Produkte
Harrach Bohemian Glossy Peachblow Vasen mit emaillierten Blumen um 1890
4,25" hoch x 3,5" breit, ohne Risse oder Chips, ohne Emailleverlust oder andere Probleme. Einige Gebrauchsspuren an der Vergoldung am Rand. Garantiert etwa Ende des 19. Jahrhunderts. Verkaufe beides zum gleichen Preis. Tw98
$165.00
Harris Strong Tile „Ancestor I“, gelisteter Künstler, gute ägyptische/asiatische Maskenkeramik, montiert in dreifach mattiertem Rahmen, ca. 1920–2006
Rahmenmaße 20,25" x 24,25" x 2" tief. Die Zeit beträgt ca. 7,5" x 10,25". Sehr ungewöhnliches Stück von einem gut gelisteten Künstler. BIOGRAPHIE: Harris Strong wurde 1920 in Waukesha, Wisconsin, geboren. Seine Tante besaß eine Grußkartenfirma, und das beeinflusste ihn, Künstler zu werden. Er hatte auch eine ausgeprägte wissenschaftliche Neigung, weshalb er bei der „Konstruktion“ seiner Fliesen, die viele Innovationen aufwies, als Konkurrenten „Tortenplatten“ herstellten, in seinen eigenen abweisenden Werken akribisch vorging. Während des Krieges war er Kryptograph und arbeitete während des Zweiten Weltkriegs direkt unter General Douglas MacArthur. Anschließend studierte er Keramik* und die Chemie keramischer Glasuren an der North Carolina State University. Anschließend arbeitete er in Brooklyn, New York, bei Kelby Pottery. Später nahm sein eigenes Geschäft richtig Fahrt auf. Er hatte Ausstellungsräume in Chicago, New York und Tokio. Für das Waldorf-Astoria in York City schuf er ein 30 Fuß langes freistehendes Wandgemälde aus Keramikfliesen, das bis heute an Ort und Stelle bleibt. Ein Freund sagt, er sei der erste gewesen, der jemals Kunst auf einer Einrichtungsmesse gezeigt habe. Er liebte und sang Gilbert & Sullivan, sammelte Briefmarken und spielte Bridge. 1970 zog Strong nach Trenton, Maine, doch nachdem ein Brand seine über 20 Jahre entwickelten Glasuren zerstört hatte, verlagerte er seinen Schwerpunkt auf Drucke, Siebdrucke*, Holzschnitte*, Radierungen*, Gravuren*, Collagen* und Gemälde. Strong starb im Jahr 2006.
$385.00
Harry Morgan (1947-2008) Navajo Heavy stamped silver and Indian Mountain turquoise table box
Harry Morgan (1947-2008) Navajo Heavy stamped silver and Indian Mountain turquoise table box 3.5" tall x 2 7/8" wide x 301.7 grams with no issues. Circa 1980's. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is<br>stored in a secure location and cannot be accessed for more pictures, videos, or<br>measurements until sold. If you look at pictures/description your question<br>should be answered. Thank you so much for your time and consideration!<br><br>NUMEROUS award winner Navajo artist Harry Morgan (1947-2008) was a 5th<br>generation Navajo silversmith who'll always be remembered for his traditional<br>"Vintage Revival-Old Pawn" style jewelry that had these gleaming sterling<br>vintage looking darkened finishings that were made in a classic old style Navajo<br>design..The beauty he gave the sterling was so warm that it brought out the<br>metal's maximum luster..Harry once said "That's the way old style jewelry should<br>look," he said.. "When silver is all shined up it hides all of the intricate<br>detail in the stamp work and the bezels. This older style is what I grew up with<br>and what I love."<br><br>Although it was his mother who inspired him to create this style of jewelry that<br>had that old Navajo look,it was Harry however who was the 1st to bring this<br>style to the forefront of the industry..Paving the way for others like his<br>brother-in-law Kirk Smith who then followed in Harry's footsteps & with Kirk's<br>connection with other artists,they then followed in Kirk's footsteps. Now this<br>is the dominant style amongst most Navajo artists & you see this old pawn style<br>darkened finishing everywhere..Kirks name will always be associated with Harry's<br>& vise versa.<br><br>if you've ever wondered why most Navajo pieces have that old style look &<br>finishing where many of you can't tell if the piece is new or old anymore,it was<br>this man who we can give the credit to for bringing a style of jewelry that we<br>now see everywhere. He lived to see his jewelry being exhibited at the Heard<br>Museum a year before his death..<br><br>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.
$1,650.00
Harry Morgan (1947-2008) Navajo Heavy stamped silver and turquosie pin
Harry Morgan (1947-2008) Navajo Heavy stamped silver and turquosie pin<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is<br>stored in a secure location and cannot be accessed for more pictures, videos, or<br>measurements until sold. If you look at pictures/description your question<br>should be answered. Thank you so much for your time and consideration!<br><br>NUMEROUS award winner Navajo artist Harry Morgan (1947-2008) was a 5th<br>generation Navajo silversmith who'll always be remembered for his traditional<br>"Vintage Revival-Old Pawn" style jewelry that had these gleaming sterling<br>vintage looking darkened finishings that were made in a classic old style Navajo<br>design..The beauty he gave the sterling was so warm that it brought out the<br>metal's maximum luster..Harry once said "That's the way old style jewelry should<br>look," he said.. "When silver is all shined up it hides all of the intricate<br>detail in the stamp work and the bezels. This older style is what I grew up with<br>and what I love."<br><br>Although it was his mother who inspired him to create this style of jewelry that<br>had that old Navajo look,it was Harry however who was the 1st to bring this<br>style to the forefront of the industry..Paving the way for others like his<br>brother-in-law Kirk Smith who then followed in Harry's footsteps & with Kirk's<br>connection with other artists,they then followed in Kirk's footsteps. Now this<br>is the dominant style amongst most Navajo artists & you see this old pawn style<br>darkened finishing everywhere..Kirks name will always be associated with Harry's<br>& vise versa.<br><br>if you've ever wondered why most Navajo pieces have that old style look &<br>finishing where many of you can't tell if the piece is new or old anymore,it was<br>this man who we can give the credit to for bringing a style of jewelry that we<br>now see everywhere. He lived to see his jewelry being exhibited at the Heard<br>Museum a year before his death..<br><br>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.
$395.00
Haviland Martha Washington State Plate
Dies ist eine wunderschöne Reproduktion der tatsächlichen Teller, die für First Lady Martha Washington angefertigt wurden. Die Originale wurden der First Lady von der East India Trading Co. geschenkt. Dies ist von Haviland Limoges France. Es ist in einem guten gebrauchten Zustand mit ein paar kleinen Kratzern auf dem Gold. Diese Teller wurden in den 1950er und 1960er Jahren reproduziert. Der Durchmesser beträgt 8 5/8 Zoll. tw53
$50.00
Haviland Schleiger 842 Platte mit Rosen und Schleifen, doppeltes Gold, 16,75" x 11,25"
Haviland Roses Bows Double Gold 16,75" x 11,25" Platte Schleiger 842. Nahezu neuwertig, ohne Risse, Brocken, Restaurierungen oder Gebrauchsspuren. Sehr sauberes Gold, Größe in diesem Muster schwer zu finden. Seltener als die größere Größe.
$345.00
Hawkes Sterling Base Cut Glass Centerpiece Kompott
Hawkes Sterling Base Cut Glass Centerpiece Kompott. Schale aus geschliffenem Hawkes-Glas mit einer Urne und verschlungenen Blumen in einem Sockel aus Sterlingsilber mit der Aufschrift „Hawkes Sterling“, 12 1/2" breit und 6" hoch. HINWEIS: Ausgestellt im Wichita Art Museum, wo sich derzeit eine Dauerausstellung der Burnstein-Sammlung befindet. Alle Museums-ID-Tags können entfernt werden. PROVENIENZ: Sammlung Burnstein. Thomas Gibbons Hawkes, 1846 in der Grafschaft Cork, Irland, als Sohn einer prominenten Familie mit Glasmacher-Erbe geboren, wanderte 1863 in die Vereinigten Staaten aus. Seine Karriere begann als Vorarbeiter der Glasfabrik Hoare and Daily in Brooklyn, New York, wo er mit dem Unternehmen wechselte 1868 nach Corning, New York. In Corning angekommen, eröffnete er bald seine eigene Schneidewerkstatt, die 1890 als TG Hawkes & Company gegründet wurde. Dies folgte auf den Erfolg im Jahr zuvor, als Hawkes auf der Weltausstellung in Paris Anerkennung und den Hauptpreis gewann. Thomas Gibbons Hawkes Der europäische Geschmack für funkelndes geschliffenes Glas dieser Zeit wurde in den Vereinigten Staaten in der sogenannten Brilliant Cut Glass-Periode nachgeahmt. Über 1.000 Schneidebetriebe wurden gegründet, um die Nachfrage zu befriedigen, und TG Hawkes & Company florierte. Das Unternehmen war 82 Jahre lang in Betrieb.
$450.00
Hawkes Twist Cut Kristallweinkelche (10) 5 5/16"
Hawkes Twist Cut Crystal Weinkelche (10) 5 5/16". Verkaufe alle 10 hochwertigen amerikanischen Kristalle im Antikschliff. Einer hat einen Chip am Fuß, er befindet sich vorne rechts auf den Bildern, der Chip könnte herauspoliert werden. Kein anderer Chips oder Risse, wunderschönes seltenes Art-Deco-Muster von einer wichtigen amerikanischen Glasfirma. TW164 Thomas Gibbons Hawkes, 1846 in der Grafschaft Cork, Irland, als Sohn einer prominenten Familie mit Glasmacher-Erbe geboren, wanderte 1863 in die Vereinigten Staaten aus. Seine Karriere begann als Vorarbeiter der Glasfabrik Hoare and Daily in Brooklyn, New York, wo er mit dem Unternehmen wechselte 1868 nach Corning, New York. In Corning angekommen, eröffnete er bald seine eigene Schneidewerkstatt, die 1890 als TG Hawkes & Company gegründet wurde. Dies folgte auf den Erfolg im Jahr zuvor, als Hawkes auf der Weltausstellung in Paris Anerkennung und den Hauptpreis gewann. Thomas Gibbons Hawkes Der europäische Geschmack für funkelndes geschliffenes Glas dieser Zeit wurde in den Vereinigten Staaten in der sogenannten Brilliant Cut Glass-Periode nachgeahmt. Über 1.000 Schneidebetriebe wurden gegründet, um die Nachfrage zu befriedigen, und TG Hawkes & Company florierte. Das Unternehmen war 82 Jahre lang in Betrieb.
$495.00
Schweres 6,75" mexikanisches Sterling-Charm-Armband
Schweres 6,75-Zoll-Charm-Armband aus mexikanischem Sterlingsilber. Schönes Vintage-Armband aus den 60er oder 70er Jahren ohne Probleme oder Beschädigungen. Alle Charms sind aus 925er oder 950er Silber, mit Ausnahme der Münze, die meiner Meinung nach zu 72 % aus Silber besteht. Ich konnte keine Markierung darauf finden Der filigrane Würfel ist aber Sterlingsilber und von sehr hoher Qualität. 88 Gramm Gesamtgewicht.
$250.00
Schwere antike Repousse-Box aus 900er Silber
Schwere antike Repousse-Box aus 900er Silber. Sehr dickes, massives 90 %-Silber, schwer für seine Größe. 3,25" x 1,5" x 163,5 Gramm ohne Probleme.
$404.00
Schweres ATI Modernist Manschettenarmband aus mexikanischem Sterlingsilber
Schweres ATI Modernist-Manschettenarmband aus mexikanischem Sterlingsilber ohne Probleme.
$195.00
Schwere goldene Alka Kunst Egyptian Revival Espressotasse und Untertasse
Schwere goldene Alka Kunst Egyptian Revival Espressotasse und Untertasse. Sehr hochwertiges dickes Gold, tolles Design. 4,25" breite Untertasse, kleinere Schranktasse oder Espresso für die anspruchsvollsten Menschen. Keine Schäden oder Abnutzung. isshelf
$110.00
Heavy Los Ballesteros Modernist sterling silver collar necklace
Heavy Los Ballesteros Modernist sterling silver collar necklace. 15" inside circumference.<br><br>Los Ballesteros Jewelry - History<br>This business was established in 1937 by Jalil Majul Ballesteros in Iguala,<br>Mexico. He had been apprenticed in the art of silversmithing by his grandfather<br>and father, and early on, he made jewelry with a filigree look. In 1941 he moved<br>his workshop to Taxco and adopted styles that were more in line with the tourist<br>pieces produced there.<br><br>During the 1950s, piecework was farmed out to smaller family workshops in the<br>Taxco area, and the pieces were marked Talleres de los Ballesteros. These pieces<br>were sold in shops throughout the country, including Mexico City and Acapulco.<br>The company also began exporting jewelry in 1952.<br><br>A modernized corporate version of Los Ballesteros continues to sell its<br>products, both jewelry, and decorative giftware, through stores in Mexico as<br>well as through other vendors worldwide. The company’s commitment to quality in<br>honor of their heritage is strong, and they are still using the traditional<br>Talleres de los Ballesteros stylized B logo in their branding.<br><br>anderas
$450.00
Schwere, modernistische Monteros-Halskette aus mexikanischem Sterlingsilber und Onyx
Schwere, modernistische Monteros-Halskette aus mexikanischem Sterlingsilber und Onyx, 175,6 Gramm. Chip am linken Stein, dezente Reparatur am zweiten Stein rechts. Ca. 14,5" Innenumfang.
$565.00
Schweres Manschettenarmband aus Sterlingsilber mit Inlay-Inlay aus mehreren indianischen Ureinwohnern in der Mitte
Schweres Manschettenarmband aus Sterlingsilber mit Inlay-Inlay aus mehreren indianischen Ureinwohnern in der Mitte. PB- oder RB-Punze in der Mitte, keine Silbermarkierung, getestet und garantiert, dass es mindestens aus Münzsilber besteht (90 %), keine nennenswerten Probleme mit der Manschette.
$750.00
Schwerer Obsidian-Sterling-Rosenquarz-Ring
Schwerer Obsidian-Sterling-Rosenquarz-Ring. Sehr cooler und robuster Ring ohne Probleme. anderas
$95.00
Schwerer 17" mexikanischer Retro-Halsband aus Sterlingsilber
Schwerer 17" mexikanischer Retro-Halsreif aus Sterlingsilber, 200,6 Gramm, ohne Probleme.
$495.00
Schweres byzantinisches Sterling-Armband im Retro-Stil
Schweres byzantinisches Sterling-Armband im Retro-Stil. Neuer, ungetragener Artikel aus einem Juweliergeschäft, das Anfang der 2000er Jahre geschlossen wurde. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher.
$165.00
Schweres mehrreihiges Retro-Armband aus byzantinischem Sterlingsilber
Schweres mehrreihiges Retro-Armband aus byzantinischem Sterlingsilber. Neuer, ungetragener Artikel aus einem Juweliergeschäft, das Anfang der 2000er Jahre geschlossen wurde. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher.
$195.00
Schweres mehrsträngiges Retro-Armband aus byzantinischem Sterlingsilber
Schweres mehrsträngiges Retro-Armband aus byzantinischem Sterlingsilber. Neuer, ungetragener Artikel aus einem Juweliergeschäft, das Anfang der 2000er Jahre geschlossen wurde. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher.
$185.00
Schweres mehrreihiges Retro-Armband aus byzantinischem Sterlingsilber
Schweres mehrreihiges Retro-Armband aus byzantinischem Sterlingsilber. Neuer, ungetragener Artikel aus einem Juweliergeschäft, das Anfang der 2000er Jahre geschlossen wurde. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher.
$195.00
Schwere Retro-Halskette aus mexikanischem Sterlingsilber und Obsidian
Schwere Retro-Halskette aus mexikanischem Sterlingsilber und Obsidian. 17" lang x 20 mm breit x 136,8 Gramm ohne Probleme. Alle Edelmetalle werden geprüft und garantiert. Jeder als Silber oder Sterling bezeichnete Schmuck der amerikanischen Ureinwohner besteht garantiert zu mindestens 90 % (Münz-)Silber und möglicherweise zu einem höheren Gehalt. Alles, was markiert ist, ist garantiert das, was markiert ist. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe. Bei Armbändern wird der Innenumfang angezeigt, wenn das Maß nicht in der Beschreibung angegeben ist wo das Metall auf die Zahl auf dem Maßband trifft.
$395.00
Schwere Retro-Halskette aus mexikanischem Sterlingsilber
Schwere mexikanische Sterling-Kragenhalskette im Retro-Stil, 18 Zoll lang, 166 Gramm, ohne Probleme. Sehr massive Halskette in coolem Design. anderas
$495.00
Schwere mexikanische Sterling-Fisch-Halskette und Ohrringe im Retro-Stil
Schwere mexikanische Sterling-Fisch-Halskette und Ohrringe im Retro-Stil. Verkaufe das abgebildete Set ohne Probleme. 17,5" lange Halskette, 1,75" lange Ohrringe. 89 Gramm Gesamtgewicht. anderas
$295.00
Set aus schwerer Halskette und Armband im Retro-Sterling-Spratling-DNA-Ball-Stil
Set aus schwerer Halskette und Armband im Retro-Sterling-Spratling-DNA-Ball-Stil. Jedes mit 925 gekennzeichnet, ohne weitere erkennbare Markierungen, wahrscheinlich mexikanisches Silber nach einem Entwurf von William Spratling. Vermutlich aus dem letzten Viertel des 20. Jahrhunderts. 20-Zoll-Halskette, 9,5-Zoll-Armband, insgesamt 215,7 Gramm.
$545.00
Schwere Retro-Sterling-Weizenkette mit Mabe-Perlen und Granaten
Schwere Retro-Sterling-Weizenkette mit Mabe-Perle und Granaten, 16 Zoll lang und 7 mm breit. 85 Gramm ohne Probleme. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher. anderas
$265.00
Schwerer Retro-Gürtel aus Taxco-Sterlingsilber
Schwerer Retro-Gürtel aus Taxco-Sterlingsilber. 44" maximale Länge, 5/8" Breite an der höchsten Stelle, extrem gut gefertigter Gürtel mit viel Silber, handgefertigt im letzten Viertel des 20. Jahrhunderts, als geschickte Handwerker mit mehr Zeit als Geld es sich leisten konnten, so etwas herzustellen. Silber ist jetzt viel teurer, und zusammen mit dem Arbeitsaufwand wäre ein Stück wie dieses unerschwinglich, außer für große High-End-Designer, die für etwas dieser Qualität einen Arm und ein Bein verlangen würden. Es verfügt über einen Haken an beiden Enden, sodass es auf jede Größe unter 44 Zoll eingestellt werden kann. Es kann auch als Dreifach-Halskette getragen werden oder was auch immer Ihr Herz begehrt, 234 Gramm Gesamtgewicht.
$575.00
Schweres, geprägtes Begay-Sterling-Türkis-Navajo-Manschettenarmband
Schweres, geprägtes Begay-Sterling-Türkis-Navajo-Manschettenarmband. Keine Probleme oder Schäden 6,75 Zoll, einschließlich des leicht verstellbaren Spalts von 1 1/8 Zoll. 0,5 Zoll breit, 43,2 Gramm
$434.00
Heavy Sterling Belt buckle Gunfight at the OK Corral 100 Anniversary
Heavy Sterling Belt buckle Gunfight at the OK Corral 100 Anniversary, solid sterling with no issues.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<br>pictures, videos, or measurements until sold. If you look at<br>pictures/description your question should be answered. Thank you so much for<br>your time and consideration!<br><br>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.
$395.00
Schweres, mit Kobalt ausgekleidetes Salz- und Pfefferset aus Sterlingsilber
Schweres, mit Kobalt ausgekleidetes Salz- und Pfefferset aus Sterlingsilber. Verkaufe zwei Salze und zwei Paprika, sehr schweres, dickes Sterlingsilber ohne Dellen oder Biegungen, ohne tiefe Kratzer. Ein Kobalteinsatz mit den kleinsten Chiggerbissen, der andere ohne Beschädigung, aber ich konnte ihn nicht herausbekommen. Gesamtgewicht ca. 300 Gramm für die 4 Teile ohne Kobalt-Liner. Silberschublade
$475.00
Schwerer Michael Dawkins-Halsreif aus Sterlingsilber mit Mabe-Perlenanhänger
Schwerer Michael Dawkins-Halsreif aus Sterlingsilber mit Mabe-Perlenanhänger. 16,5" lang ohne Probleme. 106,4 Gramm.
$295.00
Heavy Vintage Native American silver belt buckle with nice turquoise
Heavy Vintage Native American silver belt buckle with nice turquoise. Weight and measurements in pics.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,<br>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!<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. Bracelets are photographed on a 6" women's wrist.
$695.00
Heavy vintage Native American sterling feather necklace
Heavy vintage Native American sterling feather necklace. 26" long necklace, other measurements in pics. Very well made and substantial piece. Heavy gauge solid sterling silver, unmarked.
$795.00
Schweres Vintage Shadowbox-Manschettenarmband aus Sterlingsilber der amerikanischen Ureinwohner
Schweres Vintage Shadowbox-Manschettenarmband aus Sterlingsilber der amerikanischen Ureinwohner. Ungestempeltes geprüftes Sterling. Sauber, mit wenig Gebrauchsspuren und ohne Probleme.
$265.00
Schwere Vintage Sterling Blumenbrosche
Schwere Vintage Sterling Blumenbrosche 2 3/8" 31,3 Gramm.
$95.00
Schweres Vintage Zuni Channel Inlay Manschettenarmband
Schweres Vintage Zuni Channel Inlay Manschettenarmband. Sehr gut gefertigte Manschette mit Natursteinen und Muscheln, die Steine sind sehr sicher, es gibt einige offene Kanäle, die meiner Meinung nach vom Handwerker absichtlich offen gelassen wurden, als er die Manschette anfertigte, um ihr Charakter zu verleihen, Sie entscheiden selbst. 1 1/8" breit, passt bis zu einem 7 3/8" Handgelenk, 1,5" Spalt. 124,7 Gramm. Alle Edelmetalle werden geprüft und garantiert. Jeder als Silber oder Sterling bezeichnete Schmuck der amerikanischen Ureinwohner besteht garantiert zu mindestens 90 % (Münz-)Silber und möglicherweise zu einem höheren Gehalt. Alles, was markiert ist, ist garantiert das, was markiert ist. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe. Bei Armbändern wird der Innenumfang angezeigt, wenn das Maß nicht in der Beschreibung angegeben ist wo das Metall auf die Zahl auf dem Maßband trifft.
$550.00
Hector Aguilar Taller Borda Sterlingsilber-Armband im Azteken-Stil
Taller Borda Hector Aguilar Shop Armband im Azteken-Stil aus Sterlingsilber, passt problemlos an Handgelenke mit einem Umfang von bis zu 7 Zoll. 59,3 Gramm. Hergestellt im Shop von Hector Aguilar, Taller Borda. Wer war Silberschmied Hector Aguilar? Hector Aguilar war Silberschmied und Schmuckmachermeister und der erste Absolvent von William Spratlings berühmter Ausbildung in Taxco, Mexiko. Er lernte Spratling fast zufällig kennen, als er in den 1930er Jahren eine Menge Touristen aus Mexiko-Stadt nach Taxco brachte. Aguilar war einer von Spratlings besten Schülern, der oft mit nahezu reinem Silber arbeitete (auf der Silberskala mit 980 statt 925 für Sterlingsilber bewertet). Aguilar war auch ein großartiger Geschäftsmann, der nur drei Jahre in Spratlings Werkstatt blieb, bevor er Investoren für seine eigene Werkstatt, Taller Borda, fand. Aguilars Taller Borda wurde 1943 ein großer Erfolg, als sie einen Vertrag mit der amerikanischen Schmuckfirma Coro erhielten. Sie produzierten in den 1940er Jahren mehrere bemerkenswerte Designs für Coro. Hector führte Taller Borda bis 1966 weiter, als er sein Geschäft schloss und fast 20 Jahre lang in den Ruhestand ging. Sein Platz am Firmament der großen mexikanischen Silberschmiede war bereits gesichert. Welche Art von Kunst hat Hector Aguilar geschaffen? Hector Aguilar war ein Silberschmied, Schmuckdesigner und Künstler, dessen Arbeit in den 1940er und 1950er Jahren dazu beitrug, mexikanisches Silber bekannt zu machen. Die Stücke seiner Werkstatt für den Einzelhändler Coro waren maßgeblich an diesem Unterfangen beteiligt. Diese Beziehung dauerte fast ein Jahrzehnt und brachte einige der bedeutendsten Werke Aguilars hervor. Wie bei den meisten mexikanischen Silberschmieden dieser Zeit waren diese Entwürfe stark von präkolumbianischen Artefakten und der Volkskunst Mesoamerikas inspiriert. Aguilars Arbeit entwickelte sich in den nächsten Jahrzehnten immer weiter und steigerte die Qualität seiner Stücke, bei denen oft viel mehr reines Silber verwendet wurde als bei seinen Konkurrenten. Heutzutage ist Aguilars Schmuck aufgrund seiner Beherrschung des Silberschmiedehandwerks und seines extrem hohen Silbergehalts sehr gefragt. Wie begann der Silberschmied Hector Aguilar? Hector Aguilar wurde 1905 in Mexiko-Stadt geboren. Über seine frühen Jahre ist nicht viel bekannt, aber eine zufällige Begegnung mit William Spratling in den frühen 1930er Jahren brachte ihn auf eine Karriere als Silberschmied, die sich über drei Jahrzehnte erstrecken sollte. Aguilar brachte Touristen aus Mexiko-Stadt in die kleine Stadt Taxco, einen Ort, an dem Spratling, wie es das Schicksal wollte, auch seine Silberwerkstatt eröffnete. Aguilar arbeitete mehrere Jahre als Ladenleiter für Spratling und machte gleichzeitig eine Lehre als Silberschmied. Nach drei Jahren verließ Aguilar das Unternehmen, um seine eigene Werkstatt, Taller Borda, zu eröffnen. Diese Werkstatt schuf bis zu ihrer Schließung im Jahr 1966 unzählige wunderschöne Stücke von ungebrochener Qualität.
$650.00
Hector Aguilar Taxco 940 silver 3d Dogwood flower pin
Hector Aguilar Taxco 940 silver 3d Dogwood flower pin 3.5" x 1.25" x 21.2 grams, no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$375.00
Hector Aguilar Taxco 940 silver 3d flower pin with leaves
Hector Aguilar Taxco 940 silver 3d Floral pin. 2.75", 39 grams with no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$495.00
Hector Aguilar Taxco 940 silver 3d orchid pin
Hector Aguilar Taxco 940 silver 3d Floral pin. 3.75" x 3" x 26 grams with no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$275.00
Hector Aguilar Taxco 940 silver Dress clip and Orchid lily pin
Hector Aguilar Taxco 940 silver Dress clip and Orchid lily pin. Selling both, the orchid or lily is 2.25" x 2", dress clip 3" x 2 1/8", total weight for both 34.9 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$395.00
Hector Aguilar Taxco 940 silver large botanical pin
Hector Aguilar Taxco 940 silver large botanical pin 5 1/8" x 2" x 23.1 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$375.00
Hector Aguilar Taxco 940 silver Orchid and botanical pins
Hector Aguilar Taxco 940 silver Orchid and botanical pins. Selling both, the orchid or lily is 2.25" x 2", The solid leaf pin is 2.75" x 2 3/8", total weight for both 37 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$395.00
Hector Aguilar Taxco 940 silver ploral pin #1
Hector Aguilar Taxco 940 silver ploral pin #1 3 1/8" x 2.5" x 24 grams.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$295.00
Hector Aguilar Taxco 940 silver ploral pin #2
Hector Aguilar Taxco 940 silver ploral pin #2 3 5/8" x 2" x 15.7 grams.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$245.00
Hector Aguilar Taxco Mid Century Modernist 940 silver screw back earrings
Hector Aguilar Taxco Mid Century Modernist sterling silver screw back earrings. Selling the earrings shown with no issues. Hector Aguilar was a master silversmith, jewelry maker, and the first graduate from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$235.00
Hector Aguilar Taxco Mid Century Modernist sterling silver screw back earrings
Hector Aguilar Taxco Mid Century Modernist sterling silver screw back earrings. Selling the earrings shown with no issues. Hector Aguilar was a master silversmith, jewelry maker, and the first graduate from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.
$185.00
Helen & Lincoln Zunie Horse channel inlay sterling ranger belt buckle set
Helen & Lincoln Zunie Horse channel inlay sterling ranger belt buckle set<br><br>Helen and Lincoln Zunie began their jewelry career in the 1950's. They are best known for their exquisite channel inlay jewelry of animals, such as horses and cattle. This Vintage Ranger buckle set is inlaid with natural turquoise, Shell, Coral, and Jet. The reigns are of silver with fine silver twist wire framing the buckle. A wonderful patina graces the entire piece. Hallmarked H - L ZUNIE.<br><br>The buckle measures 3.75" long by 2 1/8" wide. The keepers are 7/8” wide and the tip is 3/4” by 1 3/8” long. The buckle will take a 3/4" belt. The belt that it is on is 1 1/8" but tapers down to 3/4". The belt it is on is a size 38 and very clean. I'm selling the buckle and giving you the belt for free, if it works for you then great. <br><br>The late lapidary legends Helen and Lincoln Zunie were a collaborative couple of Zuni artisans who were prolific in their creation of incredibly intricate inlay pieces. Most of their work utilizes stones of turquoise, shell, mother of pearl, and black onyx, in conjunction with sterling silver to create images of Hereford bulls and horse profiles that marry their talent and technique with the Western vibe that was all the rage during the mid 20th Century, their peak of production.<br><br>Lincoln Zunie (1938-1983, Zuni). Active 1960s-1970s. Channel inlay; figural inlay, often horse or cow motifs. Father of Patty Zunie Edaakie. Brother of Joe and William Zunie. Lincoln Zunie shared the stamp with his wife Helen Zunie (d). <br><br>Mark: H-L ZUNIE<br><br>Helen Zunie (? - 2008; Zuni). Active 1960s - 1970s. Channel inlay, figural inlay, often horse or cow motifs. Helen Zunie shared the stamp with her husband, Lincoln Zunie.<br><br>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,<br>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. Bracelets are photographed on a 6" women's wrist.
$1,750.00
Helen Naha (1922-1993) Federfrau Hopi Pueblo Spinnenclan Ladle
Helen Naha (1922-1993) Federfrau Hopi Pueblo Spinnenclan Ladle. 6,5" lang x 4 1/16" breit, ohne Beschädigung oder erkennbare Abnutzung. Auf dem Sockel sind einige Zahlen eingraviert, deren Bedeutung ich nicht sicher bin. Sie sehen aus wie Inventarnummern einer Museumssammlung, könnten aber ausgebessert werden, wenn sie aus irgendeinem Grund ablenken würden. Helen Naha (1922–1993) Feather Woman war Mitglied des Spider Clans in Hopi Pueblo, Arizona. Sie war die Schwiegertochter von Paqua Naha (der ersten Froschfrau). Sie war mit Paquas Sohn Archie verheiratet. Zunächst folgte sie dem Stil ihrer Schwiegermutter und ihrer Schwägerin Joy Navasie. Schließlich entwickelte sie ihren eigenen unverwechselbaren Stil, indem sie schwarze und rote Farbe auf einem weißen Untergrund verwendete, um kühne Designs zu kreieren. Oft nahm sie sich die Mühe und Zeit, sowohl das Innere als auch das Äußere einer Schüssel zu polieren. Ihre beiden Töchter Sylvia und Rainy sowie ihre Enkelin Tyra Naha sind in ihre Fußstapfen getreten. tw250
$804.00
Hemerson Brown Navajo Sterling Royston/Dornröschen Türkis Manschettenarmband
Hemerson Brown Navajo Sterling Royston/Dornröschen Türkis Manschettenarmband. Große und schwere Manschette mit hochwertigen Steinen. Hemerson Brown ist ein sehr erfahrener zeitgenössischer Navajo-Silberschmied, wie hier gezeigt. Keine Probleme, scheint ungetragen zu sein. Der Navajo-Künstler Hemerson Brown hat eine Art, Schmuckstücke herzustellen, die man einfach besitzen möchte. Seine Arbeit ist definitiv nicht subtil, seine kühnen Designs erwecken Silber und Stein zum Leben. Alle Edelmetalle werden geprüft und garantiert. Jeder als Silber oder Sterling bezeichnete Schmuck der amerikanischen Ureinwohner besteht garantiert zu mindestens 90 % (Münz-)Silber und möglicherweise zu einem höheren Gehalt. Alles, was markiert ist, ist garantiert das, was markiert ist. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe. Bei Armbändern wird der Innenumfang angezeigt, wenn das Maß nicht in der Beschreibung angegeben ist wo das Metall auf die Zahl auf dem Maßband trifft.
$1,895.00
Henry Jewett Greene (1879-1970) 1946 Green Top Pottery Petersham, Massachusetts
1946 Green Top Pottery Petersham Massachusetts Henry Jewett Greene (1879-1970). 8" breit x 2,25" hoch ohne Risse, Chips, Restaurierungen, Kratzer oder Haarrisse. Es ist am Fußrand hjg 46 eingeschnitten. Henry und seine Frau Bertha Elizabeth Auracher heirateten am 23. Oktober 1907 in Lissabon, Iowa. Henry und Bertha waren Autodidakten im Töpfern. Als Henry aktiv war, hielt er Vorträge mit dem Titel „Die Verlockung der Töpferei“, in denen er über seine Weltreisen in andere Länder sprach, um etwas über das Medium der Töpferherstellung zu lernen. In diesen Vorträgen besprach er ausführlich die Besuche einiger wichtiger chinesischer Öfen, in denen einige der besten Töpferwaren der Welt hergestellt wurden. Zu diesen Vorträgen gehörte in der Regel auch eine Demonstration von Henry am Steuer. 1938 stellten sie bei den Syracuse Ceramic Nationals aus. Henrys Arbeiten befinden sich in der Kunstsammlung des University of Michigan Museum of Art. tw238
$275.00
Henry Steig (1906-1973) sterling pins (2)
Henry Steig (1906-1973) sterling pins (2). Selling both one of a kind pins, both<br>signed, one stamped, one by hand. Part of a significant collection of Henry<br>Steig Jewelry purchased directly from him in the 50's-60's that I'm lucky enough<br>to be able to offer. Largest 3" x 1 1/8", other 2" x 1.25"...Both seem to<br>possibly represent human forms. 38.6 grams total.<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>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."
$875.00
Henry Steig (1906-1973) Mid Century Modernist sterling pins (2)
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."
$750.00
Henry Steig (1906-1973) Modernist sterling freeform pin and screw back earrings
Henry Steig (1906-1973) Modernist sterling freeform pin and screw back earrings<br>set 2 5/8" x 2 1/8", earrings 1". 14 grams total weight.<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."
$345.00
Henry Steig (1906-1973) Modernist sterling freeform Screw back earrings (3) pair
Henry Steig (1906-1973) Modernist sterling freeform Screw back earrings (3)<br>pair. Selling the 3 pairs shown, largest 1.25" long, 19.7 grams total.<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."
$395.00
Henryk Winogard 999 Silver Icon pendant
Henryk Winogard 999 Silver Icon pendant. Weight and measurements in pics, no issues.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, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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.
$325.00
Herbert und Veronica Thompson Navajo Sterling Multi-Stone Channel Inlay-Anhänger.
Herbert und Veronica Thompson Navajo Sterling Multi-Stone Channel Inlay-Anhänger. 21,5 Gramm 2 7/8" hoch x 15/16" breit. Kein Schaden, wenig bis gar kein Verschleiß. Herb und Veronica Thompson Herb ist ein reinrassiger Navajo (Dineh) und wurde in Shiprock, New Mexico, geboren und wuchs dort auf. Er wurde in den Redhouse-Clan (Kinlichiini) für den Bitter Water-Clan (Tohdichiini) hineingeboren. Veronica ist ebenfalls eine Vollblut-Navajo (Dineh), wurde in Tuba City, Arizona, geboren und wuchs dort auf. Sie wurde in den Salt (Ashiihi)-Clan des Tsinajinnie-Clans hineingeboren und besuchte dort die Schule, bis sie auf die Intermountain Indian High School wechselte in Brigham City, Utah, wo Herb zufällig auch von Shiprock zur Intermountain High School wechselte. Dies führte zu Liebe und Ehe. Im August waren sie 45 Jahre verheiratet. Herb und seine Familie leben derzeit etwas außerhalb von Farmington, New Mexico, in einer kleinen Gemeinde namens Kirtland. Sie haben vier herausragende Kinder, zwei junge Männer und zwei wunderschöne Töchter. Der Älteste Aaron, Eric, Letitia und die Jüngste Nicole. Sie haben elf Enkel und zwei Urenkel, Amari und Araceli. Herb und Veronica sind angesehene Mitglieder der Gemeinschaft und sehr großzügige Menschen. Herb ist Teil des Teams, das die jurierte Kunstausstellung „The Totah Festival“ in Farmington zusammengestellt hat. Es ist ein großer Anziehungspunkt und viele hervorragende Künstler sind anwesend. Herb achtet darauf, dass die dort ausgestellten Arbeiten authentisch und handgefertigt sind. Sein Wissen über Steine und Metalle genießt großes Ansehen. Eine seiner großen Freuden ist es, dieses Wissen mit den Menschen zu teilen, die seinen Schmuck kaufen. Sie sind ehemalige Mitglieder der Indian Arts & Crafts Association aus Albuquerque, New Mexico und der American Indian Guild aus Fresno, Kalifornien. Sowohl Herb als auch Veronica sind autodidaktische Künstler. Sie tun dies seit 32 Jahren. Es begann als Teilzeitbetrieb. Herb begann als Silberschmied zwischen Bau- und Ölfeld-LKW-Fahrjobs. Sie griffen auf ihren Schmuck zurück, bis sich ein anderer Job ergab. Schließlich nahm ein Freund der Familie und bekannter Künstler, Mark Silversmith, Herb mit zu einer Kunstausstellung. Er erkannte die Qualität von Herbs Arbeit. Nach einer Stunde verkaufte Herb alle Bolo-Krawatten, die er bei sich hatte, und damit begann der Prozess, der das Schmuckgeschäft zu einem erfolgreichen Vollzeitunternehmen machte. Mittlerweile besuchen die Thompsons mindestens eine große Kunstausstellung pro Monat und werden überall anerkannt. Sie erhalten regelmäßig Einladungen, ihren Schmuck im ganzen Land zu verkaufen. Im Sommer zeigen und verkaufen sie ihre Kunstwerke im Four Corners Monument, wo sie Menschen aus der ganzen Welt treffen. Im Winter besuchen sie verschiedene jurierte Kunstausstellungen. Herb beschloss, es mit der Silberschmiedekunst zu versuchen, nachdem er von seiner Mutter erfahren hatte, dass sein Großvater im späten 18. und frühen 20. Jahrhundert Schmuck herstellte, um seine Familie zu ernähren. Herb hat seinen Großvater nie kennengelernt, aber er sagte sich und seiner Familie, dass er die Silberschmiedekunst und das Schmuckgeschäft weiterführen würde.
$175.00
Herbert Begay Sterling and Skyhorse turquoise bolo tie
Herbert Begay Sterling and Skyhorse turquoise bolo tie 40" long. Slide and tips solid sterling. Other measurements and weight in pics. No issues. 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,<br>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!<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. Bracelets are photographed on a 6" women‘s wrist.
$175.00
Herend Albino Rabbits Figur
Herend Albino Rabbits Figur. 2,25" hoch und breit, ohne Beschädigung oder Abnutzung. Feigenregal
$90.00
Herend Fortuna Candleabra Rost Schmetterlinge Chinoiserie Muster Vergoldung Pfirsich Rand 19151 vboh
Herend Fortuna Candleabra Rost Schmetterlinge Chinoiserie Muster Vergoldung Pfirsich Rand 19151 vboh 9" hoch x 6" breit Nahezu neuwertig, kaum gebraucht, wenn überhaupt. Keine Risse, Chips, Goldabrieb oder Gebrauchsspuren. Alles handgemacht und handverziert.
$245.00
