Sam Patania 18k gold, Platinum-high grade Bisbee turquoise necklace/earrings set. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold and platinum. No apparent issues. 23" long necklace, other measurements in pictures. A set like this would retail for around 30k directly from Sam Patania or another high end gallery that represents him.Sam Patania - Third Generation Artisan in JewelrySam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

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Sam Patania modernist 18k gold, high grade Bisbee turquoise necklace. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold. No apparent issues. 18.5" long necklace, other measurements in pictures. A set like this would retail for around 15k directly from Sam Patania or another high end gallery that represents him. Sam Patania - Third Generation Artisan in Jewelry Sam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

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Arno Malinowski (1899-1976) Georg Jensen Sterling Necklace. 15" long 1 1/8" or<br>28mm wide 93.6 grams. No dents, bends, or other issues. Selling the exact<br>necklace shown designed by Arno Malinowski for Georg Jensen in the 1960's.<br>Handmade and designed in the mid 1960's, an authentic period Mid Century modern<br>piece of the highest quality in both design and .<br><br>Silversmith. Arno Malinowski trained at the Royal Danish Academy of Fine Arts in<br>Copenhagen from 1922 to 1935 and designed a series of statuettes depicting<br>figures from mythology from 1921 to 1935 for the Royal Danish Porcelain<br>Manufactory. He worked for Georg Jensen from 1936 to 1944 and again from 1949 to<br>1965 creating designs for jewelry and hollowware . His 1937 jewelry designs of a<br>kneeling deer, a dolphin in the rushes and butterflies on a flower continued in<br>production for many years. In 1940 he designed the ‘Kingmark’ to commemorate the<br>seventieth birthday of King Christian. It was produced in great numbers and worn<br>by Danes to show their loyalty to Denmark and their resistance to the German<br>occupation. Malinowski had also studied the Japanese technique of inlaying iron<br>with gold or silver in the style of tsuba sword guards. During the war years<br>when the supply of silver was limited This enabled him to design pieces of<br>jewelry in iron rather than in silver. Also worked as a sculptor, ceramist,<br>engraver and medalist.<br><br>Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

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14.25" Georg Jensen Art Deco Sterling and moonstone Choker necklace. 14.25" long<br>closed x 5/8" wide x 48.4 grams. No issues whatsoever, pictured on a 12" neck.<br><br>Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

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6.5" Frank Patania Sr Modernist sterling silver turquoise cuff bracelet. Solid sterling silver, mid 20th century made by Frank Patania Sr in his Thunderbird Studio, c1950‘s. Weight and measurements in pics, all solid sterling. NO issues. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

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16" Georg Jensen 1 Art Deco Sterling Choker necklace 5/8" wide x 56 grams. No issues whatsoever.Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

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Vintage Bisbee Turquoise sterling Modernist Choker and earrings set. Choker is approximately 15.5" inside circumference. Earrings 1 1/8" long. Extremely high quality work and natural Bisbee turquoise, I don't recognize the hallmark but put little time into it so far. 86 grams total weight. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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1950's William Spratling Necklace Modernistic Mexican Silver. 16", the chain by<br>itself is 12". Pendant part is 4" wide 1 3/16" wide at widest section. No<br>detectable issues, guaranteed authentic.<br><br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts.

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33" Vintage Navajo Modernist sterling silver turquoise cluster concho belt. Fits up to a 33" waist, but can be hooked shorter or put on longer leather. Weight and measurements in pictures. No damage or issues, tested and guaranteed solid sterling silver. 1 buckle and 8 conchos, 9 total. Mid 20th century, very nice high quality turquoise. Unmarked, will follow up with weight.

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Vintage southwestern modernist sterling silver turquoise cleopatra necklace/earrings set. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 13.5" long, amazing necklace and earrings. Matching cuff bracelet listed separately. Circa third quarter of the 20th century with age appropriate wear.. No apparent markings. There were a few shops doing similar work in the third quarter of the 20th century, Patania, Les Baker, Alberto Contreras, Rivera‘s to name a few. Very well made and totally over the top as shown with high grade natural American turquoise.

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The hinged bracelet with raised, bypass spiraled silver design terminating with<br>two pear-shaped cabochon amethysts, with pin closure; mounted in sterling<br>silver; inner circumference 6 3/8 in.; signed WS Spratling Made In Mexico,<br>Sterling<br><br><br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts.<br><br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience.<br><br>Spratling had the rare good fortune to witness his own reputation -- as one of<br>the most admired Americans in Mexico -- assume legendary status before his<br>death. William Spratling, His Life and Art vividly reconstructs this richly<br>diverse life whose unique aesthetic legacy is but a part of its larger cultural<br>achievement of profoundly influencing Americans' attitudes toward a civilization<br>different from their own.

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6 3/8" William Spratling Sterling Aztec style cuff bracelet Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco. Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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6.4" Frank Patania Sr Bisbee Turquoise Modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Fits up to a 6.4" wrist. It is very simple to adjust most cuff bracelets at least .25", sometimes more depending on the gap size and and gap size required by you. Please see pictures for gap size and other measurements. Frank Patania (1899-1964) was an Italian-born jeweler who became a significant figure in Southwestern jewelry design. His work is highly sought after by collectors. Style: Patania‘s jewelry often features sterling silver and turquoise stones, reflecting a fusion of traditional Southwestern and modernist design. The Thunderbird Shop: Patania opened his studio, The Thunderbird Shop, in Santa Fe, where he not only created his own pieces but also mentored and employed Native American artisans.

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30" c1950‘s Allen Kee (1916-1972) Navajo for White Hogan Shop Modernist sterling concho belt. 30" long where it hooks, appears to have been shortened hence the solder on the end loop. 1.5" wide buckle, 1 1/6" wide conchos. 150.7 grams. Navajo Allen Kee created during his time as a benchsmith at the White Hogan Shop in Scottsdale, Arizona from 1946 to 1962, working beside Kenneth Begay. White Hogan Shops silver jewelry. Lead by mentors, such as Kenneth Begay and the Kee brothers, jewelers working at the White Hogan produced an amazing array of modern designs in jewelry and flatware. Allen Kee worked at the White Hogan during the early years. He was a experienced silversmith that created the desired designs of the White Hogans style of jewelry. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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6.5" vintage southwestern modernist sterling silver turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century with age appropriate wear.. No apparent markings. There were a few shops doing similar work in the third quarter of the 20th century, Patania, Les Baker, Alberto Contreras, Rivera‘s to name a few. Very well made and totally over the top as shown with high grade natural American turquoise. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change.

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c1940's William Spratling(1900-1967) Taxco Sterling silver Mask Bracelet. Fits up to a 6.5" wrist, 1" gap 126.8 grams with no issues. Spratling, an architect and artist who taught at Tulane University in New Orleans, came to Mexico in the late 1920s and settled in the city of Taxco. Having developed an interest in Mesoamerican archaeology and culture from his colleagues at Tulane, he traveled to Mexico for several summers lecturing and exploring. He sought out remote villages in the state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the Aztec language, was spoken. Spratling collected artifacts and contemporary indigenous crafts. Spratling made a fortune manufacturing and designing silver, but his true life's work was to conserve, redeem, and interpret the ancient culture of his adopted country. He explained for North American audiences the paintings of Mexico's modern masters and earned distinction as a learned and early collector of pre-Columbian art. Spratling and his workshop gradually became a visible and culturally attractive link between a steady stream of notable American visitors and the country they wanted to see and experience. Spratling had the rare good fortune to witness his own reputation -- as one of the most admired Americans in Mexico -- assume legendary status before his death. William Spratling, His Life and Art vividly reconstructs this richly diverse life whose unique aesthetic legacy is but a part of its larger cultural achievement of profoundly influencing Americans' attitudes toward a civilization different from their own.

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1930‘s Georg Jensen Art Deco Period 173 Sterling silver/Lapis pin/brooch. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa second quarter of the 20th century. Georg Jensen (1866-1935) was a Danish silversmith and designer who founded the renowned Georg Jensen company, known for its exceptional craftsmanship and Scandinavian design. He began as a goldsmith‘s apprentice, later studied sculpture at the Royal Danish Academy of Fine Arts, and eventually combined his skills to create distinctive silver pieces. His work, particularly his jewelry and hollowware, is celebrated for its naturalistic style and innovative use of materials and techniques.

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14" Antonio Pineda Mid Century Modernist 970 silver choker necklace, from the 3rd quarter of the 20th century with no issues. 14" inside measurement when closed, would be longer but doesn't stretch all the way long due to it's construction. 82.3 grams, 14mm wide.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Carmen Beckmann mid century Modernist sterling silver necklace, bracelet, ring. Solid sterling silver, extremely high quality as shown 17" necklace, Size 7 ring, 6.5" bracelet. Selling the set shown from the third quarter of the 20th century with no issues. Untouched estate fresh condition, I would be happy to clean up a little upon request before shipping. Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry. Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones. It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece. anderas

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Oversized Retro Patricia Von Muslin sterling silver modernist bib necklace. Solid sterling silver tested and guaranteed Marked as shown in one of the pics.. No issues, circa last quarter of the 20th century. Weight and measurements in pictures. About Patricia Von Musulin Dedicated to experimentation and exploration, Patricia von Musulin has worked extensively to redefine the notion of “accessories. Bold, her work has been featured in international advertising campaigns, countless magazines as well as "on the runway" with both American and International fashion designers. Estee Lauder, Revlon, Elizabeth Arden, Lancôme, Victoria‘s Secret, Absolute Vodka, Cover Girl, Gap, Kohler, and Goldenpoint have used her accessories in their advertising. A partial listing of fashion designers who have featured her work in both their advertising campaigns as well as in their runway shows include: Michael Kors, Ralph Lauren, Adrienne Vittadini, Bill Blass, Geoffrey Beene, Carolina Herrera, Chado, Ralph Rucci, Bally, Cole Haan, and Bogner. Her first working relationships were with Donna Karan and Louis Dellolio for Anne Klein, Pauline Trigere, Giorgio Sant‘Angelo and Perry Ellis. Perry Ellis personally nominated her to the "Council of Fashion Designer of America" when he was the President. Her work has appeared editorially in both national and international magazines: Vogue, German Vogue, Italian Vogue, French Vogue, Vogue Taiwan, Harpers Bazaar, Harpers Bazaar en Espanol, Trace, Numero, Flair, Cosmopolitan, Cosmopolitan en Espanol,Town and Country, Vibe, Latina, Essence, “W Magazine, Visionaire, Zink, Architectural Digest, House Beautiful, Elle, Elle Décor, Forbes Magazine, American Express Departure Magazine, Conde Nast Traveler, to name just a few. Feature articles have appeared in "The New York Times", "Corriere Della Serra", "The International Herald Tribune", "Dallas Daily News" and "Womens Wear Daily" Her early career, prior to her current involvement with fashion, was in the field of industrial design. Clients ranged from "The Metropolitan Museum of Art", for whom she created many of the reproductions of objects for the "King Tut" show, to Pierre Cardin for whom she helped design his automobile. She also had the privilege to work closely with the famous scientist and art restorer, Gustav Berger. Creating a body of work known as much for its powerful originality and signature style as for its unique aesthetic ambition, Patricia von Musulin seeks to use her work to re-imagine the very idea of jewelry itself. Her collections employ a wide array of materials to evoke deep symbolism and psychological associations. Crystal-like transparency evoke the undulating currents of water, the source of all life. In contrast, the deep black tones of her "Ebony Collection" reflect our cultural fascination with "The Primitive" and the multiracial nature of contemporary urban life. Her work is in the permanent collections of "The Metropolitan Museum of Art", "The Boston Museum of Fine Arts", "The National Museum of American History of the Smithsonian Institution" as well as "The Museum at the Fashion institute of Technology". Although Patricia von Musulin lives a very international lifestyle, at home in Istanbul or Prague as much as New York, all of her designs are manufactured in New York City.

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Carolyn Morris Bach 2007 Retro 18k gold/Sterling silver modernist earrings. Great earrings with no issues, tested and guaranteed solid sterling silver and solid 18k gold, any marks detected, weight, and measurements will be shown in the pictures. Carolyn Morris Bach lives in Southern Rhode Island. Her studio is surrounded by pastures and forests and impacted directly by the cycles of seasons which connect her to the natural environment and its visual expression in figurative imagery. For 30 years, her work has developed along with themes which are keyed to visual metaphors often found in older iconographies representing the powers of sun, moon, wind, rain, stones, plants, and a selection of animals residents that determine the rural, non-industrial landscape. EDUCATION & RECOGNITION Carolyn Morris Bach is a graduate of the prestigious Rhode Island School of Design. Her work is in numerous museum collections including: Boston Museum of Fine Arts, Boston, Massachusetts Museum of Arts and Design, New York, New York Fuller Craft Museum, Brockton, Massachusetts Racine Art Museum, Racine, Wisconsin Her work is widely collected both in America and abroad, and recognized by several organizations with awards of merit from Smithsonian Institution, American Craft Museum, Philadelphia Museum of Art (Women‘s Committee), and a National Endowment for The Arts grant. Most recently, a Carolyn Morris Bach brooch was included in the book by Madeline Albright, Read My Pins. Brooches from her personal collection.

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15" Antonio Pineda Mid Century Modernist silver choker necklace, from the 3rd quarter of the 20th century with no issues. 15" inside measurement when closed, would be longer but doesn't stretch all the way long due to it's construction. 79 grams, 14mm wide. Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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15.75" c1950‘s Los Castillo 481 sterling silver modernist Mexican necklace. No damage or issues. 15.75" long necklace, well made necklace with weight and measurements in pictures. No damage. Necklace is of course 100% symetrical, photographer didn‘t spread it out correctly in the second pic...didn‘t understand the importance I guess.. It‘s perfect with no issues. In 1939, Los Castillo was established in Taxco, Mexico by four brothers including Antonio Castillo. The brothers trained at William Spratlings world-renowned studio. The Castillos developed exceptional talent in every aspect of silver design and production and eventually opened Los Castillo. Over its history, Los Castillo employed exceptional designers, including Antonio Castillos then-wife Margot van Voorhies Carr (Margo de Taxco), Miguel Melendez, and Sigi Pineda. The Castillo family is still in the silver business today.

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26" Marie/Julian Lovato Santo Domingo modernist sterling silver link necklace. Made by Julian Lovato‘s wife Marie, I have seen these with Julian Lovato pendants on them. She made the necklaces and he made the pendants. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Johan Rohde for Georg Jensen Acorn sterling salt cellars 62 w/ 110 spoons. Selling the 8 pieces shown with minor tarnish, two have slight wear to enamel on top rim upon close inspection, the one turned up in the last pic has a spot of enamel as wide as the handle just inside the handle, it was difficult to show in the pics and doesn‘t stand out in person. Spoons 2.2" long, salts 2 3/8" wide with handles. The spoons are Jensen also but a different pattern. I could probably sell either the salts or spoons separately for a reasonable offer. silverdrawer

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6.25" William & Shellie New York Modernist sterling/22k Amethyst and Garnet cuff bracelet. They were high end New York designers/artisan's in the 80's and 90's, this is in my opinion a top example of their work.

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Margot de Taxco Los Castillo Sterling Aztec Eagle Warrior Fur clip. I believe this is from the late 40's and was designed by Margot. It's an amazing piece 3" tall x 4" wide with articulated earrings that spin around when in motion, all three pieces moving on their own. It's 50 grams even, can easily be worn as a pendant/brooch, or even hung on the wall. Very substantial thick gauge sterling silver, a rare and important design. Margot Van Voorhies was born in 1896 in San Francisco, California. By the time she left her native country for good, she had survived the death of her father in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the hands of a er in 1931 and the end of her first marriage in 1936. Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the design, crafting, and production of silver objects, in particular jewelry and housewares. Soon, Castillo would become Margot’s second husband. At the time, Castillo was working for William Spratling, a pioneer in Mexican silversmithing. He brought Margot into the business as a designer, helping her to transform her paper creations into three-dimensional forms in silver. In 1939, the pair, along with other members of Castillo’s family, opened shop as Los Castillo Taller [Taller is Spanish for “Workshop”], with Margot as the top designer. After ten years, the marriage between Castillo and Van Voorhies dissolved, as did their professional association. Margot went on to open her own shop in 1948, taking the name Margot de Taxco, by which she is best known today. Seven years later, enamel was added to many of her pieces, and this is where Margot found her legacy. At the peak of her career, Margot, who designed each piece herself, had two dozen silversmiths and a dozen enamellists in her employ to execute her vision. The men performed the duties as silversmiths; the women did the enamel work, using tiny brushes to bring the watercolor drawings to life. To ensure the accurate rendering of her jewelry designs, she compiled a book of instructions and drawings, detailing the construction and finishing of each. Margot attracted talented craftsmen who later went on to cement their own reputations, such as Sigi Pineda, Miguel Melendez, and Melecio Rodriguez. Many contemporary Hollywood celebrities were clients of Margot, including John Wayne and Lana Turner, who visited her shop every year. Tragedy struck in the form of a fire in 1960. Forced to move her studio, she never again regained her prior success, and the business folded in 1974. Margot granted several of the silversmiths in her employ permission to use her molds to create pieces on their own, in return for debt forgiveness. As a result, many of Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and Geronimo Fuentes, bearing their hallmark rather than hers. Margot passed away in 1985. But her talent as a designer and her influence as an artist have continued to gain recognition since the time of her death. Margot’s shop produced some repousse silver (a technique where a raised or relief design is hammered in from the reverse side of the piece). But she is best known for her champlevé enamel work. Champlevé is created by carving, etching, striking, or casting troughs or cells into the surface of a piece and filling it with vitreous enamel. In Margot’s jewelry, the designs were die-struck, a process that was detailed and critical to the final product. Margot produced many suites that included necklaces, brooches, bracelets, and earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized for its elegance, femininity, and variety. There were many areas of influence that can be found in Margot’s work. Her fish and wave motifs celebrated her love of Japanese art. The ornate swirls and floral motifs were reminiscent of the Art Nouveau style. Mischievous pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts. Margot de Taxco pieces are distinguished by the stamp that includes her name, Eagle 16 (or Eagle 1, for her earlier works), along with a production number. Issued by the government, the eagle stamp was a way to identify th

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6.25" Duane Maktima Hopi modernist sterling silver textured cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century to early 21st century. Significant wide band bracelet, the artist made some of these in smaller sizes, not as wide as this one for the most part. Duane Maktima was studying education at Northern Arizona University in Flagstaff, when a dean suggested he switch his major to art. “ I thought it would be a hobby.” Growing up in tiny towns in Arizona under the tutelage of his Hopi and Laguna relatives, Maktima learned how to carve and paint, but these artworks were referred to as “blessings” and not art. The Dean, having seen Duane’s work was insistent. When Maktima first laid eyes on the jewelry in the jewelry lab, he says, “It was like my whole life flashed before my eyes, I was hooked.” It took a decade for Maktima to complete his degree. He left college to work as a resident artist at the nearby Museum of Northern Arizona in Flagstaff. At only 19 years old he was given a studio and stipend to make jewelry which was snapped up by visitors from around the world. Eventually he embarked on a personal retreat from the pressure and spent 3 years at Laguna Pueblo. Maktima worked there as a survey helper and everyday he walked the country from Second Mesa to Black Mesa. During these long walks he came to deeply appreciate his heritage and decided to complete his education. When he did return to university, it was an exciting time for Native American artists. His research into African and Indian art led him create spiritual based pieces from beads, shell work mosaics, motifs from Hopi pottery, hollow silver tubes, gold , lapis, turquoise , and red coral. In 1982, Maktima, received a second-ever fellowship from the Southwestern Association for Indian Arts. He moved to Sante Fe a year later. An active community leader, he has influenced many young people to pursue a career in art. His brooches, buckles, and other exquisite jewelry have been featured in some of the best Native American galleries. In 1990, Northern Arizona University honored the artist with its 2000 Distinguished Alumni Artist Award, Distinguished Achievement Award, and member of the President’s Circle. Maktima credits his achievements to his education and his family. “I can hear grandpa saying, ‘You have really learned something. You’ve really excelled with what God gave you.’ ” According to his grandfather, the name “Maktima” means “searching for eagles.”

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c1920 Antique Georg Jensen Salad serving fork/spoon set sterling silver. Weight and measurements in pictures. Tested and guaranteed solid sterling silver with no issues. Dedication/presentation on reverse shown in pics. Mark dates them to 1910-1925.

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Antonio Pineda (1919-2009) Taxco Modernist Onyx sterling bracelet/earrings. Absolutely no issues, 6.75" long bracelet, other weight and measurements in pics. No damage or detectable wear to stones. Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexicos state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (191020), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pinedas acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pinedas many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School. These designers incorporated numerous aesthetic<br>orientationsPre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular artsmerging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pinedas hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pinedas jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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16" Retired James Avery heavy modernist sterling necklace. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

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Samuel LaFountain - Diné, Turtle Mountain Chippewa Modernist silver cuff bracelet Samuel Greatwalker LaFountain was born in 1986 in Santa Fe, New Mexico. He has been making jewelry for over 22 years. He infuses contemporary concepts with his traditional background, creating beautiful pieces of art. Hallmarked with his G and 2 dragonflies. Award winning artist. All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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c1940‘s Matl Cross pendant Sterling Turquoise Amethyst and coral Designed by Matilde Poulat (AKA "Matl" (Aztec for "Water") who is & always will be one of my personal favorites that made her fame during the "Mexican Silver Renaissance Days" & later..She was a painter & designer 1st & was born in the Yucatan & later on went to study at the San Carlos Academy in Mexico City at the same time the famous muralist & husband to Frida Kahlo,Diego Rivera was studying there..One of her 1st teachers was a "P.OCHOA",a man whose works you rarely come across & you will find Matl‘s earliest works,emulating Ochoa‘s,which was nothing like the style she ended up owning.She opened shop in 1934 & ended up having her own ‘signature look",which to this day people still pay homage to her designs. She produced some of the most ornate jewelry that was being produced in Mexico back in the day..The inspirations she fell back on were inspired from the Mixtec people of Monte Alban, Oaxaca area. Each designer during the Mexican Silver Renaissance days had their own unique style,but it was Matilde,who brought the beautiful motifs of doves, flowers, and tiny bells that are reminiscent of the whimsical subjects of contemporary Mexican folk art...The beauty of her metal work,was so time consuming & was considered Baroque in style with a undeniably "Mexican"look.. She was known for laying round turquoise or coral cabochons all in one bezel that was then crimped‘ to hold the stones in,rather than setting them individually & you will see the perfect example of this style in this pin,which gives her piece‘s a whole different look,because of this. Another one of her signature styles was her time consuming ‘chasing‘ work in the metal,as well as using ‘pyramidal‘ cuts of amethyst.Every piece made are works of art..She is highly collectible!! She taught her nephew Ricardo Salas the art of jewelry making & taught him her style that was signature to only her & worked side by side her till her death in 1960 & while continuing to stay true & keep her style alive till his death in 2007.

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Antonio Pineda (1919-2009) Taxco Modernist Sterling amethyst leaf pin. Very interesting and unusual treatment to the squiggly bottom. 18.3 grams, other measurements in pics.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Large Vintage Navajo/southwestern modernist sterling silver pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No issues, 26" long necklace. Signed Herman Owens, most likely a former owner rather than the silversmith. Very high quality turquoise.

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Large Hector Aguilar modernist Mexican sterling silver Armadillo belt buckle, takes up to a 1.25" belt, Tested and guaranteed solid sterling silver, functional with expected wear. Circa mid 20th century with no damage, fully functional.

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c1960 Peter Broome California Modernist Sterling silver bangles set. Each approx<br>7 5/8" inside circumference, each different. Broome was active in the 50's-60's<br>in CA and produced some of the most amazing unique designs. He wasn't extremely<br>prolific but created some amazing unique designs that command respectable<br>prices. Selling all three bangles for one price.<br><br>anderas

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16" & 6.6" Emma Melendez Taxco modernist sterling silver abalone choker/bracelet. No issues, circa third quarter of the 20th century .16" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. 6.6" bracelet 16" necklace. Listed with ExportYourStore.com

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William Spratling sterling Bird pin with amethyst 52.7 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Antonio Pineda (1919-2009) Taxco articulating silver and amethyst pin/earrings, measurements in pics. Amazing set, the pin is hinged in the center of each rod, so they wiggle all over the place, very sturdy and well made.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Nice large piece 9.5" wide x 4" tall. some very tiny chigger bite flakes on base<br>rim. No large chips, cracks, dents, or other damage to enamel.<br>TW69

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Retro Robert Farrell 18k/sterling post modernist bracelet 6.5" long bracelet, weight and measurements in pics. No issues.   I was fortunate enough to be contacted by the artist and he listed the materials for me.  Precise materials are: sterling silver, shibuichi (a Japanese alloy), 18k gold (wire), 24k gold (chunky, random shapes).Awards and Honors (*Award)*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2024.*Best of Metal, Philadelphia Craft Show, 2023.*Award of Excellence, Ann Arbor Street Art Fair, 2023.*Second Place, Exhibitors Choice Award, Smithsonian Craft Show, 2023.*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2022. *Award of Excellence, Ann Arbor Street Art Fair, 2022.*First Place, St. Louis Art Fair, 2021.*Award of Excellence, Ann Arbor Street Art Fair, 2019.*Award of Distinction, Winter Park Sidewalk Art Festival, Winter Park, FL, 2019.*Director‘s Choice Award, American Craft Exposition, Chicago, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2018.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2017.*Best of Show, Smithsonian Craft Show, 2017.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2017.*Best of Show, Plaza Art Fair, Kansas City, 2016.*First Place, St. Louis Art Fair, 2016.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2016.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2016.*Exhibitor‘s Choice Award, Smithsonian Craft Show, 2016.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2016.*Best of Metal, The Philadelphia Craft Show, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2015.*First Place, St. Louis Art Fair, 2015.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2015.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2015.*Best of Fine Craft, Art on the Square, Belleville, IL, 2015.*Best of Show, Artisphere, Greenville, SC, 2015*Morse Museum Award, Winter Park Sidewalk Art Festival, Winter Park, FL, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2014.*First Place, St. Louis Art Fair, 2014.*Best of Show, The Domes Art Festival, Milwaukee, 2014*Award of Excellence, Ann Arbor Street Art FairThe Original, 2014.*Best of Fine Craft, Art on the Square, Belleville, IL, 2014.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2014.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2013.*Award of Merit, Cherry Creek Art Festival, Denver, 2013.*Best of Fine Craft, Art on the Square, Belleville, IL, 2013.*Second Place, Winter Park Sidewalk Art Festival, Winter Park, FL, 2013.*Best of Show, Uptown Art Fair, Minneapolis, 2012.*Best of Fine Craft, Art on the Square, Belleville, IL, 2012.*Best of Show, Craft Art, St. Petersburg, 2011.*Second Place, St. Louis Art Fair, 2011.*Best of Show, Oconomowoc Arts Festival, Oconomowoc, WI, 2011.*Best of Show, Barrington Art Festival, North Chicago, 2011.*Best of Fine Craft, Art on the Square, Belleville, IL, 2011.*‘Excellence and Originality‘ (One of 10 equal awards), Ann Arbor Street Art Fair--The Original, 2010.*Best of Show, Palm Beach Fine Craft Show, 2009.*Award of Excellence, American Craft Council Show, Atlanta, 2009.*Purchase Award of Excellence, Coconut Grove Arts Festival, Miami, 2009.*Best Booth, American Craft Council Show, Sarasota, 2008.*Award of Excellence (One of 5 First Place awards), Craft Art, St. Petersburg, FL, 2008.*Best of Show, 3-D Exhibition, Venice Art Center, Venice, FL, 2008.*Museum Acquisition--Renwick Gallery, Smithsonian Institution, Awarded at the Smithsonian Craft Show, 2007.*First PlaceMetal, St. Louis Art Fair, 2006.*Best of Show, Washington Craft Show, 2004.*Jurors Award, Michael Monroe, St. Louis Art Fair, 2004.*Best of Metal, Philadelphia Craft Show, 2002.*First PlaceMetal, St. Louis Art Fair, 2002.*First PlaceMetal, Plaza Art Fair, Kansas City, 2002.*“Excellence and Originality (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 2001.*Best of Metal, Philadelphia Craft Show, 2000.*Best Presentation, St. Louis Art Fair, 1999.*Piece purchased for the collection of the St. Louis Art Fair, 1999.*First PlaceMetal, Sausalito Art Festival, 1999.*First PlaceMetal, Plaza Art Fair, 1999.*Excellence and Originality, (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 1999.*First Place--Metal, St. Louis Art Fair, 1998.*First PlaceMetal, Plaza Art Fair, 1998.*First PlaceMetal, Sausalito Art Festival, 1998.Museum Purchase, Mint Museum of Art and Design, Charlotte, NC., 1998.*First PlaceMetal, Winter Park Art Festival, Winter Park, FL, 1997.*Third PlaceMetal, St. Louis Art Fair, 1997.*Award of Excellence, Plaza Art Fair, 1997.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1996.*First PlaceMetal, St. Louis Art Fair, 1995.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1995.*Award of Excellence, Plaza Art Fair, 1995.*First PlaceMetal, St. Louis Art Fair, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1994.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1994.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1993.*Best of Show, Midwest Salute to the Masters, Fairview Heights, IL, 1993.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1993.*Wisconsin Art Board Grant, 1992.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1992.*Second PlaceJewelry, Cherry Creek Arts Festival, Denver, 1992.*Award of Excellence, Midwest Salute to the Masters, Fairview Heights, IL, 1992.*Award of Merit, Coconut Grove Arts Festival, Miami, 1992.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1991.*First PlaceMetal, Midwest Salute to the Masters, Fairview Heights, IL, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1991.*Award of Excellence, Crafts National 25, PA State University, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1990.*Scholarship, Haystack Mountain School of Crafts, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1989.Fellowship, Craft Department, Tyler School of Art, 1988.*Representative of Tyler School of Art, Philadelphia Craft Show, 1988.*Award Designer, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1986.*First Place, Wisconsin Collegiate Showcase, 1986.Lectures, Public Speaking Engagements, Misc. Professional ActivitiesGuest Speaker/Visiting Artist, Cleveland Institute of Art, 2004.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1999.Juror, ACC Craft ShowsMetal, 1998.Guest Speaker, Tyler School of Art, 1997.Guest Speaker, Tyler School of Art, 1996.Demonstrator, Cherry Creek Arts Festival, 1996.Guest Speaker, Parker High School, Janesville, WI, 1996.Juror, 16th Annual Hoard Museum Art Show, Fort Atkinson, WI, 1996.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1995.Guest Speaker, Tyler School of Art, 1994.Gallery Task Force Member, University of Wisconsin-Whitewater, 1992.Guest Speaker, Tyler School of Art, 1991.Guest Speaker, Foster Gallery, University of Wisconsin-Eau Claire, 1991.Guest Speaker, University of Wisconsin-Madison, 1990.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1990.Guest Speaker, University of Wisconsin-Whitewater, 1990.Teaching Assistant, Haystack Mountain School of Crafts, 1990.Part-time Faculty, Tyler School of Art, 1989.Instructor, Saturday Metals Program, Tyler School of Art, 1988.Bibliography (*Reviews)Seymour Rabinovitch and Helen Clifford, Contemporary Silver: Commissioning, Designing, Collecting, Merrell Publishers Limited, 2000. pp. 20, 27, 56, 118-19.Paul J. Smith, General Editor, Objects for Use: Handmade by Design, Harry N. Abrams, Inc., Publishers, 2000. pp. 131, 148.*“The Commemorative Cup, American Craft, Ap/May 96, Vol. 56, No. 2, p. 53.*17th Annual Philadelphia Craft Show, Metalsmith, Spring 94, Vol. 14, No. 2, p. 47.“Portfolio, American Craft, Aug/Sep 92, Vol. 52, No. 4, p. 67.*SilverNew Forms and Expressions II, Metalsmith, Spring 91, Vol. 11, Nol. 2, p. 46.Alice Beamesderfer, Contemporary Philadelphia Artists: A Juried Exhibition catalog, Philadelphia Museum of Art, 1990. pp. 68, 141.*Honoring Something Ordinary, Metalsmith, Summer 89, Vol. 9, No. 3, p. 21.*All That Glitters, Metalsmith, Winter 87, Vol. 7, No. 1, p. 49.*Jewelry Show Sparkles at Art Museum, The Milwaukee Journal, July, 1986.Juried Retail ShowsSmithsonian Craft Show, Washington, D.C. 1995, 99, 00, 02, 03, 04, 06, 07, 08, 10, 15, 16, 17, 18, 19, 22, 23, 24.Philadelphia Museum of Art Craft Show. 1989, 90, 91, 92, 93, 94, 95, 96, 97, 99, 00, 01, 02, 03, 05, 06. 07, 08, 09, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24.Washington Craft Show, Washington, D.C. 1991, 94, 02, 03, 04, 05, 06, 07, 08, 09, 10, 12, 13, 14.Sausalito Art Festival. 1998, 99, 00.St. Louis Art Fair. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 07, 09, 11, 12, 13. 14, 15, 16, 21.Ann Arbor Street Art FairThe Original. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06. 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 21, 23, 24.Plaza Art Fair, Kansas City. 1995, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 10, 11, 12, 13, 14, 15, 16.Palm Beach Fine Craft Show. 2004, 05, 06, 08, 09, 10, 11, 12, 13, 14, 15, 16.Craft Art, St. Petersburg, FL. 2008, 09, 11.ACC Craft ShowBaltimore. 1993, 94, 95, 96, 97, 98, 99.Coconut Grove Art Festival, Miami. 1992, 93, 94, 95, 96, 97, 98, 02, 09, 10.American Craft Exposition, Evanston, IL. 1991, 92, 93, 94, 95, 96, 97, 98, 99, 00, 07, 08, 17, 18, 19, 20, 21.Cherry Creek Arts Festival, Denver. 1991, 92, 93, 94, 95, 96, 97, 98, 12, 13. 14, 16, 19.Lakefront Festival of Arts, Milwaukee. 1987, 90, 91, 92, 93, 94.ACC Craft ShowAtlanta. 1991, 94, 95, 97, 99, 09.ACC Craft ShowSarasota. 1993, 94, 05, 06, 08.Gasparilla Art Festival, Tampa. 1992, 05.EducationMaster of Fine ArtsMetal and Jewelry Emphasis. Temple University, Tyler School of Art, Philadelphia, 1989.Bachelor of ArtsStudio Art. University of WisconsinWhitewater, Summa Cum Laude. 1987.Bachelor of ArtsEnglish. University of WisconsinWhitewater, Summa Cum Laude. 1987.

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Kenneth Begay Navajo White Hogan Modernist Sterling salt spoons/ironwood bowl. Selling the three Kenneth Begay salt spoons and Ironwood salt bowl shown. No issues. Weight and measurements in pics. Kenneth Begay (1913-1977) was called the “Father of Contemporary Navajo jewelry for his clean, bold, modern designs. Begay began as a blacksmith, took his first course in silversmithing from Fred Peshlakai at the Fort Wingate Vocational School for the Native Americans in Fort Wingate, New Mexico in 1938. Fred Peshlakai had been taught by his father, Slender Maker of Silver, who was trained by Atsidi Chon, one of the earliest Navajo silversmiths. Begay in turn taught traditional techniques of silversmithing to his own students from 1968-1973 at Navajo Community College in Many Farms, Arizona. In 1946, Begay started working with John Bonnell at the White Hogan shop in Flagstaff, Arizona, beginning an 18 year relationship. In collaboration with Bonnell, Begay moved Indian jewelry beyond personal adornment and into the arena of pure metalsmithing making, amongst other things, flatware sets, plates, boxes, and vessels of various kinds. Although highly unusual at this time among silversmiths, 1951-1952, he also began signing his jewelry using KB. When working for the White Hogan he additionally stamped his pieces with a small hogan. A master metalsmith, Kenneth Begay was very creative and strongly influenced by his traditional background. In his jewelry this translated to a balance between silver, stone and bold but unpretentious designs. He created clean, elegant designs based on streamlined shapes that were repeated to form balanced and harmonious patterns, a style that has been compared to Navajo weaving. Although he used and taught the old techniques, Begay explained near the end of his life, “I like to create something new and still use the old Navajo design style. All precious metals are tested and guaranteed,

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Jared Chavez Santo Domingo modernist sterling Link bracelet. 7" long x 1 1/6" wide x 75.1 grams. Does have a scratched signature JJC-00 on reverse side. Jared J. ChavezI began my journey as an artist learning to craft jewelry from my father, Richard I Chavez, a renowned lapidary artist. I was not given exact direction as to what to make but was only given the tools and instruction on how to use them. Along the way my work would be critiqued by my father and I would continually strive to evolve my designs and fabrication processes. He stressed the quality of the design and construction making sure that every aspect of a piece looked “finished” and no corners were cut. Along with all that I learned in my father’s studio, I would receive a Bachelor of Arts from Georgetown University in Studio Arts with a focus in Digital Art and Printmaking. After I graduated, I would attend The Revere Academy of Jewelry Arts’, Intensive Bench Jeweler Program in San Francisco. Each of these educational experiences added a particular technical or visual aspect to my work and would encourage me to continue to explore all the ways I could enhance my designs. My current work focuses on the reflective nature of polished silver. Though fabrication, metal stamping, and some casting, I explore how light and reflection interacts with the materials I utilize. I’ve found that polished silver takes in the colors and the light of the world around, and through the use of surface texture a dynamic play of light is created across the surface of my designs. I further enhance my work thought the use of semi-precious stones (agates, quartzs, jades, etc.). However one of the most important qualities in my selection of stones is often translucency. I’ve found that by allowing light to shine though a stone an overall rich and warm effect is created in the overall design. Along with my yearly schedule of shows where I sell my designs, I’ve also made it a point to educate the public about my work. Growing up in my father’s studio, I always saw just how much of himself he put into his designs and how sometimes he was met with disbelief as to how much work was put into his pieces. I found this to be a similar case when I entered the business, as the general public only sees the finished piece. For that reason, though in person demonstrations and self-produced video mini-documentaries, we’ve made it a point to show the skill, time, and passion that goes into every design. I continually strive to evolve my work and hold every design to the exacting standards that my father established when he created Chavez Studio 50 years ago.All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure. All precious metals are tested and guaranteed,

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Vintage Enrique Ledesma Taxco Sterling jewelry set. 7" bracelet, 14" choker, selling everything shown with measurements in pics.

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c1978 Frank Patania Jr Southwestern modernist sterling bolo with turquoise and 100 peso Mexican coin. Bolo is 94 grams without the box of course. Comes with original Thunderbird shop box (3 out of 4 corners are split on box top. Bolo slide is 2.5" tall x 2 3/8" wide 38" long. I think this piece had to have been made in 1978, the year the coin was issued, a year or two later at the most.The training Frank Jr. received was a breath of fresh air in the history of contemporary American craft. To understand the importance of this instruction, one must look to Frank Sr., who came to America with his experience of the apprenticeship system from Italy in the wake of the Industrial Revolution. This had a lasting effect on the handmade tradition. Mass production became apart of everyday life. The need for the services of skilled, educated artisans declined, as did the apprenticeship programs that trained them. It was accepted that mass production pieces were in general of better quality than what most people could make. Many craftsmen were forced to close shop and join in the factory ranks as designers.The effect of mass production on jewelry design is evident with a glance of any "Sears and Roebuck" catalogues of the early 20th century. Since these products were being made for the masses, designs were often "dumbed down", reflecting "safe" motifs repeatedly rooted in past trends. Reproduction became the national aesthetic. There were however, "pockets" within the United States that were exceptions. The Kalo Shops and Roycrofter, for example, were teaching apprenticeship programs, but they were small factors compared to the overwhelming impact of mass production.Like many first generation American children, Frank Jr. was encouraged to follow a formal education. Interestingly, he did not choose applied arts, but rather American History, with a minor in Anthropology. Reflecting on his choices, he believes his father would have thought a degree in applied arts would have been "a waste of time," because nothing could compare to the crafts education he had already imparted to his son.By the time Frank Jr. joined the shop full-time, the climate towards crafts had undergone a major change. Postwar America witnessed an explosion in the development of architecture, industrial design, and the handcrafts. For the first time in decades, craft was enjoying a newfound appreciation, much of which was due to en masse support of craftsmen through universities and crafts schools. An indication of the health of the contemporary jewelry movement can be seen in the surge of important exhibitions during the 40s and 50s. The Museum of Modern Art in NYC took an important step by promoting the first major exhibition of contemporary jewelry in 1946. Magazines like Design Quarterly and Craft Horizon (now American Craft) devoted full sections to design and contemporary jewelry.By the 1950s, a number of people were making contemporary jewelry on a professional scale. That same year, The American Craft council held its first conference, attended by over 450 crafts men and women from 30 states. During the three day conference they addressed many concerns of the young craftsman, including: 1) the craftsmen's relationship to society in economics and social aesthetics; 2) design importance as it related to techniques; and 3) problems in professional practices in the small business. While many young craftsmen in the United States were just addressing these issues for the first time, The Thunderbird Shop of Tucson and Santa Fe had already found resolution in regards to these problems and had implemented them in to a system that allowed the creativity of the shop to flourish while maintaining financial success.Today, Frank, Jr. and his wife Donna travel between Tucson and Santa Fe. Frank, Jr. says he is grateful for the life he has been given, acknowledging his joy in being able to do what his loves for a living and finally arriving at a place in which he can create the pieces he chooses without the pressures of the market. (Fig 25-27) He looks to his son, Sam, to carry on the family name and traditions, recognizing the struggle of a young designer with a family and the pressures to meet payroll while still maintain ones own inimitable style.

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Heavy Retro Rancho Alegre Mexican Modernist sterling silver bracelet/necklace . 16" Necklace, 6.75" bracelet. Both solid sterling silver with no issues, weight and measurements in the pictures. Established in 1956, after its founder, Pedro Perez, had worked for many years managing Spratling‘s Las Delicias, Rancho Alegre is responsible for some of the finest designs in Taxco jewelry, the shop closed in the mid 80‘s.

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6.6" c1960 Southwestern Modernist sterling silver coral cluster cuff bracelet Weight and measurements in pictures, solid sterling silver with no issues. Minimal wear circa mid 20th century, unmarked.

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6 3/8" Southwestern modernist sterling multi-stone inlay cuff bracelet. Great looking high quality cuff bracelet with no issues. Various petrified substances, not sure who made it or what it's made of. Likely made by a Native American artist.All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Retro 28" Tane Modernist Sterling Mesh necklace 1" wide. Very substantial and<br>cool necklace. 125 grams. Strands can be worn twisted or straight to give it a<br>different look and shorten it a little when twisted, no damage or significant<br>wear.<br><br>Founded in 1942 in Mexico City, this year TANE proudly celebrates its 80th<br>anniversary. Over the past eight decades, with its avant-garde designs, TANE has<br>become an internationally recognized name, as well as a destination for elegant,<br>delicately and exquisitely handcrafted products in silver and gold. The company,<br>has a rich and diverse heritage and is vertically integrated, ensuring<br>sustainability from silver extraction to foundry, design and manufacturing.<br>Prior and current clients of the brand include world-famous celebrities such as<br>Jackie Kennedy, Brigitte Bardot, Catherine Deneuve, Maria Feliz, Eva Longoria,<br>Hillary Clinton, Paul Newman, Oscar de la Renta, Paul McCartney, as well as<br>international royalty. Celebrate every special moment in your life with TANE<br>Mexico 1942.

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Henry Steig (1906-1973) Mid Century Modernist sterling pins (2). Selling both<br>one of a kind pins, both signed, Part of a significant collection of Henry Steig<br>Jewelry purchased directly from him in the 50's-60's that I'm lucky enough to be<br>able to offer. Amethyst 2.75" x .75" Pearl 2.75" x 5/8" 19.2 grams total weight.<br><br><br>Jules Brenner and Henry Steig were among group of prominent of New York<br>mid-century studio jewelers who hand-crafted pieces of wearable art that<br>celebrated the avant-garde, rejected traditional jewelry forms, and appealed to<br>an intellectual and liberal middle class. Jules Brenner was born in the Bronx,<br>grew up in Washington Heights, and studied acting with Stella Adler and painting<br>and sculpture in Greenwich Village. Henry Steig (also known as Henry Anton)<br>studied at City College and the National Academy of Design, and began his career<br>as a New York City jazz musician, writer, novelist, cartoonist, and painter.<br>During the 1950s, both Brenner and Steig operated shops and studios in Manhattan<br>and in Provincetown, Massachusetts—then a prominent artists’ enclave—where they<br>sold hand-wrought silver and gold designs which often emphasized biomorphic,<br>surrealist, cubist, and geometric forms.<br><br><br>Everyone knows the famous picture from the film The Seven Year Itch, of Marilyn<br>Monroe standing on a New York sidewalk, her skirt blown up by on updraft from<br>the subway grate below. However, not everyone knows that at that moment she was<br>standing in front of Henry Steig's jewelry shop at 590 Lexington Avenue.<br>Henry Steig was a man of many talents. Before he became a jeweler, he was a jazz<br>musician, painter, sculptor, commercial artist, cartoonist, photographer, short<br>story writer and novelist.<br><br>"Henry was a Renaissance man," says New Yorker cartoonist Mischa Richter, who<br>was Steig's good friend and Provincetown neighbor.<br><br>Henry Anion Steig was born on February 19, 1906, in New York City. His parents,<br>Joseph and Laura, had come to America at the turn of the century, from Lvov<br>(called Lemberg in German), which was then in the Polish port of the<br>Austro-Hungarian Empire. Joseph was a housepainter and Laura, a seamstress.<br><br>They had four sons, Irwin, Henry, William and Arthur, all of them versatile,<br>talented and artistic. William Steig is the well-known New Yorker cartoonist and<br>author-illustrator of children's books. lrwin was a writer of short stories for<br>the New Yorker. Arthur was a painter and poet whose poems were published in the<br>New Republic and Poetry magazines.<br><br>William Steig recalls, "My father and mother both began pointing and become<br>exhibiting artists after their sons grew up." In the May 14, 1945, issue of<br>Newsweek magazine, an article was published about an exhibition, "possibly the<br>first one family show on Art Row (57th Street)" at the New Art Circle Gallery.<br>It was called "The Eight Performing Steigs, Artists All." Included were<br>paintings By Joseph and Laura Steig; drawings and sculpture by William and<br>paintings by his wife, Liza; paintings by Arthur and his wife, Aurora; and<br>photographs by Henry and paintings by his wife, Mimi. The only brother not<br>included was Irwin, "the only non-conformist Steig," who was working at that<br>time as advertising manager of a Connecticut soap manufacturer.<br><br>In the article "the brothers attribute the family's abundance of good artists to<br>the fact that we all like each other's work…get excited about it. Whenever<br>anyone starts they get lots of encouragement. Joseph Steig adds, 'Painting is a<br>contagious thing. If you lived in our environment, you would probably point.'"<br><br>Henry Steig grew up in this extraordinary environment. The family lived in the<br>Bronx. After graduating from high school, Henry Steig went to City College<br>(CCNY). After three years he left to study painting and sculpture at the<br>National Academy of Design. He was also an accomplished musician, playing<br>saxophone, violin and classical guitar, and while he was in college, he began<br>working as a jazz musician. From about 1922, when only sixteen years old, until<br>1932 he played reed instruments with local dance bands.<br><br>After four years at the National Academy, Steig worked as a commercial artist<br>and cartoonist. He signed his cartoons "Henry Anton" because his brother William<br>was working as a cartoonist at the same time, for many of the same magazines.<br>From about 1932 to 1936, Henry Anton cartoons appeared in Life, Judge, New<br>Yorker and other magazines.<br><br>Steig began a writing career in 1935 that lasted until about 1947. He became<br>very successful and well known as a short story writer, with stories appearing<br>regularly in Saturday Evening Post, New Yorker, Esquire, Colliers and others.<br>They were often humorous tales about jazz and the jazz musicians who populated<br>the world of music in the roaring twenties. Other stories were about his Bronx<br>childhood. He also wrote nonfiction magazine pieces, including a New Yorker<br>profile of Benny Goodmon and jazz criticism. Several of his nonfiction articles<br>were illustrated by William Steig.<br><br>In 1941 , Alfred A. Knopf published Henry Steig's novel, Send Me Down. The<br>story, told with absolute realism, is about two brothers who become jazz<br>musicians in the twenties. On the book jacket, Steig wrote, "Much of the<br>material for Send Me Down was gathered during my years as a jazz musician<br>playing with local jazz bands and with itinerant groups in vaudeville and on<br>dance hall tour engagements. Although I was only second-rate as a musician, I<br>know my subject from the inside, and I believe I was the first to write stories<br>about jazz musicians, based on actual personal experience." His son, Michael,<br>recalls that there was some interest in making a movie of the book. "My father<br>told me that John Garfield wanted to play the lead character."<br><br>Steig did go to Hollywood in 1941, under contract to write screenplays. He was<br>going to work with Johnny Mercer, the songwriter. After the ing of Pearl Harbor<br>on December 7, he returned to New York. "He undoubtedly would have returned<br>anyway," says Michael Steig. "He was not happy with the contract his agent had<br>negotiated for him." Mischa Richter odds, "Henry was very unimpressed with<br>Hollywood."

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Larry Castillo Navajo Multistone Channel Inlay Cuff Cuff Bracelet. Really nice solid bracelet with no issues. 72 grams 1 1/8" gap, fits up to a 6 1/8" wrist 1" wide in center.

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6 7/8" William Spratling Sterling Snake Scale link bracelet. Measurements in pics, no significant issues. I believe this version with the open back is less common, not that the other version is common. I have one of each at the time of listing and I'm going to price this one considerably less because it weighs about half as much, not that that's a bad thing for some.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Fidencio Castillo, Mexican (1907-1993) Woman with Rebozo Sculpture signed Fide<br>C. , mounted to black marble base some chips on stone base, no damage to bronze.<br>Overall: approx 9.5"h, 7 1/8"w, 6 1/8"d, 11lbs<br><br>Fidencio Castillo Santiago (November 16, 1907 – July 29, 1993) was a Mexican<br>artist, educator, and a founding member of the Salón de la Plástica Mexicana.<br><br>He was born in Etzatlán, Jalisco, Mexico to Trinidad Castillo and Raymunda<br>Santiago shortly before the Mexican Revolution. His younger sister, Rosa<br>Castillo Santiago (1910-1989) was also an established artist.<br><br>Fidencio Castillo Santiago studied at the Academy of San Carlos and then at the<br>Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda".[1] He then<br>taught at the latter for over thirty years and married to Paz Castillo Alarcón.<br><br>His work was exhibited in Mexico and abroad, including cities such as Tokyo and<br>Kurashiki during the Mexican Art Exhibition in 1995 and in Phoenix, Arizona in<br>1967. In Mexico, major exhibitions include the Bienal Mexicana Contenporánea in<br>1960, the Salón de Invierno, Galería Plástica Mexiana in 1956, the Salón de Arte<br>Mexicano in 1958 and the first Salón de Pintura y Escultura Contemporánea<br>Jalisciense in 1964. In 1971, the Salón de la Plástica Mexicana hosted a<br>retrospective of his work. Another was held in 2004 co-hosted by the Asociación<br>de Artistas Plásticos de México, UNESCO and the Mexico City Metro, to honor both<br>him and his sister, Rosa Castillo. He died in Mexico City from multiple causes<br>at the age of 85. Today the Museo Histórico of Guachinango, Jalisco hosts a<br>permanent exhibition by this author

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16" Los Castillo Modernist sterling and turquoise choker necklace. 16" long 14mm<br>wide, no issues, likely simulated or block turquoise 53 grams, rare design.<br><br>Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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Native American Lone Mountain turquoise modernist sterling silver pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. some surface wear to stone, unidentified hallmark.

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Nicholas Gambino White Hogan Modernist sterling silver belt buckle w/turquoise. Tested and guaranteed solid sterling silver, fits a 1.5" wide belt. No issues, some expected wear. Circa third quarter of the 20th century. Weight and measurements in pictures. Nicholas Gambino (Morongo Band of Mission Indians) worked at the White Hogan during the early 1970‘s. He obviously was a experienced silversmith that created the desired designs of the White Hogans style of jewelry. Lead by mentors, such as Kenneth Begay and the Kee brothers, jewelers working at the White Hogan produced an amazing array of modern designs in jewelry and flat ware. This buckle depicts this style of work perfectly.

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6.5" Vintage Jack Woolsey Versions Modernist sterling fossil cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with some expected age appropriate wear. If no maker is mentioned or mark shown in the pictures please assume this piece is unmarked which is to be expected with older Native American silver jewelry. If it‘s hallmarked and I‘m not familiar with the artist most of the time I will just mention the hallmark with no research/attribution as time is everything in our business. Thank you for looking. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. Artist and jeweler Jack Woolsey was born in 1940 in Colorado Springs, CO. He learned his jewelry making techniques from the Navajo silversmiths around Taos, NM, and is renowned for his modernist inlay cuff bracelets, belt buckles, and earrings. Some of his materials were obtained in trade with Eskimos living in the Alaskan tundra. He also created distinctive wrap inlay designs using turquoise, red jasper, black onyx, and other semiprecious stones. Jack Woolsey passed away in 2005, at the age of 64.

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6.5" Retired James Avery 14k/Sterling modernist cuff bracelet. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

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6.25" Benny Armijo Navajo high grade mult-stone inlay modernist sterling cuff bracelet. All high grade natural material with no issues.. No damage or issues. Benny Armijo (1937-2022).   Benny was a renowned master Navajo silversmith who specialized in this complex inlay and "corn row" type cobblestone inlay using high quality stones.  His jewelry was featured on the Oprah Winfrey show and was collected by many high-profile artists from James Taylor, Charlie Daniels, to Hank Williams Jr. His pieces can be seen on many album covers of top music groups and are highly collectable today. His incredible sense of humor was as well-known as his jewelry. He was simply the most generous man that one could ever imagine, always helping complete strangers he encountered along the way. He was active from the early 70's until the late 20th century..   His older mark from the 1970's looks like a tadpole and has been misattributed to "Edward Zuni", but I'm 100% sure this is Benny Armijo's work and hallmark, it's been confirmed by his living relatives.   Benny was born in Santa Fe, New Mexico Benito M Armijo Jr  The older stamp he first used was to represent the letter C and letter M which stood for Chief Marcos. Many years later maybe around 1989 he stamped his jewelry with Benny Armijo. He lived in California for many years and returned to New Mexico and passed away January 2022. He was known for his stone inlay on what he called a Hopi wedding band in which all the stones were inlaid inside the ring or bracelet. Giving the thought that the beauty between the couple is in the eye of the beholder and the couple would choose the different color of stones and their meanings to be inlaid on their wedding bands.

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Large Vintage Matl Style Rivera Sterling Turquoise Amethyst and coral necklace. Great looking necklace about 40 years old with no damage 32" long necklace 4" long pendant. 103.5 Grams. Matl - MATILDE POULAT & RICARDO SALAS JEWELRY. Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico.<br>Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.<br>As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art.<br>Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces.<br>Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work.<br>In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal.

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6.5" 1950's Carmen Beckmann Modernist sterling Frog carved amethyst bracelet. No damage or apparent issues.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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50‘s-60‘s George Kee Navajo White Hogan Shop Modernist sterling silver pendant. Solid sterling silver tested and guaranteed with the markings shown, weight and measurements in the pictures. No issues, circa third quarter of the 20th century. In the 1950s and 60s Begay, George Kee and Kees two brothers, Allen and Ivan headlined an all-star team of Navajo silversmiths at Scottsdales famed White Hogan Shop, turning out an extraordinary array of sleek Modernist-style Navajo silver jewelry, flatware and other precious objects.

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vintage Frank Patania Thunderbird Shop "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: : Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party. “The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. “Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

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c1970 Frank Patania jr "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party.“The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

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Vintage Rivera Matilde Poulat Style Mexican Sterling Snake Choker with<br>turquoise, amethyst, and coral. Very well made and substantial necklace with no<br>issues. 16" long, 98.7 grams.<br><br>Rivera was a maestro silversmith who created pieces in Mexico City along the<br>same lines as Matilde Poulat and other Mexico City silversmiths.<br><br>anderasbag

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Jose Maria Puig Doria Modernist sterling silver Belt buckle/pendant combo wood. Solid sterling silver with weight and other measurements in the pictures. circa 1980‘s. Crack in inner wood piece towards top when used as a pendant. This can be worn as a pendant and you will always have an emergency belt buckle on you.

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Georg Jensen Acorn sterling coffee/tea/demitasse spoons/2pr springed sugar tongs. Selling the 12 spoons shown and the 2 pairs of springed sugar tongs all in the acorn pattern. No damage or significant wear, vintage set. Measurements shown in one of the pictures. No monograms or monogram removals. Designed in 1915 by Johan Rohde, the Acorn sterling silver cutlery pattern represents the early foundation of Georg Jensens organic and timeless design language. In contrast to the Art Nouveau style of the early 1900s, Acorns design captures a classic, understated style where decoration is used to emphasise the form and shape. Regarded as both a sumptuous and noble pattern, Acorn at one time had 220 individual pieces. Todays range totals approximately 75 pieces and remains one of Georg Jensens most exclusive silver cutlery patterns. silverdrawer

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13" Bing and Grondahl Snarling Tiger Figure by Lauritz Jensen. Great, realistic, scarce figure with no cracks, chips, crazing, or restorations. TW88

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Emma Melendez Taxco modernist sterling silver onyx choker/bracelet. No issues, circa third quarter of the 20th century. 15" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. 6.25" bracelet 15" necklace. Listed with ExportYourStore.com

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Lewis Lomay (1913-1996) Hopi Modernist sterling belt buckle with turquoise. Weight and measurements in pics. Wear as shown including some to stone and bezel. Lewis Lomay was born in 1913 on the Hopi Reservation and began his fine arts career during the 30‘s in Albuquerque, NM. He studied painting at the Indian School under Florence Prentiss. His skill and love of painting brought him to Santa Fe where he began to innovate the traditional "flat" style. These innovations did not suit his teachers, so from there he moved on to making jewelry. From this point on in his career, Lomay became one of the best jewelers of his time. He worked and studied with Frank Patania in Santa Fe. He worked in both silver and gold, letting his influences range from traditional to European. His work became known for its innovation, and he is noted for being a designer ahead of his time. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn‘t answered in this listing that we put so much effort into already :)<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn‘t an exact thing with handmade jewelry. I‘ve seen thousands of pieces xrf‘d to prove this. Bracelets are photographed on a 6" women‘s wrist.

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Large Matl style Sterling Turquoise Amethyst repousse birds pendant/pin,MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art.Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces.Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work.In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal.

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Antonio Pineda (1919-2009) Taxco Mixed metals horse head pin measurements in pics. Buying the exact item shown with no issues.  Sterling and copper.   Antonio Pineda (1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,large-scale mining can be dated to thesixteenth century, and silver is a way of life. In the years following the Mexican Revolution (1910–20), jewelry and other silver objects were crafted there with an entirely innovative approach, informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Cel Vintage Matl Style Sterling Turquoise Amethyst and coral necklace/<br>bracelet/earrings set. Selling the set shown with no issues, Necklace 18.5"<br>long, bracelet 7.75" long, earrings 1.5" long. Nice old vintage set from the<br>70's or 80's. with no apparent damage. 85.8 grams total weight.

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6 3/8" Vintage Southwestern Modernist sterling cuff bracelet. Hallmarked as shown, I don't know who made this but it wasn't hobby silversmith. This was made by a master silversmith unknown to me, it's amazing. I have a Bisbee turquoisee earring and choker set by the same artisan from the same estate.All precious metals are tested and guaranteed,

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sz6.75 Vintage Matl Sterling Turquoise and Amethyst ring. Weight and measurements in pics. No issues. MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl. As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexicos intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art. Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces. Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work. In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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c1940 Early Matl 930 silver cross pendant. Late 30‘s-early 40‘s. No issues, weight and measurements in pics. Selling pendant and giving necklace free with it. This isn‘t as big or fancy as some of the later crosses, but I believe it‘s rare if not one of a kind and likely made by Poulat herself. Also known by her jewelry studio name MATL, Matilde Poulat was a Mexican silversmith and jewelry designer. Best known for her exquisite and intricate necklaces, Matilde was an exceptional craftsman, fashioning handset pieces that alternate between opulent and ebullient. Poulats career took off when she launched her studio in 1934. Only a decade later she would set the tone for the rest of the industry, inspiring silversmiths in Mexico, California, and beyond to copy her designs. These pieces have come to be synonymous with the name MATL, even when they arent made by Poulat, often being described as Matl-esque. That said, there is only one Matilde Poulat and her pieces are ultimately un-copyable. Starting as a painter, Matilde brought much of her colorful aesthetic to the jewelry making business, coming up with designs that absolutely pop with fresh colors of the American Southwest and Mexico. Matl pieces were extremely popular during Poulats lifetime, and that demand has only increased as the years have gone by. These pieces of jewelry are considered extremely rare and many dont see the open market, making any upcoming Poulat auctions something to watch out for. Matilde Poulat was a Mexican jeweler and silversmith whose pieces were famed for their ornateness and their color. Best known for the work she did with her own studio, MATL, a Poulat necklace shows two things: perfect knowledge of silversmith craftsmanship and a whimsical, fun side to jewelry that to that point hadnt been explored. That whimsy made MATL an extremely popular brand during her lifetime. It was impossible to get a Poulat piece for many years. Utilizing opal, amethysts, and one-of-a-kind pyramidal designs, Poulat was able to create pieces that had never been thought of, let alone created, before by a jewelry maker. Her practice was continued by her nephew, Ricardo Salas, upon her death in 1960.

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1950's Los Castillo Sterling chrysocolla inlay 14" choker and 7" bracelet, selling the set shown with no issues. Los Castillo Jewelry - HistoryAntonio Ca stillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments. Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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6.4" Brenna Klassen-Glanzer Machine Age modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa first quarter of the 21st century. Very complex with articulating hinged pieces that can move back and forth. Amazing piece with no issues. Brenna is a second generation silversmith, born and raised in Minneapolis, MN. She‘s an avid traveler, adventurer and outdoor enthusiast. Her love of nature inspires much of her jewelry - drawing elements from interesting natural forms such as seeds, pods, coral and shells. Her work incorporates a variety of textures, combined metals and the use of fold forming and hollow-form construction techniques. It is a mixture of organic natural forms and modern design, which gives the pieces an untamed yet elegant quality. She strives to make voluminous, lightweight and contemporary jewelry. Silver and copper jewelry fabricated by using texture, fold forming and hollow form construction.

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c1950‘s Frank Patania Sr southwestern modernist sterling silver lapis earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures, strong springs on clips. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

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Vintage SG Initial High grade turquoise Elias sterling modernist belt buckle Solid sterling, no issues, circa 1970‘s. Weight and measurements in pics. I feel like this stone is worth more than I‘m asking for the buckle, not sure which mine it‘s from but it‘s a good one. I‘m not certain it‘s not high grade Bisbee. Marked or unmarked as shown in pics, weight and other measurements in pics. Older Native American jewelry is typically unmarked. If I call it Silver or Ingot I‘m guaranteeing it to be 90% or more silver. This isn‘t something I get confused about. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration.

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