German and European Art Deco and Modernist Designs Between 1920s to 1970s
There is no denying the timeless beauty and collectibility of Art Deco and Modernist jewelry.
The cities of Idar-Oberstein and Pforzheim are historically and commercially linked as two powerhouses that made Germany a world leader in the jewelry and gemstone industry. Separated by just 120 miles, the two centers relied heavily on each other for a complete production chain, from rough stone to finished luxury item.
Idar-Oberstein is historically known as the German Gemstone Capital. Its artisans specialized in lapidary (gem cutting and polishing) and carving. After local agate mines were depleted, the town became a global hub, importing rough gems from places like Brazil, often brought back by German emigrants, to be processed by highly skilled cutters.
Pforzheim is often called the Goldstadt (Gold City). Manufacturers in Pforzheim took the cut and finished gemstones from Idar-Oberstein and set them into high-quality jewelry pieces. They focused on producing finished goods for premium segments, typically using precious metals like gold and silver.
Among the jewelry makers from this region, Jakob Bengel is the most significant figure in jewelry design. His company was founded in 1873 in Idar-Oberstein, and started as a chain and metal wares factory, specializing in the production of watch chains. Best known today for his company’s later work in the Art Deco and Bauhaus-influenced styles produced between the 1920s and 1930s.
Bengel’s designs were strongly influenced by the Bauhaus movement (which emphasized a balance of aesthetics, technical merit, and utility) and the Art Deco aesthetic, reflecting the “Machine Age.” His style is characterized by Geometric Shapes (strong, clean lines and geometric designs; “Brickwork” Chains (Mauerwerk)- a complicated, constructed chain link that became a signature feature; and Abstract/Cubist Design- highly stylized, abstract compositions.
Bengel was known for rejecting material elitism, and using industrial materials in innovative ways for costume jewelry. For metals, chrome and brass were primarily used. Galalith (milk-based early plastic) and Bakelite (first synthetic plastic) were used to create striking geometric elements, often in contrasting colors like red, blue, green, and orange. Cold enamel paint was used (often in red, black, and blue) to embellish the brickwork chains.
The company was a leading manufacturer of fashion jewelry, exporting their distinctive pieces globally, particularly to France. The jewelry was often unsigned/unmarked. The factory’s signature jewelry production ran from 1924 to 1939, germanely halted by the start of World War 2.
Schreiber and Hiller, DRGM 1138525
Theodor Klotz: The trademark TEKA was founded by Theodor Klotz in 1939 in Pforzheim. Klotz and TEKA are well-known for producing excellent modernist jewelry, particularly during the 1950s to 1970s. Most of the jewelry produced by TEKA was made of silver (often marked as 835 or 925 for sterling), though they also produced items in 14k gold and gold-plated metal.
Nieger Brothers, Egyptian revival
Kordes and Lichterfels (K&L) 1950s-1970s Modernist, sold with chains by Fridrich Binder
Fridrich Binder (FBM 835) vintage chains Monsheim, silver Venetian box chain
Heinrich Karl stamp HK 925 Pforzheim (1930-1960) chains and pendents (835 pre 1970, 925 post 1970) darker patna
Andreas Daub (A*D) is a historically significant and enduring German jewelry company founded in Pforzheim in 1872. Unlike some smaller studio jewelers, Andreas Daub quickly became a major industrial producer, known for quality, variety, and successfully adapting to changing tastes over more than a century. The company’s hallmark is usually the initials A*D (sometimes in a square or circular reserve) and the metal purity mark. Daub was known for being one of the first in Germany to produce high-quality Doublé jewelry, which is a type of rolled or gold-plated metal (often marked as Amerikaner or Doublé).
During the post-war reconstruction and the “Economic Miracle” (Wirtschaftswunder), Andreas Daub fully embraced the modernist aesthetic, aligning with the movements seen in jewelers (like Theodor Klotz and Kordes & Lichtenfels). Pieces often feature heavy, textured metal surfaces (sometimes called a Brutalist texture), asymmetrical forms, abstract motifs, and a strong three-dimensional presence. Significant use of sterling silver (925) and German silver (835), as well as high-quality gold-plated (Doublé) metals. Modernist brooches, bold pendants, and cuff bracelets featuring geometric or swirling patterns are commonly found vintage pieces from this era.
Today, post-war German modernist jewelry, especially high-quality silver and gold pendants, is highly collectible, and the market for these pieces is strong. Post-war German Modernist jewelry is popular among collectors for several reasons. It perfectly captures the Modernist design movements of the 1950s and 1960s. The bold, sculptural, textured, and often abstract look stands out from earlier and later styles. Most of these pieces are made from solid Sterling Silver (925 mark), German Silver (835 mark), giving them inherent material value and durability. Many designs are viewed as miniature wearable sculptures rather than mere decorations. The focus on texture, form, and composition appeals to design aficionados. Unlike more delicate antique pieces, the bold, durable nature of modernist pendants makes them easy and stylish to wear today.
Silver Producers and stamps, Amerikaner
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