By the 1930''s the back was being covered by a flat metal plate, of which Gordon and Pamfiloff say ''This metal plate is a key identifier for pre-1943 Haskell jewelry" (page 44). This back was then left uncovered, giving the piece an ''unfinished'' look.
![miriam haskell pearl necklace miriam haskell pearl necklace](https://i.pinimg.com/originals/ca/fa/fb/cafafb5c94a1acc8ab14932d497c5592.jpg)
Beads and pearls were then wired by hand directly on to this base. Very early Haskell pieces had as backs metal plates that were pierced with small round holes at regular intervals (NOT mesh).
![miriam haskell pearl necklace miriam haskell pearl necklace](https://cdn0.rubylane.com/_pod/item/529490/9472/Huge-Miriam-Haskell-Baroque-Pearl-Necklace-full-2o-2048-99-l-59-ea.jpg)
This back plate is a very important element in identifying genuine Haskell pieces, and tracing its development is, fortunately, relatively easy. Nearly all Haskell pieces have at their heart a metal plate onto which the decorative elements are attached.
![miriam haskell pearl necklace miriam haskell pearl necklace](https://a.1stdibscdn.com/archivesE/upload/1121189/v_39894131521435741748/3989413_master.jpg)
This tag was usually attached to the back of the piece but was also used as a hangtag. The stamping came through to the other side, but indented and, of course, reversed. Then in the early 1950''s the tag was changed to an flat oval shape with ''MIRIAM HASKELL'' stamped on to it. This probably began in 1947/48 but was not put on all pieces. The first signature was a semicircular plaque (horseshoe) that was attached to the back of the piece. It was only in the 1940''s that a permanent signature was attached to protect the Haskell name from cheaper competition that imitated her style. At this time the company did not sign any of its pieces with a permanent tag, but only a paper one (black and gold). Miriam Haskell set up her business in 1926 and soon afterwards took on Frank Hess as her chief designer.