18k gold. The form of this pendant is distinct and unusual and artistically combines three organic materials of various shapes and textures. The length measures is 3.5″. It is shown suspended from a leather cord with 18k gold clasp (included). Signed FRED with french hallmarks present.
Available at Robin Katz
Ok, last question: Which piece of jewelry, if you could choose any jewel in the world, would be your ultimate dream to own?
A pair of Indian inspired emerald bead and diamond fringed Manchette bracelets made for Daisy Fellowes in the 1920s by Van Cleef & Arpels. Their elegance and presence are unparalleled in jewelry history. They spectacularly complement the finest fashions of every decade. Forever stylish!
Robin’s dream jewel? The Van Cleef & Arpels Manchette bracelets, 1926 & 1928, made for Daisy Fellowes
A few more favorites from Robin Katz’s collection:
Georges Lenfant Swirl Bracelet
Georges Lenfant produced jewelry for several of the 20th century’s major houses: Van Cleef & Arpels, Bulgari and Hermes.
This style is one of his masterpieces: the front features a swirled pattern of shiny, snakeskin-like mesh and rough, frosted gold, while the back is of a woven nature. Each link is pliant and attached to the others by a swivel. Usually bracelets in this style have links of the same size; it is the alternating oval and circular links that make this bracelet rare.Signed with maker’s mark for Georges Lenfant and French assay marks for 18k gold.
Available at Robin Katz
Chaumet Paris Gold and Horn Tree Of Life Pendnt
Chaumet Paris 18k gold “Tree Of Life” mounted on circular disc of horn with textured gold border and bale. 2.25″ in diameter. Signed Chaumet. Circa 1970s
Available at Robin Katz
Miguel Ortiz Berrocal Yellow Gold and Diamond Puzzle Ring
Miguel Ortiz Berrocal (1933-2006) was a Spanish sculptor best known for the figural brass puzzles that can be disassembled into smaller, abstract parts. Because his work can be taken apart, transformed and combined, Berrocal asserted that his work’s power emerged from the aesthetic quality of possibility.
His sculptures range from large-scale public works to pieces small enough to adorn the body. This ring was made sometime in the 1990′s, and divides into eight components: the five puzzle pieces that form the on the rings flat top, two that form the base of the ring and a single pole which extends through the center, locking the ring into place. A small grid of diamonds studs two of the top puzzle pieces. There are no hinges on this ring, no clasps. Everything slides into place and, once totally assembled, holds as a secure, solid whole.
Size 8. Signed, highly collectible limited edition.
Available at Robin Katz
Alan M Gard Gold and Diamond Earrings
Alan M Gard 18k gold and diamond ear clips designed as articulated drops of four circular links reminiscent of billowy clouds of swirling gold and diamonds. Eight diamonds total an approximate weight of one carat. 3” long signed AMG with English hallmarks circa 1970.
Available at Robin Katz
Aldo Cipullo Tree Trunk Brooch
This 18k gold and diamond brooch is both sweet and whimsical. Two hearts meet in the middle of a tree stump; think The Giving Tree and it’s patent message of anything for love.
The Italian designer Aldo Cipullo was Cartier’s renowned architect of their iconic Love bracelet. This pin representing a tree made from a durable material, hovers somewhere between semi-permanent and permanent love. Cipullo aptly states: “Love has become too commercial, yet life without love is nothing – a fat zero. What modern people want are love symbols that look semi-permanent – or, at least, require a trick to remove. After all, love symbols should suggest an everlasting quality.” Signed Aldo Cipullo 1971.
Available at Robin Katz