Meissen Rose Pink Chamberstick und Carl Thieme Dresden Schmuckschale. Verkaufe beide Teile ohne Beschädigung zum gleichen Preis. Meissen hat zwei durchgehende Markierungen, aber ich kann keine Mängel feststellen. Chamberstick ist 2,5" hoch, Blatt ist 4". Beide handbemalt, hochwertig. B61

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Meissen Rose Pink Bone Dish Gold Trim Mint 8" (mehrere verfügbar) Verkaufe einen mit mehreren verfügbaren, alle ohne Risse, Chips, Kratzer, Haarrisse, Flecken, Mängel oder Goldabnutzung.

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Große ovale Terrine aus Meissen mit rosafarbenem Goldrand, 14,75" x 11" hoch. Keine Risse, Chips, Kratzer, Haarrisse, Flecken, Mängel oder Goldabrieb.

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Meissener Suppenschüssel mit rosafarbenem Goldrand, 9 3/8 Zoll, neuwertig (mehrere verfügbar). Verkaufe eine mit mehreren verfügbaren, alle ohne Risse, Chips, Kratzer, Haarrisse, Flecken, Mängel oder Goldabrieb.

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Meka Denmark Red Enamel gilt sterling silver 6.5" bracelet 15" Choker necklace with clip on earrings. No detectable damage to enamel or clasps. Overall good condition with no issues. Strong springs on clip-on earrings.

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Mel Benally Navajo Sterling Opal und Charoite-Kanal-Inlay-Ohrringe 2,25" lang mit Haken x 0,5" breit ohne Probleme 8,9 Gramm. Mel Benally ist 28 Jahre alt alter Navajo-Juwelier aus Gallup, New Mexico. Er war in die Silberschmiedekunst eingeführt von seinem älteren Bruder, als er war 17. Er genoss es, Kunst zu schaffen durch Metall und lernte bald andere Techniken anzuwenden, wie z Intarsien und Arbeiten mit Gold. Er verwendet den Stil „Fuzzing“ wo er Silber lötet sah Staub, um ihm eine raue Textur zu verleihen. Mel liebt es, Schmuck herzustellen andere werden es genießen und können mit ihren Freunden teilen.!

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Melesio Villareal Taxco Vintage Sterling silver Necklace, Bracelet, and earrings. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No issues whatsoever, very clean set. 8" bracelet, approx 17" necklace.

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Melvin Francis Navajo Sugilite Sterling Dragonfly pin. No issues, weight and measurements in pics.

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Elgin Electronic 105 für Herren aus den 1960er Jahren mit Kalenderband. Sehr coole und einzigartige Uhr, ca. 37 mm Gehäuse, ungetestet. Guter Zustand, benötigt wahrscheinlich nur eine Batterie. Das Junghans-Uhrwerk entstand um 1967 und war das erste deutsche Transistor-Uhrwerk.

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Metall-/Bronze-Medaillon-Sammlung Cowtown Warriors US/Australian Mateship, Bush Cheney. Dies ist aus dem Nachlass des US-Diplomaten Penne Korth Peacock. Verkaufe die abgebildete Sammlung, etwas Bronze, einige andere Metalle, unten rechts ist Kunststoff. Penny ist im zweiten Bild für den Maßstab abgebildet. Bausatzregal

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Mexican modernist sterling silver cat pin/brooch . Weight and measurements in pics, all solid sterling.

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Mexican Plateado Silver Wobbling flamingo on Onyx ball. cool vintage piece tilts back and forth, side to side, front and back. It was sold to me as sterling but I believe it plate.3" tall x 2" long. tw199

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Mexikanische Sterling-Traube-Halskette und Ring-Set. Keine Probleme, der verstellbare Ring passt bequem in die meisten Größen, im Moment ist er etwa 8, ohne sich zu dehnen oder zu verkleinern. Die Halskette ist ca. 45 cm lang. Beide Sterlingsilber sind markiert und geprüft. Insgesamt 58,3 Gramm

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Mexikanische Schmuckschatulle aus Sterlingsilber. 21,3 Gramm, keine Schäden oder Probleme. Schmuckschublade

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Michael Horse-Yaqui 14k gold, corn row turquoise/coral bull skull pendant . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold (acid tests strong at 14k gold, it‘s higher than 14k) with weight and measurements in pictures. 20" leather and 14k gold necklace. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Horse-Yaqui 14k gold, diamond, emerald, ruby, sterling silver necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold 24" long necklace, solid 14k gold top plate on pendant overlaid on top of sterling silver backplate, solid 14k gold bezels for feathers with sterling silver back plate. Weight and measurements in pictures. Natural Diamond, Emerald, and Ruby. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Horse-Yaqui 14k gold, sugilite, coral yei pendant/necklace . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. 18" necklace. Necklace marked 14k, original to this piece and made by Michael Horse. There was another silver pieces in this collection with a silver necklace of similar construction made by the same artist. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Horse-Yaqui natural Opal, diamond, 14k gold kachina figural pendant . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Natural opal, natural diamond. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Horse-Yaqui Sterling silver coral/turquoise Kachina pendant necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid sterling silver with weight and measurements in pictures. High grade turquoise, sugilite and a few different types of high grade coral. This necklace though not signed by the artist was made by him. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

Lesen Sie Mehr Weniger

Michael Horse-Yaqui Sterling silver inlay Kachina pendant beaded necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Turquoise, sugilite and a few different types of high grade coral. This necklace though not signed by the artist was made by him. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

Lesen Sie Mehr Weniger

Michael Horse-Yaqui Sterling silver intarsia inlay Kachina pendant/necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Turquoise, sugilite and many other high grade stones. This necklace though not signed by the artist was made by him. I have a gold one of similar construction from the same collection holding a Michael Horse gold pendant. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

Lesen Sie Mehr Weniger

Michael Horse-Yaqui Indicolite Tourmaline, diamond, 14k gold kachina pendant necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Natural Indicolite Tourmaline, natural diamond. 20" long necklace Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Sockyma Hopi Overlay bolo tie sterling bear paw 43" long, weight and measurements in pics, solid sterling. Hopi artist Michael Sockyma Sr. Michael is from the Hopi village of Hotevilla. He learned the art of overlay at Hopicraft and later worked for them. He is a member of the Corn clan and his hallmark is a corn plant, often with his connected initials MS. He has won multiple awards for his outstanding overlay jewelry. Was born in 1942 and began his career in 1965.

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Michael Tahe Navajo sterling sunface bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length.

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Manschettenknöpfe mit österreichischem Rouletterad aus der Mitte des Jahrhunderts. Hochwertige Manschettenknöpfe, ich glaube mit Messing oder Gold gefüllt, keine Beschädigungen. Sie verfügen jeweils über funktionelle Rouletteräder mit einem zentralen Knopf, der sie dreht.

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Miniaturen/Zahnstocher aus burmesischem Kunstglas aus der Mitte des Jahrhunderts. Beides von höchster Qualität, mundgeblasen. Entweder Murano oder Pairpoint. Höchste 2,5 Zoll, beide leuchten unter Schwarzlicht. Beide stammen aus der Mitte des 20. Jahrhunderts oder älter und weisen keinerlei Schäden oder Mängel auf. Zahnstocherschublade

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Mid-Century Cuernavaca Mexikanische Sterling-Ohrringe mit Schraubverschluss. 1,5" x 1 7/8" 14,5 Gramm Gesamtgewicht. Winzige Dellen in der oberen Kugel, sonst keine Probleme.

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Mid-Century Dänische Sterling-Emaille-Blatt-Anstecknadel von Jemax Denmark. Keine Beschädigung des Zahnschmelzes 5,3 Gramm. 1,75" breit.

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Ich versuche wirklich nicht, oft darüber zu reden, aber das ist ein wirklich schönes Stück. Dieses Stück hat auf der Vorder- und Rückseite eine wirklich schöne Patina. Es war noch nie in einem Auktionshaus oder online. Ich weiß wirklich nicht, ob es aus den Dreißigern oder Sechzigern ist. Ich glaube nicht, dass es aus dem 19. Jahrhundert stammt. Es ist von guter Qualität mit einer schönen Patina. Es ist die Art von Stück, die in jeder Umgebung auffällt und gleichzeitig dazu passt. Es besteht aus unzähligen Streichhölzern. Man muss ganz genau hinsehen, um Spuren von Leim zu erkennen, ich spreche von etwa 6 Zoll. Aus dieser Entfernung kann man definitiv erkennen, dass das Holz und der Leim mindestens 50 Jahre alt sind. Alles an der Rückseite sagt aus, dass es alt ist. Altes Seil , alte Nägel, leicht alter patinierter Rost. Das zu fälschen wäre viel schwieriger, als es wert ist. Das sind wahrscheinlich genug Streichhölzer, um drei Menschen Krebs zu bescheren. Es ist extrem kompliziert, ich habe andere Streichholzsachen gesehen, die wie Gefängnissachen aussahen Die 70er Jahre. Nichts annähernd so. Bei der ganzen Arbeit, die da reingesteckt wurde, hätte dieser Kerl eine lebenslange Haftstrafe bekommen müssen. Die Hölzer sind wirklich schön, die Rückwand sieht aus wie Balsaholz, ich nicht Ich weiß, ob das afrikanisch oder amerikanisch ist. Ich gehe davon aus, dass es eines von beiden ist, weiß aber wirklich nichts darüber, außer dass es alt ist und den Namen Damala darauf trägt und natürlich, dass es in Austin ist und frisch freigelegt wurde. Es misst 33,75" x 25 15/16 bis zur Außenseite des Rahmens. Es gibt keine Schäden zu melden, es ist alt und weist leichte Gebrauchsspuren am Rahmen auf, aber es ist sauber. Ich weiß nicht, ob DAMALA der Künstler oder die abgebildete Person ist.

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Abstrakte französische Emaille-Schmuckschale aus der Mitte des Jahrhunderts. 3 3/8" x 2,75" ohne jegliche Beschädigung. Möglicherweise eine Signatur links in Gold neben dem Kleid. Tolles Vintage-Stück von tadelloser Qualität.

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Mid-Century Frigast vergoldetes Sterling Guilloche-Emaille-Demitasse-/Zuckerlöffel-Set. Verkaufe das abgebildete Set, möglicherweise unbenutzt und ohne erkennbare Gebrauchsspuren oder Beschädigungen. (6) 3,75-Zoll-Demitasse-Löffel und ein großer 5,75-Zoll langer Zuckerlöffel. Silberschublade

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Mid Century Gem Silica sterling modernist cufflinks. Very attractive and rare stones. One swivels freely with no spring to catch it, one with back pointing in weird direction but appears to be made like that. Both solid sterling, unmarked

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Modernistische Manschettenknöpfe aus 835er Silber aus der Mitte des Jahrhunderts. Keine Probleme. 16,4 Gramm.

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Hector Aguilar Taxco Armband aus 940er Silber aus der Mitte des Jahrhunderts. Passt bis zu einem 7-Zoll-Handgelenk, die Art und Weise, wie es hergestellt wurde, verjüngt sich natürlich bei einer Handgelenkbreite von 1,25 Zoll, 58,1 Gramm ohne Probleme. 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.

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Italienische Mid-Century-Enten aus Muranoglas in sonnenfarbenem Amethyst, 34,8 cm hoch, ohne Beschädigung oder Abnutzung Staub um die Stelle, an der sie saßen. Ich bin mir zu 95 % sicher, dass sie ursprünglich klar waren, eines mit blauen, die anderen roten Reflexen, und sie wurden teilweise violett, weil sie längere Zeit dem UV-Licht der Sonne ausgesetzt waren. Dies passiert, wenn Glas Mangan enthält. I Mir ist klar, dass dieser schwarze Hintergrund das schöne Lila nicht hervorhebt, aber ich hatte einfach keine Zeit, den Hintergrund zu ändern. Verkaufe das abgebildete Paar. issshelf

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Mid-Century japanisches Cocktail-Rührlöffel-Set aus 950er Silber. Wirklich lustiges Set, 7 3/8 Zoll lang, scheinbar in neuwertigem, unbenutztem Zustand mit leichten Gebrauchsspuren an der 60-70 Jahre alten Box. Silberschublade

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Mid-Century japanische Sterling-Kristall-Stern-Ohrringe mit Schraubverschluss. Sehr cooles Paar Ohrringe von höchster Qualität, von denen ich annehme, dass sie eher aus Kristall als aus Stein bestehen. Bei einer Breite von 7/8" sind an einigen Spitzen möglicherweise minimale Abnutzungserscheinungen möglich. Keine großen Chips, keine anderen Probleme.

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Koreanische Wandteller aus Messing aus der Mitte des Jahrhunderts. Wirklich großartig, größte 11,5 Zoll. Keine Biegungen oder Dellen, keine Überraschungen. Ich musste die Bilder kürzen, weil die Dateien zu groß waren und keine Zeit für neue Bilder hatte. Alle drei haben auf der Rückseite in kleinen Buchstaben den Stempel „Korea“ gestempelt. Alles verkauft drei. b3

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Mitte des Jahrhunderts Los Ballesteros Geheimfach Chrysokoll und Sterling-Anhänger 3" hoch x 2 1/8" breit ohne Probleme. Wirklich cool, die Geheimtür lässt sich sehr fest schließen, sodass sie möglicherweise wasserdicht ist. 38,4 Gramm.

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Anstecknadel aus Sterlingsilber von Margot De Taxco aus der Mitte des Jahrhunderts. Keine Schäden oder nennenswerte Gebrauchsspuren, 1,5" x 1,75" x 8,9 Gramm. -Anderas- Margot Van Voorhies wurde 1896 in San Francisco, Kalifornien, geboren. Als sie ihr Heimatland endgültig verließ, hatte sie den Tod ihres Vaters im Jahr 1903, das Erdbeben in San Francisco im Jahr 1906, den Verlust ihrer Mutter durch einen brutalen Mörder im Jahr 1931 und das Ende ihrer ersten Ehe überlebt im Jahr 1936. Glücklicherweise veränderte ein Mexiko-Urlaub das Leben von Margot Van Voorhies auf eine Weise, die sie sich nie hätte vorstellen können. Im Jahr 1937 verließ die 41-jährige geschiedene Margot Van Voorhies San Francisco auf einer Reise nach Mexiko-Stadt. Das Schicksal brachte sie in den Weg von Don Antonio Castillo, der sie nach Taxco brachte, einer mexikanischen Hochburg für das Design, die Herstellung und die Produktion von Silbergegenständen, insbesondere Schmuck und Haushaltswaren. Bald würde Castillo Margots zweiter Ehemann werden. Zu dieser Zeit arbeitete Castillo für William Spratling, einen Pionier der mexikanischen Silberschmiedekunst. Er holte Margot als Designerin ins Geschäft und half ihr, ihre Papierkreationen in dreidimensionale Formen in Silber zu verwandeln. Im Jahr 1939 eröffneten die beiden zusammen mit anderen Mitgliedern von Castillos Familie ein Geschäft unter dem Namen Los Castillo Taller [Taller ist spanisch für „Werkstatt“], mit Margot als Top-Designerin. Nach zehn Jahren löste sich die Ehe zwischen Castillo und Van Voorhies auf, ebenso wie ihre berufliche Verbindung. Margot eröffnete 1948 ihr eigenes Geschäft und nahm den Namen Margot de Taxco an, unter dem sie heute am bekanntesten ist. Sieben Jahre später wurde vielen ihrer Stücke Emaille hinzugefügt, und hier fand Margot ihr Vermächtnis. Auf dem Höhepunkt ihrer Karriere beschäftigte Margot, die jedes Stück selbst entwarf, zwei Dutzend Silberschmiede und ein Dutzend Emaillierer, um ihre Vision umzusetzen. Die Männer übten ihre Aufgaben als Silberschmiede aus; Die Frauen führten die Emailarbeiten durch und erweckten die Aquarellzeichnungen mit winzigen Pinseln zum Leben. Um die genaue Wiedergabe ihrer Schmuckdesigns zu gewährleisten, stellte sie ein Buch mit Anweisungen und Zeichnungen zusammen, in dem die Konstruktion und Endbearbeitung jedes einzelnen Designs detailliert beschrieben wurde. Margot zog talentierte Handwerker an, die später ihren eigenen Ruf festigten, wie Sigi Pineda, Miguel Melendez und Melecio Rodriguez. Viele zeitgenössische Hollywood-Stars waren Kunden von Margot, darunter John Wayne und Lana Turner, die jedes Jahr ihr Geschäft besuchten. Im Jahr 1960 ereignete sich eine Tragödie in Form eines Brandes. Da sie gezwungen war, ihr Atelier zu verlegen, konnte sie nie wieder an ihren früheren Erfolg anknüpfen, und das Geschäft wurde 1974 geschlossen. Margot erteilte mehreren der bei ihr beschäftigten Silberschmiede die Erlaubnis, ihre Formen zur Herstellung von Schmuckstücken zu verwenden ihre eigenen, als Gegenleistung für einen Schuldenerlass. Infolgedessen wurden viele von Margots Stücken von Silberschmieden wie Jaimie Quiroz und Geronimo Fuentes nachgebildet und trugen nicht ihr eigenes, sondern ihr eigenes Markenzeichen. Margot starb 1985. Doch ihr Talent als Designerin und ihr Einfluss als Künstlerin haben seit ihrem Tod immer mehr Anerkennung gefunden. Margots Werkstatt stellte etwas Repousse-Silber her (eine Technik, bei der ein erhabenes oder Reliefmuster von der Rückseite des Stücks eingeschlagen wird). Am bekanntesten ist sie jedoch für ihre Champlevé-Emaille-Arbeiten. Champlevé entsteht durch Schnitzen, Ätzen, Prägen oder Gießen von Vertiefungen oder Zellen in die Oberfläche eines Stücks und das Füllen mit Glasemaille. Bei Margots Schmuck wurden die Designs gestanzt, ein Prozess, der detailliert und entscheidend für das Endprodukt war. Margot stellte viele Suiten her, darunter Halsketten, Broschen, Armbänder und Ohrringe sowie wandelbaren Schmuck. Der Schmuck von Margot de Taxco ist für seine Eleganz, Weiblichkeit und Vielfalt bekannt. Es gab viele Einflussbereiche, die in Margots Werk zu finden sind. Ihre Fisch- und Wellenmotive zelebrierten ihre Liebe zur japanischen Kunst. Die kunstvollen Wirbel und Blumenmotive erinnerten an den Jugendstil. Ein wiederkehrendes Thema waren schelmische präkolumbianische Figuren. Ballerinas im Art-Déco-Stil zeigten anmutige Posen. Margot war auch von ägyptischen Motiven und mexikanischem Kunsthandwerk angetan. Stücke von Margot de Taxco zeichnen sich durch den Stempel aus, der ihren Namen Eagle 16 (oder Eagle 1 für ihre früheren Werke) sowie eine Produktionsnummer enthält. Der von der Regierung ausgegebene Adlerstempel diente der Identifizierung

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Mid Century Meka Danish Sterling cobalt enamel Master salt and spoon set. Selling the set shown with no apparent damage, measurements shown..

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Mikimoto Perlen/Silber-Ohrringe mit Schraubverschluss aus der Mitte des Jahrhunderts. Toller Vintage-Zustand ohne Probleme. 1 1/16" hoch, 7,5 Gramm.

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Mid-Century Modern lackierte Schale aus geschnitztem Holz. 10 3/8" breit, altes Etikett auf der Rückseite besagt, dass es ein Geschenk von jemandem war, als er in Japan war, wahrscheinlich nach dem Zweiten Weltkrieg. Sieht allerdings nicht sehr japanisch aus. Es ist aus Holz, es ist handgeschnitzt und hat ein gutes Alter mindestens 50 Jahre alt und in gutem Zustand. TW131

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Mid-Century Modern Intarsientafel mit Königen, die Kelche halten. Dies ist ein wirklich fabelhafter, nachlassfrischer MCM aus den 60er oder 70er Jahren. Wahrscheinlich einzigartig, keine Erkennungszeichen, die ich finden konnte. Ein kleiner Schönheitsfehler in der Königin am rechten Hals, sieht aus wie ein Adamsapfel. 21,75" x 12,75" Aufgrund der Größe/des Themas bin ich mir ziemlich sicher, dass es sich ursprünglich um ein Getränketablett handelte. Aber der Patina der Haken und Drähte auf der Rückseite nach zu urteilen, beschlossen sie in den 70er oder sogar 60er Jahren, dass sie es sich ansehen wollten, anstatt Getränke darüber zu verschütten. Und obwohl es Tabletts aus dieser Zeit mit einem komplizierteren Design gibt, ist dies bei weitem das coolste, das ich je gesehen habe. Das wird auf meinem anderen Monitor wirklich orange angezeigt. Es ist kein Orange, sondern die „normalen“ Holzfarben. Typischere Farben, kein Kürbisorange.

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Moderne Sterling-Manschettenknöpfe aus der Mitte des Jahrhunderts. Sie erscheinen entweder skandinavisch oder indianisch :). Sie sind wirklich cool, etwa aus der Mitte des 20. Jahrhunderts, jeweils mit der Aufschrift „Sterling“ in den Stäben. Verkaufe das abgebildete Paar

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Mid-Century Modern Taxco Manschettenknöpfe aus gemischten Metallen und Chip-Inlay. Es wurde viel Zeit in die Herstellung dieser einzigartigen Stücke investiert. Es handelt sich um eine sehr interessante, vollständig handgefertigte Komposition, die Sie in Ihrer Sammlung unbedingt haben müssen. Die Clips sind in ausgezeichnetem Arbeitszustand. Jedes misst: 1 x 1 Zoll. Sie sind vollständig wie folgt gekennzeichnet: CP, STERLING , 925, TAXCO , MEX, Keine Schäden oder Probleme, so sauber wie es nur geht.

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Mid-Century Modernist Los Ballesteros Sterling- und Katzenaugen-Armband. Sehr cooles Armband aus dem dritten Viertel des 20. Jahrhunderts ohne Probleme oder erkennbare Gebrauchsspuren. 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 es markiert hat. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe.

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Mid-Century Modernist Los Ballesteros Armband aus Sterlingsilber und Onyx. Sehr cooles Armband aus dem dritten Viertel des 20. Jahrhunderts mit fast keinen Problemen oder erkennbaren Gebrauchsspuren. Ein sehr kleiner „Chigger-Biss“ am äußeren Rand eines der Steine, der überhaupt nicht auffällt. 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 es markiert hat. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe.

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Mid Century Modernist Los Ballesteros Sterling and Onyx pin. No damage.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.

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Mid Century Modernist Niels Erik From Denmark Sterling Pin.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.

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Mid-Century Modernist Manschettenknöpfe aus Sterlingsilber und Holz. Beide sind mit Sterlingsilber gekennzeichnet, ohne weitere Markierungen, ein tolles Paar möglicherweise einzigartiger Manschettenknöpfe aus dem dritten Viertel des 20. Jahrhunderts.

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Sterlingsilber-Manschettenknöpfe mit Pferdekopf aus der Mitte des Jahrhunderts. Diese sind so cool wie cool nur sein kann und sehr gut verarbeitet. Keine anderen Erkennungszeichen als Sterling. Sie scheinen Pferde oder Drachen oder so etwas in der Art zu sein. 27,6 Gramm. anderas

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Modernistische Sterling-Anstecknadel aus der Mitte des Jahrhunderts, 2 1/16" x .75" ohne Probleme.

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Murano-Schale mit kontrollierten Blasen aus der Mitte des Jahrhunderts aus Silberfolie. Tolles Stück aus dem dritten Viertel des 20. Jahrhunderts ohne Beschädigungen. 7" x 3" groß in tiefer Amethystfarbe. Schönes Freiformstück mit großen Schlitzen für einen Zigarrenaschenbecher, falls gewünscht. tw129

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Murano-Cranberry-Murano-Schale aus der Mitte des Jahrhunderts. Tolle MCM-Schale aus der Zeit etwa aus den 1950er Jahren. Überfangglas mit klarer Außenseite aus Cranberry, geschliffener Pontil, ohne Markierung. 6,5" breit x 2,75" hoch. isshelf

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Musikalischer Spielzeug-Bonbonbehälter aus der Mitte des Jahrhunderts in Form eines Kerzenständer-Telefons. Originales Bonbon, keine Beschädigung, leichte Oxidation zum Metall. 4 3/8" groß. isshelf

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Mid Century San Antonio Texas Werbeaschenbecher. Kein Schaden 3,5" breit. blkcrateredbag

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MId Century Southwestern Modernist sterling, turquoise, and coral pendant 3" tall with bail x 1.8" wide, throwing in the sterling 24" necklace. 33.4 grams total weight. All precious metals are tested and guaranteed,

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Mid-Century Spanien 915 Silber Kämpfer-Hähne Tischornamente. 9" lang, höchste 8 5/8" x 4" breit. 663 Gramm Gesamtgewicht. Keine Beschädigungen oder Probleme, Gold vergoldet über Silber, sehr detailliert getestet auf über 90 % Silber mit Punzen, die eine Reinheit von 91,5 % anzeigen. Verkaufe beide, genau zwei abgebildet, ca. Mitte des 20. Jahrhunderts. B3

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Brosche aus Sterlingsilber und Bernstein aus der Mitte des Jahrhunderts. Schöne Anstecknadel mit Sterling- und Naturbernstein, etwa 50-60 Jahre alt. 12,2 Gramm, 2 1/8 Zoll breit.

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Sterlingsilber-Katzen- und Eulenbrosche aus der Mitte des Jahrhunderts, signiert. Ich verkaufe beide, beide sind signiert, beide großartig und ohne nennenswerte Probleme. Ich bin mir auch nicht sicher, wer es gemacht hat. Die Eule ist 1,75 Zoll groß und die Katze ist 1,75 Zoll breit.

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Modernistisches Taxco-Klapparmband aus der Mitte des Jahrhunderts. Sehr cooles Armband ohne Probleme oder Beschädigungen. Markiertes und geprüftes Sterlingsilber. Passt an ein Handgelenk mit einem Umfang von bis zu 6 3/8 Zoll. Breite an der breitesten Stelle 13/16 Zoll. 55 Gramm

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Venezianischer Latticino-Glaskrug aus der Mitte des Jahrhunderts, 10" hoch, mit intakten Etiketten, keine Beschädigungen.

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Mid Century Vintage Whiting and Davis Mesh-Handtasche mit Strass-Oberteil. Vermutlich aus den 50er oder 60er Jahren, sieht aber wie neu aus, ohne Schäden oder erkennbare Abnutzung. 6" breiter Rahmen, 9,25" breit an der Basis, schöne funktionale Größe in einem wunderschönen schwarzen Emaille-Netz mit einer ungewöhnlichen goldfarbenen Oberseite mit Strasssteinen. Bausatzregal

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Miguel Martinez Rancho Alegre Sterling Silber Türkis Chile Pin 2,5" breit x 1,25" hoch x 14 Gramm ohne Probleme. Martinez begann seine Karriere als Designer für Emma Melendez in Taxco in den frühen 1950er Jahren, bevor er Mitte der 1950er bis Ende der 1960er Jahre Chefdesigner bei Rancho Alegre wurde, und seitdem entwirft er weiterhin großartige Dinge. Da er Designer und kein Silberschmied ist, können seine Stücke Markierungen aus verschiedenen Werkstätten aufweisen. Oft, aber nicht immer, sind seine Stücke auch mit „Miguel“ gekennzeichnet, aber viele seiner Stücke aus den 1950er Jahren aus Rancho Alegre tragen nicht das zusätzliche Designerzeichen. Seine Stücke sind jedoch leicht an der Stärke des Designs zu erkennen!

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Schönes großes Stück 9,5" breit x 4" hoch. einige sehr kleine Chigger-Bissflocken am Sockelrand. Keine großen Chips, Risse, Dellen oder andere Schäden an der Emaille. TW69

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Miguel Pineda Mexikanische Emailleschale aus der Mitte des Jahrhunderts auf Kupfer. Eine der kleinsten Abplatzungen am oberen Rand, keine weiteren Probleme, keine Risse, in der Emaille. Bitte entschuldigen Sie die Blendung. 5" breit x 1 5/8" hoch. b13

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Vintage Navajo sterling silver and turquoise deep stamped earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century. This hallmark is attributed to Dan Simplicio Zuni, but I don‘t believe that‘s correct. They are very nice.

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Mike Platero Navajo Sterling spiderweb turquoise clip-on earrings. No issues, weight and measurements in pics. High quality sterling clips with good springs. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Mikimoto sterling silver modernist pearl pin/brooch. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa last quarter of the 20th century.

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Milson Taylor Hopi overlay bear pin sterling silver. Solid sterling, weight and measurements in pics with no issues.

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Milson Taylor Hopi Sterling/14k/peach agate pin. 1 7/8" x 1.5", Solid 14k gold bezelMarked 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.

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Braunes chinesisches Ming-Steinzeuggefäß, 7,6 cm hoch x 8,9 cm breit, aus einer Sammlung hauptsächlich chinesischer Ming-Keramik, die Mitte des 20. Jahrhunderts zusammengestellt wurde. Keine Risse, Chips oder Restaurierungen. tw132

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Braunes chinesisches Ming-Steinzeuggefäß mit Griffen, 4" hoch, aus einer Sammlung hauptsächlich chinesischer Ming-Keramik, die Mitte des 20. Jahrhunderts zusammengestellt wurde. Ein restaurierter Chip am Rand und ein restaurierter Griff. Keine weiteren Probleme. TW32

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Ming-chinesischer Seladon-Teller mit Lotusmotiv. Viele stark geschnitzte Dekorationen, stark getöpfert. 10,5" breit. 3 Haarlinien wie abgebildet mit alter Restaurierung an einem. Keine Chips. Schöne frühe Ming-Platte mit Widerhaken. TW132

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Chinesische Ming-Porzellanschale mit blauer Unterglasurdekoration. Schöne Schüssel, 7" breit x 3,25" hoch. Eine Hälfte restaurierter Chip am Rand, keine weiteren Risse, Chips oder Restaurierungen. tw158

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Chinesische Ming-Porzellanschale mit blauer Unterglasurdekoration. 5,5" breit x 2,75" hoch, ohne Risse, Chips oder Restaurierungen. Einige Risse sind vorhanden, die aber nicht auf die andere Seite übergehen, die Schale klingt gut, sie hat keine Risse, sie ist etwas mehr als 300 Jahre alt. Ich glaube, das ist ein Wanli-Schiffswrack. tw158

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Chinesische Seladonschale mit Stachelrand aus der Ming-Dynastie und eingeschnittener Lotusdekoration, 19,1 cm breit x 7,6 cm tief. Es gibt einen etwa 6,5 ​​Zoll breiten Abschnitt, der gebrochen und später vor langer Zeit restauriert wurde. Er ist immer noch sehr attraktiv und echt, ich glaube, ein kompetenter Restaurator könnte mit moderner Technologie bessere Arbeit leisten. Keine weiteren Risse, keine Chips, keine Restaurierungen. Von Eine Sammlung, bei deren Verbreitung ich helfe und die in den 1950er und 60er Jahren von einer heute 96-jährigen Frau zusammengestellt wurde. TW130

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Dreibeiniges Räuchergefäß aus chinesischer Bronze aus der Ming-Dynastie mit griechischem Bundrand. 5,5" hoch bis zur Oberseite der Griffe x 5,3" breit. Schöne Originalpatina, wahrscheinlich nie poliert, sehr alte Restaurierung an einem Teil eines Griffs, leichte Delle an der Unterseite und ein Loch an der Unterseite eines Fußes. Keine weiteren Probleme, mehrere hundert Jahre alt und garantiert chinesisch. B31

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Chinesischer Seladon-Teller aus der Ming-Dynastie mit eingeschnittenem Blumenmotiv, 7 5/8" breit. Es gibt überall Haarrisse und es ist schwer zu erkennen, aber einiges davon könnte ein Bruch sein. Unabhängig davon ist es stabil und keine Chips oder Restaurierungen. Mir wurde gesagt, es sei aus dem 15. Jahrhundert Jahrhundert. Aus einer Sammlung, bei deren Verbreitung ich helfe und die in den 1950er und 60er Jahren von einer heute 96-jährigen Frau zusammengestellt wurde. TW130

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Ming Wanli chinesische blaue Unterglasur-Drachenschale. 5" breit x 2,5" hoch, verschiedene Mängel, ein Glasurabplatzer am Fußrand, keine Chips, Risse oder Restaurierungen. Porzellanschublade

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Chinesische Porzellanschale aus der Ming-/Übergangszeit mit blauer Unterglasurdekoration. Sehr schöne chinesische Porzellanschale aus dem 17. Jahrhundert mit einer Breite von 4,75 Zoll, ausführlich beschrieben im Gutachten von 1984, das beigefügt wird, und ein Foto davon ist in den beigefügten Bildern enthalten. Jo Ann Adams war eine sehr angesehene, gründliche und sachkundige Gutachterin, die sich auf Asien spezialisiert hat Antiquitäten. Und wie Sie wahrscheinlich wissen, wenn Sie dies lesen, ist chinesisches Porzellan einer der wenigen Bereiche der Antiquitäten/Sammlerstücke, die sich in den letzten 38 Jahren, seit diese Schätzungen durchgeführt wurden, als ausgezeichnete Investition erwiesen haben. Winzige Glasurfritten am oberen und unteren Rand, keine Risse, Chips oder Restaurierungen. isshelf

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1943 gefundene Mini-Pfeilspitze von Travis County Austin Texas mit einem Buchstaben von 21,25 mm x 11 mm, der vor langer Zeit in einen Krawattenhalter umgewandelt wurde, ohne ihn zu beschädigen. Sehr schöner Punkt, das habe ich gefunden, als die Notiz in einem der interessantesten Personennachlässe versteckt war, mit denen ich seit Ewigkeiten zu tun hatte.

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Antiker Miniatur-Buddha aus Bronze und Guanyin-Bodhisattva. Beide etwa 3 Zoll hoch, schwere massive Bronze, 19. Jahrhundert. Feiner Guss und natürliche Patina. TW239

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