Hi Gems,
March is Women's History Month, and I want to talk about something that's deeply personal to me: the history of women jewelers and metalsmiths in America.
As a woman in this field, I stand on the shoulders of incredible artists who came before me—women who picked up torches, hammers, and files at a time when metalworking was considered "men's work." Women who were told they didn't belong in the forge, yet created some of the most innovative, beautiful, and technically masterful jewelry this country has ever seen.
Their stories have been overlooked, undervalued, and sometimes completely erased from jewelry history books. But not anymore.
Today, I want to introduce you to some of the pioneering women jewelers who shaped American craft—from the Arts and Crafts movement of the early 1900s to the studio jewelry movement of the mid-20th century to the contemporary designers working today.
These women didn't just make jewelry. They forged their own paths. They challenged conventions. They proved that women could be master craftspeople, innovators, and business owners.
And they paved the way for jewelers like me.
A note before we begin: This is not an exhaustive list. There are so many more women whose stories deserve to be told—women of color, Indigenous women, immigrant women, queer women—whose contributions have been even more systematically excluded from the historical record. My hope is that this post sparks more research, more scholarship, and more celebration of all the women who have shaped this craft.
Let's dive in.
THE EARLY PIONEERS: ARTS AND CRAFTS MOVEMENT (1890s-1920s)
The late 19th and early 20th centuries saw the rise of the Arts and Crafts movement in America—a reaction against mass production and a return to handcrafted, artisan-made goods. This movement created space for women to enter the metalworking field, often through art schools and craft guilds.
MARIE ZIMMERMANN (1879-1972)
Marie Zimmermann was a sculptor, metalsmith, and jewelry designer based in New York City. She's best known for her hand-hammered metalwork—bowls, vases, and jewelry—that blended Arts and Crafts aesthetics with Asian and ancient influences.
Zimmermann studied at the Art Students League in New York and opened her own studio in Greenwich Village in 1903. Her work was exhibited at major museums and galleries, and she was one of the few women metalsmiths of her era to achieve commercial success.
What I love about Marie Zimmermann: She didn't just make jewelry—she was a sculptor who worked in metal. Her pieces have a sculptural, architectural quality that feels both ancient and modern.
Her legacy: Zimmermann's work is now in the collections of the Metropolitan Museum of Art and the Smithsonian American Art Museum.
MADELINE YALE WYNNE (1847-1918)
Madeline Yale Wynne was a true Renaissance woman—painter, metalsmith, jewelry designer, and founding member of the Chicago Arts and Crafts Society.
Wynne began making jewelry in the 1890s, working primarily in silver with semi-precious stones. Her designs were inspired by nature—leaves, flowers, vines—and she often incorporated enamelwork into her pieces.
What sets her apart: Wynne was not only a maker but also an advocate for the Arts and Crafts movement. She helped establish craft guilds and exhibition spaces that gave women artists a platform.
Her legacy: Wynne's jewelry is highly collectible today and is featured in museum collections across the country.
FLORENCE KOEHLER (1861-1944)
Florence Koehler was a Chicago-based jeweler and metalsmith who worked during the height of the Arts and Crafts movement. She studied at the Art Institute of Chicago and went on to create jewelry that was both technically sophisticated and artistically bold.
Koehler's work often featured hand-hammered surfaces, bezel-set stones, and intricate wirework. She was known for her use of color—incorporating opals, moonstones, and enamel into her designs.
What I love about Florence Koehler: She was a master craftswoman who didn't compromise on technique or artistry. Her pieces are meticulously made and visually stunning.
Her legacy: Koehler's work is in the collections of the Art Institute of Chicago and the Metropolitan Museum of Art.
JOSEPHINE HARTWELL SHAW (1865-1941)
Josephine Hartwell Shaw was a Boston-based jeweler and metalsmith who studied at the School of the Museum of Fine Arts, Boston. She was one of the first women to establish herself as a professional jeweler in New England.
Shaw's work was heavily influenced by the Arts and Crafts movement, with an emphasis on handcrafted, one-of-a-kind pieces. She worked primarily in silver and gold, often incorporating cabochon-cut gemstones.
What sets her apart: Shaw was not only a maker but also a teacher. She mentored younger women jewelers and helped establish metalworking programs at art schools.
Her legacy: Shaw's jewelry is featured in museum collections and is highly sought after by collectors.
ELIZABETH COPELAND (1866-1957)
Elizabeth Copeland was a Boston-based jeweler and enamelist who worked during the Arts and Crafts era. She studied at the School of the Museum of Fine Arts, Boston, and became known for her exquisite enamelwork.
Copeland's jewelry often featured plique-à-jour enamel—a technique where enamel is suspended between metal wires without a backing, creating a stained-glass effect. This technique is incredibly difficult and time-consuming, and Copeland was a master of it.
What I love about Elizabeth Copeland: She pushed the technical boundaries of what was possible in jewelry. Her enamel work is breathtaking.
Her legacy: Copeland's pieces are in the collections of the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art.
MILDRED WATKINS (1883-1968)
Mildred Watkins was a Cleveland-based jeweler and metalsmith who worked during the Arts and Crafts movement. She studied at the Cleveland School of Art (now the Cleveland Institute of Art) and went on to teach metalworking there for over 30 years.
Watkins' jewelry was known for its bold, sculptural forms and use of semi-precious stones. She often incorporated hammered textures and organic shapes into her work.
What sets her apart: Watkins was not only a maker but also an educator. She trained generations of metalsmiths and helped establish metalworking as a legitimate field of study in art schools.
Her legacy: Watkins' work is in the collection of the Cleveland Museum of Art.
THE MODERNISTS: MID-20TH CENTURY (1930s-1970s)
The mid-20th century saw the rise of the studio jewelry movement—a shift away from traditional, ornamental jewelry toward more sculptural, conceptual, and experimental work. Women jewelers were at the forefront of this movement.
MARGARET DE PATTA (1903-1964)
Margaret De Patta was a San Francisco-based jeweler who is considered one of the pioneers of American modernist jewelry. She studied at the California School of Fine Arts and later with the legendary Hungarian designer László Moholy-Nagy at the New Bauhaus in Chicago.
De Patta's work was heavily influenced by Bauhaus principles—clean lines, geometric forms, and an emphasis on materials and construction. She was particularly known for her innovative use of optical gemstone cuts, which created dynamic light play within her pieces.
What I love about Margaret De Patta: She approached jewelry as sculpture. Her pieces are architectural, intellectual, and visually stunning.
Her legacy: De Patta's work is in the collections of the Museum of Modern Art, the Smithsonian American Art Museum, and the Oakland Museum of California.
MARGARET CRAVER (1907-2010)
Margaret Craver was a pioneering American jeweler and metalsmith who helped establish studio jewelry as a fine art form in the United States.
Craver studied metalworking in the 1920s and 1930s—a time when very few women had access to this training. She went on to study in Europe with master goldsmiths and brought those techniques back to the U.S.
She was a founding member of the Society of North American Goldsmiths (SNAG), one of the most important organizations for contemporary metalsmiths.
What sets her apart: Craver was not only a maker but also a historian and educator. She documented traditional metalworking techniques and advocated for the preservation of craft knowledge.
Her legacy: Craver received numerous awards, including a National Endowment for the Arts fellowship. Her work is in museum collections across the country.
MARY LEE HU (b. 1943)
Mary Lee Hu is a contemporary jeweler and metalsmith known for her intricate woven wire jewelry. She's been working since the 1960s and is considered one of the most technically accomplished jewelers in America.
Hu's work involves weaving fine metal wires—gold, silver, copper—into complex, textile-like structures. Her pieces are labor-intensive, taking hundreds of hours to complete, and they blur the line between jewelry and sculpture.
What I love about Mary Lee Hu: Her work is a meditation on patience, precision, and craft. Every piece is a technical marvel.
Her legacy: Hu is a professor emerita at the University of Washington and has received numerous awards, including fellowships from the National Endowment for the Arts. Her work is in major museum collections worldwide.
BETTY COOKE (1924-2024)
Betty Cooke was a Baltimore-based jeweler known for her bold, modernist designs. She worked primarily in silver and gold, creating pieces that were sculptural, geometric, and unapologetically modern.
Cooke opened her own studio in the 1940s and went on to have a six-decade career. Her work was sold in high-end galleries and boutiques, and she became known for her signature style—clean lines, negative space, and kinetic elements.
What sets her apart: Cooke was a successful independent jewelry designer at a time when very few women owned their own businesses. She proved that women could be both artists and entrepreneurs.
Her legacy: Cooke's work is in the collections of the Baltimore Museum of Art and the Smithsonian American Art Museum.
JULIA MUNSON (1899-1987) AND META OVERBECK (1881-1978)
Julia Munson and Meta Overbeck were sisters who worked together as jewelers and metalsmiths in Indiana. They're best known for their Arts and Crafts-inspired jewelry featuring hand-hammered surfaces and semi-precious stones.
The Overbeck sisters (there were four in total) ran a pottery studio, and Julia and Meta also created jewelry that complemented their ceramic work.
What I love about the Overbeck sisters: They built a creative business together as women in rural Indiana—proving that you didn't have to be in a major city to be a successful artist.
Their legacy: The Overbeck Pottery and jewelry are highly collectible today.
WINIFRED MASON CHENET (1896-1981)
Winifred Mason Chenet was one of the first Black women to establish herself as a professional jewelry designer in America. She studied at the Rhode Island School of Design and went on to create stunning Art Deco-inspired pieces that were sold in high-end boutiques.
Her work featured bold geometric designs, vibrant enamels, and innovative use of materials. She wasn't just following trends—she was setting them.
What sets her apart: Chenet broke barriers as a Black woman in a field that was (and still is) overwhelmingly white. Her story deserves far more attention than it has received.
Her legacy: Chenet's work is being rediscovered by jewelry historians, and her pieces are now highly sought after by collectors.
MIRIAM HASKELL (1899-1981)
Miriam Haskell was a costume jewelry designer who built a hugely successful brand in the mid-20th century. While she didn't work in precious metals, her influence on American jewelry design is undeniable.
Haskell's pieces were known for their intricate beadwork, faux pearls, and vintage-inspired designs. She created jewelry that was accessible, beautiful, and well-made—proving that "costume" jewelry could be just as artful as fine jewelry.
What I love about Miriam Haskell: She built a business empire at a time when very few women were entrepreneurs. Her brand is still going strong today.
Her legacy: Vintage Miriam Haskell jewelry is highly collectible and is worn by celebrities and fashion icons.
FRANCES HIGGINS (1912-2004)
Frances Higgins (along with her husband Michael) was a pioneering glass artist who also created fused glass jewelry. She studied at the School of the Art Institute of Chicago and went on to develop innovative techniques for working with glass.
Higgins' jewelry featured vibrant colors, geometric patterns, and a mid-century modern aesthetic. Her work was sold in museums and galleries across the country.
What sets her apart: Higgins helped establish glass as a legitimate medium for jewelry and fine art.
Her legacy: Higgins' work is in the collections of the Smithsonian American Art Museum and the Corning Museum of Glass.
CONTEMPORARY TRAILBLAZERS (1980s-Present)
The story doesn't end with the pioneers of the past. Today, there are incredible women jewelers continuing to push boundaries, challenge conventions, and create their own legacies.
COREEN SIMPSON (b. 1942)
Coreen Simpson is a photographer and jewelry designer based in New York City. She's known for her bold, Afrocentric jewelry that celebrates Black culture and identity.
Simpson's work has been featured in major museums and galleries, and she's been a vocal advocate for diversity and representation in the jewelry industry.
What I love about Coreen Simpson: She uses jewelry as a form of cultural expression and activism.
Her legacy: Simpson's work is in the collection of the Smithsonian and has been exhibited internationally.
MELISSA JOY MANNING (b. 1960s)
Melissa Joy Manning is a contemporary jewelry designer based in California. She's known for her sustainable, ethically sourced jewelry that blends modern design with traditional metalsmithing techniques.
Manning uses recycled metals, conflict-free gemstones, and eco-friendly practices in her studio. She's been a leader in the movement toward more sustainable jewelry production.
What sets her apart: Manning proves that you can create beautiful, high-quality jewelry while also prioritizing ethics and sustainability.
Her legacy: Manning's brand is sold in high-end boutiques and has a loyal following of customers who value both design and values.
WHY THIS HISTORY MATTERS
You might be wondering: "Josie, why are you writing about this?"
Here's why it matters to me:
1. I was lucky—and I know it. When I was in metalsmithing school at Edinboro University, my professors were all women. Sue Amendolara, Cappy Counard, and Adrienne M. Grafton didn't just teach us technique—they taught us that women belong in the forge, at the jeweler's bench, running our own studios. I never had to question whether I could do this work because I was surrounded by women who were already doing it at the highest level. About JGJD
They didn't just teach me how to solder and set stones. They taught me that I belonged in this field.
But I know my experience isn't universal. Many jewelry programs are still male-dominated, and the "master jewelers" featured in textbooks and exhibitions are overwhelmingly men.
2. Representation matters. I want every aspiring jeweler—especially young women—to see themselves reflected in the history of this craft. These pioneering women proved that metalsmithing isn't "men's work." It's our work too.
3. These women were innovators. They didn't just follow trends—they set them. They pushed technical boundaries. They built businesses. They mentored the next generation (like my professors did for me).
4. Their stories have been erased. Many of these women were celebrated during their lifetimes, but their names have been forgotten outside of academic circles. That needs to change.
5. I stand on their shoulders. Every time I pick up a torch or hammer, I'm continuing a legacy that these women fought to establish. And I'm grateful to Sue, Cappy, and Adrienne for making sure I knew that legacy—and for showing me what it looks like to be a woman metalsmith, educator, and business owner.
6. The work isn't done. Even though I had women mentors, the jewelry industry as a whole still has a long way to go in terms of gender equity, pay equity, and representation—especially for women of color, queer women, and women from marginalized communities. We need to honor the past while also pushing for a more inclusive future.
HOW YOU CAN SUPPORT WOMEN JEWELERS TODAY
Here are some tangible ways to support women in the jewelry industry:
✨ Buy from women-owned jewelry brands. Seek them out on Instagram, Etsy, and at craft shows. Shop JosieGraff.com
✨ Share their work. Amplify women jewelers on social media.
✨ Learn the history. Read books, watch documentaries, visit museums that feature women metalsmiths.
✨ Advocate for equity. If you're in the industry, ask: Are women being paid fairly? Are they getting leadership opportunities? Are they being featured in publications and exhibitions?
✨ Mentor the next generation. If you're a woman jeweler, consider mentoring younger makers—just like Sue, Cappy, and Adrienne did for me.
CLOSING THOUGHTS
The history of women jewelers in America is a story of resilience, innovation, and artistry in the face of exclusion and erasure.
From the Arts and Crafts pioneers like Marie Zimmermann and Madeline Yale Wynne, to the modernists like Margaret De Patta and Mary Lee Hu, to contemporary trailblazers like Coreen Simpson and Melissa Joy Manning—these women didn't just make jewelry. They forged their own paths. They challenged conventions. They proved that women could be master craftspeople, innovators, educators, and business owners.
And they paved the way for jewelers like me.
I'm grateful to stand on their shoulders. I'm grateful to my professors—Sue Amendolara, Cappy Counard, and Adrienne M. Grafton—who carried this legacy forward and passed it on to me. And I'm committed to honoring these women by continuing to create, teach, and advocate for a more inclusive jewelry industry.
To all the women jewelers who came before me: thank you.
To all the women jewelers working today: I see you, I celebrate you, and I'm honored to be in this community with you.
And to the next generation of women metalsmiths: you belong here. Pick up that torch. The bench is yours.
Stay brilliant,
Josie
RESOURCES & FURTHER READING
Want to learn more about women jewelers in America? Here are some resources:
📚 Books:
- Women Jewelers of the British Arts and Crafts Movement by Anthea Callen
- Jewelry by Artists: In the Studio 1940-2000 by Toni Greenbaum
- The Jewelry of Margaret De Patta: A Retrospective Exhibition by the Oakland Museum
- Maker & Muse Exhibition Catalogue by Elyse Zorn Karlin, Emily Banis Stoehrer
🏛️ Museums & Collections:
- Smithsonian American Art Museum - Renwick Gallery
- Museum of Arts and Design (MAD), New York
- The Metropolitan Museum of Art - American Decorative Arts Collection
- Oakland Museum of California
- The Richard H. Driehaus Museum
- 🌐 Organizations:
- Society of North American Goldsmiths (SNAG)
- American Craft Council
- Art Jewelry Forum
💎 Download my Free Jewelry Care Guide to learn how to keep your precious pieces looking beautiful for years to come. Get it here →
💬 Who's your favorite woman jeweler? Drop a comment and let me know! I'd love to hear who inspires you.
📲 Share this post with someone who needs to hear these stories.
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