6.5" 1950's Carmen Beckmann Modernist sterling and amethyst braceletCarmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Schwere, modernistische Monteros-Halskette aus mexikanischem Sterlingsilber und Onyx, 175,6 Gramm. Chip am linken Stein, dezente Reparatur am zweiten Stein rechts. Ca. 14,5" Innenumfang.

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Niels Erik From Sterling Denmark MCM Atomoic Jewelry Set. Ring and bracelet sizes in pics. Hand and penny pics for scaleDanish jeweller and silversmith Niels Erik From ( N.E. From) was born in 1908 and opened his first workshop in 1931 when he was still only twenty-three .Over the next forty years Niels Erik went on to become one one of the greats of Danish design, and created many works including floral-inspired designs often set with semi-precious gemstones. These pieces took inspiration from the Skønvirke style. This was a Scandinavian development that formed part of Denmark’s Art Nouveau and Arts and Crafts movement . This movement ususally took inspiration from nature with designs incorporating flowers and floral motifs as well as featuring natural creatures such as fish.N.E. FROM JEWELLRY STYLES - EARLY FLORAL DESIGNS AND LATER ABSTRACT MODERNIST PIECES N.E. From’s output generally displays one of two distinct styles. In the early years of production he produced wiry, thin, foliage and floral pieces .However, beginning in the 1950's the work produced by From (which were often the designs of other designers) had a very different look. No longer does the jewellery feature romantic, detailed designs from nature. The later pieces have modernist, clean lines with geometric and abstract shapes. Occasionally the modern designs show nature as inspiration with abstract blossom and leaf and blossom shapes. In generally though, they follow the trend of the 1950s of , spare, minimalist design.production .

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Large James Martin southwestern modernist sterling silver ranger belt buckle set. Tested and guaranteed solid sterling silver weight and measurements in pictures, circa last quarter of the 20th century. Fits a 1.5" belt.

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Carl Allen Begay (1912-1972)  Navajo sterling and coral buckle on 30" belt. Belt is clean, fits a 29"-32" waist, 1.25" wide, Buckle 3 1/8" x 1.5". The belt is tied on, could obviously be replaced but don't want to mess with it in case it works for you. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn't answered in this listing that we put so much effort into already :)=  All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

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Frances Holmes Boothby modernist sterling silver abstract belt buckle. Fits up to a 1.25" belt. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional, with no issues. Circa third quarter of the 20th century. Frances Holmes Boothby (19192000) created unique modernist jewelry for nearly four decades, from the mid-1940s to the early 1980s. In addition to traditional modernist geometric and abstract designs, she made unique, whimsical pieces inspired by cartoons, including the Bird and Animal series. Working primarily in sterling silver, Frances sometimes used gold, brass, wood, resin, natural stones, pearls, and glass. She signed her pieces with the capital letters STERLING and the lowercase initials fhb. Undoubtedly, Frances Holmes Boothby made a significant contribution to the American wearable art movement through her exhibitions and teaching of jewelry making. For example, in 1948, she first presented her work at the Walker Art Center in Minneapolis. As early as 1955, she opened a studio in New York where she created her jewelry and taught jewelry making. According to 1958 newspaper ad, Frances Holmes Boothby exhibited her jewelry at New York State Fair. Later, Frances handcrafted jewelry in her Silver Workshop in Weston, Vermont, where she was active until the early 1980s. Frances Holmes Boothby died at the age of 80 in Sedona, Arizona. Made in limited quantities, today the artists works can be found both in the collections of lovers of modernist and vintage jewelry, and in national art galleries.

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Antonio Pineda (1919-2009) Taxco Hammered silver leaf form bracelet, measurements in pics.  7" long with no issues. Antonio Pineda (1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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

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Retro Robert Farrell Sterling sodalite post modernist bracelet 7" long bracelet, weight and measurements in pics. I believe these danglies were added by the last owner, it tooks great with them on but could be easily removed as the jump rings aren‘t soldered. I don‘t think the actual danglies are solid sterling. I don‘t believe the artist that made this bracelet would have used unsoldered jump rings as all of his work I have seen including this bracelet without the danglies is absolute perfection. One of the danglies is missing.I believe Robert made jewelry in the last quarter of the 20th century, I believe now his focus is Architectural sculptures which are fantastic. The quality of workmanship here is way above most studio jewelry in my opinion, I have a feeling it took him quite some time to creat each piece and that‘s why he went on to apply his skills in more lucrative forms.Awards and Honors (*Award)*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2024.*Best of Metal, Philadelphia Craft Show, 2023.*Award of Excellence, Ann Arbor Street Art Fair, 2023.*Second Place, Exhibitors Choice Award, Smithsonian Craft Show, 2023.*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2022. *Award of Excellence, Ann Arbor Street Art Fair, 2022.*First Place, St. Louis Art Fair, 2021.*Award of Excellence, Ann Arbor Street Art Fair, 2019.*Award of Distinction, Winter Park Sidewalk Art Festival, Winter Park, FL, 2019.*Director‘s Choice Award, American Craft Exposition, Chicago, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2018.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2017.*Best of Show, Smithsonian Craft Show, 2017.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2017.*Best of Show, Plaza Art Fair, Kansas City, 2016.*First Place, St. Louis Art Fair, 2016.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2016.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2016.*Exhibitor‘s Choice Award, Smithsonian Craft Show, 2016.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2016.*Best of Metal, The Philadelphia Craft Show, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2015.*First Place, St. Louis Art Fair, 2015.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2015.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2015.*Best of Fine Craft, Art on the Square, Belleville, IL, 2015.*Best of Show, Artisphere, Greenville, SC, 2015*Morse Museum Award, Winter Park Sidewalk Art Festival, Winter Park, FL, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2014.*First Place, St. Louis Art Fair, 2014.*Best of Show, The Domes Art Festival, Milwaukee, 2014*Award of Excellence, Ann Arbor Street Art FairThe Original, 2014.*Best of Fine Craft, Art on the Square, Belleville, IL, 2014.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2014.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2013.*Award of Merit, Cherry Creek Art Festival, Denver, 2013.*Best of Fine Craft, Art on the Square, Belleville, IL, 2013.*Second Place, Winter Park Sidewalk Art Festival, Winter Park, FL, 2013.*Best of Show, Uptown Art Fair, Minneapolis, 2012.*Best of Fine Craft, Art on the Square, Belleville, IL, 2012.*Best of Show, Craft Art, St. Petersburg, 2011.*Second Place, St. Louis Art Fair, 2011.*Best of Show, Oconomowoc Arts Festival, Oconomowoc, WI, 2011.*Best of Show, Barrington Art Festival, North Chicago, 2011.*Best of Fine Craft, Art on the Square, Belleville, IL, 2011.*‘Excellence and Originality‘ (One of 10 equal awards), Ann Arbor Street Art Fair--The Original, 2010.*Best of Show, Palm Beach Fine Craft Show, 2009.*Award of Excellence, American Craft Council Show, Atlanta, 2009.*Purchase Award of Excellence, Coconut Grove Arts Festival, Miami, 2009.*Best Booth, American Craft Council Show, Sarasota, 2008.*Award of Excellence (One of 5 First Place awards), Craft Art, St. Petersburg, FL, 2008.*Best of Show, 3-D Exhibition, Venice Art Center, Venice, FL, 2008.*Museum Acquisition--Renwick Gallery, Smithsonian Institution, Awarded at the Smithsonian Craft Show, 2007.*First PlaceMetal, St. Louis Art Fair, 2006.*Best of Show, Washington Craft Show, 2004.*Jurors Award, Michael Monroe, St. Louis Art Fair, 2004.*Best of Metal, Philadelphia Craft Show, 2002.*First PlaceMetal, St. Louis Art Fair, 2002.*First PlaceMetal, Plaza Art Fair, Kansas City, 2002.*“Excellence and Originality (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 2001.*Best of Metal, Philadelphia Craft Show, 2000.*Best Presentation, St. Louis Art Fair, 1999.*Piece purchased for the collection of the St. Louis Art Fair, 1999.*First PlaceMetal, Sausalito Art Festival, 1999.*First PlaceMetal, Plaza Art Fair, 1999.*Excellence and Originality, (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 1999.*First Place--Metal, St. Louis Art Fair, 1998.*First PlaceMetal, Plaza Art Fair, 1998.*First PlaceMetal, Sausalito Art Festival, 1998.Museum Purchase, Mint Museum of Art and Design, Charlotte, NC., 1998.*First PlaceMetal, Winter Park Art Festival, Winter Park, FL, 1997.*Third PlaceMetal, St. Louis Art Fair, 1997.*Award of Excellence, Plaza Art Fair, 1997.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1996.*First PlaceMetal, St. Louis Art Fair, 1995.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1995.*Award of Excellence, Plaza Art Fair, 1995.*First PlaceMetal, St. Louis Art Fair, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1994.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1994.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1993.*Best of Show, Midwest Salute to the Masters, Fairview Heights, IL, 1993.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1993.*Wisconsin Art Board Grant, 1992.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1992.*Second PlaceJewelry, Cherry Creek Arts Festival, Denver, 1992.*Award of Excellence, Midwest Salute to the Masters, Fairview Heights, IL, 1992.*Award of Merit, Coconut Grove Arts Festival, Miami, 1992.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1991.*First PlaceMetal, Midwest Salute to the Masters, Fairview Heights, IL, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1991.*Award of Excellence, Crafts National 25, PA State University, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1990.*Scholarship, Haystack Mountain School of Crafts, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1989.Fellowship, Craft Department, Tyler School of Art, 1988.*Representative of Tyler School of Art, Philadelphia Craft Show, 1988.*Award Designer, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1986.*First Place, Wisconsin Collegiate Showcase, 1986.Lectures, Public Speaking Engagements, Misc. Professional ActivitiesGuest Speaker/Visiting Artist, Cleveland Institute of Art, 2004.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1999.Juror, ACC Craft ShowsMetal, 1998.Guest Speaker, Tyler School of Art, 1997.Guest Speaker, Tyler School of Art, 1996.Demonstrator, Cherry Creek Arts Festival, 1996.Guest Speaker, Parker High School, Janesville, WI, 1996.Juror, 16th Annual Hoard Museum Art Show, Fort Atkinson, WI, 1996.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1995.Guest Speaker, Tyler School of Art, 1994.Gallery Task Force Member, University of Wisconsin-Whitewater, 1992.Guest Speaker, Tyler School of Art, 1991.Guest Speaker, Foster Gallery, University of Wisconsin-Eau Claire, 1991.Guest Speaker, University of Wisconsin-Madison, 1990.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1990.Guest Speaker, University of Wisconsin-Whitewater, 1990.Teaching Assistant, Haystack Mountain School of Crafts, 1990.Part-time Faculty, Tyler School of Art, 1989.Instructor, Saturday Metals Program, Tyler School of Art, 1988.Bibliography (*Reviews)Seymour Rabinovitch and Helen Clifford, Contemporary Silver: Commissioning, Designing, Collecting, Merrell Publishers Limited, 2000. pp. 20, 27, 56, 118-19.Paul J. Smith, General Editor, Objects for Use: Handmade by Design, Harry N. Abrams, Inc., Publishers, 2000. pp. 131, 148.*“The Commemorative Cup, American Craft, Ap/May 96, Vol. 56, No. 2, p. 53.*17th Annual Philadelphia Craft Show, Metalsmith, Spring 94, Vol. 14, No. 2, p. 47.“Portfolio, American Craft, Aug/Sep 92, Vol. 52, No. 4, p. 67.*SilverNew Forms and Expressions II, Metalsmith, Spring 91, Vol. 11, Nol. 2, p. 46.Alice Beamesderfer, Contemporary Philadelphia Artists: A Juried Exhibition catalog, Philadelphia Museum of Art, 1990. pp. 68, 141.*Honoring Something Ordinary, Metalsmith, Summer 89, Vol. 9, No. 3, p. 21.*All That Glitters, Metalsmith, Winter 87, Vol. 7, No. 1, p. 49.*Jewelry Show Sparkles at Art Museum, The Milwaukee Journal, July, 1986Juried Retail ShowsSmithsonian Craft Show, Washington, D.C. 1995, 99, 00, 02, 03, 04, 06, 07, 08, 10, 15, 16, 17, 18, 19, 22, 23, 24.Philadelphia Museum of Art Craft Show. 1989, 90, 91, 92, 93, 94, 95, 96, 97, 99, 00, 01, 02, 03, 05, 06. 07, 08, 09, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24.Washington Craft Show, Washington, D.C. 1991, 94, 02, 03, 04, 05, 06, 07, 08, 09, 10, 12, 13, 14.Sausalito Art Festival. 1998, 99, 00.St. Louis Art Fair. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 07, 09, 11, 12, 13. 14, 15, 16, 21.Ann Arbor Street Art FairThe Original. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06. 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 21, 23, 24.Plaza Art Fair, Kansas City. 1995, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 10, 11, 12, 13, 14, 15, 16.Palm Beach Fine Craft Show. 2004, 05, 06, 08, 09, 10, 11, 12, 13, 14, 15, 16.Craft Art, St. Petersburg, FL. 2008, 09, 11.ACC Craft ShowBaltimore. 1993, 94, 95, 96, 97, 98, 99.Coconut Grove Art Festival, Miami. 1992, 93, 94, 95, 96, 97, 98, 02, 09, 10.American Craft Exposition, Evanston, IL. 1991, 92, 93, 94, 95, 96, 97, 98, 99, 00, 07, 08, 17, 18, 19, 20, 21.Cherry Creek Arts Festival, Denver. 1991, 92, 93, 94, 95, 96, 97, 98, 12, 13. 14, 16, 19.Lakefront Festival of Arts, Milwaukee. 1987, 90, 91, 92, 93, 94.ACC Craft ShowAtlanta. 1991, 94, 95, 97, 99, 09.ACC Craft ShowSarasota. 1993, 94, 05, 06, 08.Gasparilla Art Festival, Tampa. 1992, 05.EducationMaster of Fine ArtsMetal and Jewelry Emphasis. Temple University, Tyler School of Art, Philadelphia, 1989.Bachelor of ArtsStudio Art. University of WisconsinWhitewater, Summa Cum Laude. 1987.Bachelor of ArtsEnglish. University of WisconsinWhitewater, Summa Cum Laude. 1987.

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Kee Nez Navajo Modernist sterling feather pin with high grade coral. Solid sterling, weight and measurements in pics. Navajo silversmith, Kee Nez, is a member of the Many-Goats clan and is from an artistic family. His mother is a rug weaver and his grandfather was a silversmith, but he credits his award-winning brother, Al Nez, with influencing his style. Kee uses 14K gold and sterling silver to create his stunning handcrafted surface design on bolas, rings, pendants, and earrings. He often uses sandcasting techniques to produce each item and many times uses the finest American turquoise or richly colored coral as a focal point on the piece. Kee was featured in Arizona Highways in the article “A New Generation of Indian Artists and has several pieces showcased in the books, Enduring Traditions and Navajo Indian Jewelry by Jerry and Lois Jacka. He has garnered numerous awards at Gallup, New Mexicos Annual Intertribal Ceremonial.

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Large Michael Mendoza Native American modernist sterling pendant turquoise. No issues, very well made with high grade natural American turquoise. Weight and measurements in pics. All precious metals are tested and guaranteed,

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Large 1970‘s Brutalist Sterling Modernist pendant with Chrysoberyl Cat‘s eye stone. Dated 1973 with other illegible hallmarks. No issues, weight and measurements in pics. I know nothing about this piece other than it‘s 50 years old, solid sterling, most likely American made and fantastic. All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn‘t an exact thing with handmade jewelry. I‘ve seen thousands of pieces xrf‘d to prove this. Bracelets are photographed on a 6" women‘s wrist.

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Fred Davis (1880-1961) Taxco Modernistische Manschettenknöpfe aus Sterlingsilber, 30 mm x 11 mm x 20,9 Gramm.Frederick W. Davis ist unter Sammlern für seine Arbeit als Schmuckdesigner und Silberschmied mit Sitz in Mexiko-Stadt, Mexiko, bekannt. In den 1920er Jahren begann er, Schmuck und Dekorationsgegenstände zu entwerfen und herzustellen. Die von ihm hergestellten Waren spiegelten oft seine Affinität zu präkolumbianischen Artefakten wider. Gelegentlich arbeitete er mit Valentín Vidaurreta zusammen, einem anderen angesehenen mexikanischen Silberhandwerker mit Wurzeln in Mexiko-Stadt. Davis gilt als begeisterter Förderer anderer Silberkünstler, darunter William Spratling, der von den 1920er bis 1950er Jahren in Mexiko arbeitete. Frederick Davis Jewelry – GeschichteDavis zog 1910 von den Vereinigten Staaten nach Mexiko. Als stellvertretender Manager für die Sonora News Company bereiste er das Land auf Einkaufstouren, um mit Einheimischen Bahnhofsgeschäfte einzukaufen Volkskunst für seinen Arbeitgeber. Während seiner Reisen knüpfte er Kontakte zu vielen Kunsthandwerkern und seine Kenntnisse des mexikanischen Kunsthandwerks erweiterten sich erheblich. Seine leidenschaftliche Arbeit führte zu einer Beförderung zum Leiter des Kunst- und Handwerksausstellungsraums von Sonora in Mexiko-Stadt. René d’Harnoncourt, der später als Direktor des Museum of Modern Art in New York fungierte, wurde 1927 von Davis als Assistent angestellt. Ihre Zusammenarbeit führte dazu, dass das Unternehmen Werke heute bekannter mexikanischer Maler wie Diego Rivera und vielen anderen vertrieb und ausstellte. In dieser Zeit hinterließen Davis und d’Harnoncourt von nun an einen unauslöschlichen Fußabdruck im Handel mit mexikanischem Kunsthandwerk, darunter auch Silberschmuck. Davis übernahm 1933 eine Position als Manager für Antiquitäten und Kunsthandwerk für das Kaufhaus Sanborn, nachdem d’Harnoncourt in die Vereinigten Staaten gezogen war. Er blieb 20 Jahre lang im Geschäft, wo er weiterhin mexikanische Kunst und Kunsthandwerker förderte und gleichzeitig Silberwaren entwarf und herstellte. Davis starb 1961.

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

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William Spratling Sterling Pan American buttons (4) c1940's .75" x 1" each. I think these go in open button holes, maybe on a shirt pocket back in the days. I think they were to celebrate a special Pan American 50 year thing in the 1940's. Selling all 4 shown for one price. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling (1900-1967) Taxco Modernist Sterling Frog in Pool-Manschettenknöpfe, voll funktionsfähig und ohne Probleme. 16 mm x 12 mm x 16,5 Gramm. William Spratling (1900-1967) Spratling, ein Architekt und Künstler, der an der Tulane University in New Orleans lehrte, kam Ende der 1920er Jahre nach Mexiko und ließ sich in der Stadt Taxco nieder. Nachdem er durch seine Kollegen in Tulane ein Interesse für die mesoamerikanische Archäologie und Kultur entwickelt hatte, reiste er mehrere Sommer lang nach Mexiko, um Vorträge zu halten und zu erkunden. Er suchte abgelegene Dörfer im Bundesstaat Guerrero auf, 110 Meilen von Mexiko-Stadt entfernt, wo mancherorts Nahuatl, die aztekische Sprache, gesprochen wurde. Zahlreiche gesammelte Artefakte und zeitgenössisches einheimisches Kunsthandwerk. Spratling verdiente ein Vermögen mit der Herstellung und Gestaltung von Silber, aber seine wahre Lebensaufgabe bestand darin, die alte Kultur seiner Wahlheimat zu bewahren, zu erlösen und zu interpretieren. Er erklärte dem nordamerikanischen Publikum die Gemälde der modernen mexikanischen Meister und erlangte Anerkennung als gelehrter und früher Sammler präkolumbianischer Kunst. Spratling und seine Werkstatt wurden nach und nach zu einer sichtbaren und kulturell attraktiven Verbindung zwischen einem stetigen Strom namhafter amerikanischer Besucher und dem Land, das sie sehen und erleben wollten. Spratling hatte das seltene Glück, dass sein eigener Ruf – als einer der am meisten bewunderten Amerikaner Mexikos – vor seinem Tod zur Legende wurde. „William Spratling, His Life and Art“ rekonstruiert anschaulich dieses überaus vielfältige Leben, dessen einzigartiges ästhetisches Erbe nur ein Teil seiner größeren kulturellen Errungenschaft ist, die Einstellung der Amerikaner gegenüber einer Zivilisation, die sich von ihrer eigenen unterscheidet, tiefgreifend zu beeinflussen.

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6.25" Los Castillo Mid Century sterling floraform chysocolla bangleLos Castillo Jewelry - HistoryAntonio Ca stillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments. Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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

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3/4" Antonio Pineda (1919-2009) Taxco Sterling onyx inlaid belt buckle 37.7 grams, very sturdy, other measurements in pics. This is an extremely high quality and good looking buckle. Due to reflections it's difficult to present items of this type in the light the deserve in the time available to me.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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21" Vintage Navajo modernist sterling silver beaded design necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Illegible/unresearched markings. No significant issues

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Vintage c1970 Southwestern Modernist sterling silver turquoise freeform pendant. 26" necklace, other measurements in pictures. No damage or issues, unmarked other than unknown artists hallmark and tested solid sterling silver.

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H. Fred Skaggs southwestern modernist sterling silver clip-on earrings. Great earrings with no damage or significant wear. Fantastic design and execution, strong springs on clips. Weight and measurements in the pictures. H. Fred Skaggs was a prominent metalsmith who worked in the American Southwest beginning in the mid-1950s. He is also known for inspiring and training other artisans with his knowledge of silversmithing. Some of his pieces display traditional Southwestern designs and elements, while others are purely Modernist in nature. H. Fred Skaggs began his jewelry-making career in 1956. He was part of the community of artists who set up shop in the Lloyd Kiva Craft Center in Scottsdale, Arizona. Kiva‘s vision offered them a place to learn from one another as artisans while plying their respective crafts. Several Native American silversmiths, notably Hopi artisan Charles Loloma, were influenced by Skaggs‘ work. A potter by trade, Loloma was encouraged by and apprenticed to Skaggs, who taught him the art of silversmithing. While most of his jewelry was crafted of silver, Skaggs did work in karat gold occasionally. Given the style of the gold pieces collectors run across, they were likely commissioned by his clientele. Many of his silver jewelry designs were embellished with semi-precious gemstones. Skaggs was active as a jewelry craftsman until he died in 1983.

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6,25" Vintage Navajo Modernist Armband aus Sterlingsilber und Koralle, 30 mm breit. Alle Edelmetalle werden getestet und garantiert, jeder Schmuck der amerikanischen Ureinwohner, der als Silber oder Sterling bezeichnet wird, besteht garantiert zu mindestens 90 % (Münze) aus Silber möglicherweise höherer Inhalt. Alles, was markiert ist, ist garantiert das, was es markiert ist. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe. Wenn bei Armbändern das Maß nicht in der Beschreibung angegeben ist, wird der Innenumfang dort angezeigt, wo das Metall auf die Zahl auf dem Stoffmaßband trifft.

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Navajo Larry Begay Modernist Sterling Hochwertiges Spinnennetz-Türkis-Armreif. Passt bis zu einem 6,5-Zoll-Handgelenk, keine Probleme, super sauberes Stück sowohl im Design als auch im Zustand.

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Large William Spratling sterling ribbon pin with Chrysocolla 50.5 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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60‘s-70‘s LeRoy Benally Navajo Modernist Sterling silver turquoise bolo tie. Solid sterling silver slide (tested), slide and tips. Weight and measurements in pictures. Great bolo with no issues. 40" long. Signed by the Artist. Super high grade turquoise, great design, very nice handmade tips. This artist is represented in the Smithsonian‘s National Museum of the American Indian.

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Jeffrey Castillo Navajo hand stamped sterling silver/turquoise jar w/lid. Weight and measurements in pictures. Tested and guaranteed solid sterling silver with no issues. This artist specializes in Silver vessels, Kachina‘s, and beads with intricate stampwork.

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Margot De Taxco Emaille-Armband aus Sterlingsilber. Keine Probleme, keine Beschädigung des Zahnschmelzes. 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 des Herstellers.

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Everett MacDonald (1924-1991) Laguna Beach, Kalifornien Modernistische abstrakte Manschettenknöpfe aus Sterlingsilber. Keine Probleme. Everett Macdonald, dessen Geschäft in Laguna Beach 1947 eröffnet wurde. Macdonald schuf offenen skulpturalen Silber- und Goldschmuck, wobei er häufig Nylon-Monofilament in den negativen Räumen seiner Anhänger und Ohrringe verwendete und an Skulpturen von Henry Moors und Naum Gabo erinnerte. anderas

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sz5.75 Ed Wiener (1918-1991) New York Modernist sterling and amethyst ring<br><br>"His jewelry of the period has unusual clarity in contrast to the baroque exuberance and surrealistic fantasy of some of his contemporaries," Dr. Milton W. Brown, an art historian, wrote later.<br><br>Among his clients were Louise Nevelson, the sculptor, and Martha Graham, the dancer.<br><br>Mr. Wiener worked largely in silver until the late 1950's when he branched out into new settings in gold and precious jewels, moving, as one critic put it, from craft into art. Over the years he had studios on 53d Street and on Fifth Avenue and continued to work at his Fifth Avenue gallery, by appointment, until his death.<br><br>A native New Yorker, he was largely self-taught and learned to make jewelry with plumbers' and carpenters' tools. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 5 Ring.

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Retro Danish Arne Johansen Modernist sterling 7" Bracelet and 15" necklace set. Buying the set shown, clean with no issues, necklace is 15", so more of a choker.anderas

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Heavy Los Ballesteros Modernist sterling silver collar necklace. 15" inside circumference.<br><br>Los Ballesteros Jewelry - History<br>This business was established in 1937 by Jalil Majul Ballesteros in Iguala,<br>Mexico. He had been apprenticed in the art of silversmithing by his grandfather<br>and father, and early on, he made jewelry with a filigree look. In 1941 he moved<br>his workshop to Taxco and adopted styles that were more in line with the tourist<br>pieces produced there.<br><br>During the 1950s, piecework was farmed out to smaller family workshops in the<br>Taxco area, and the pieces were marked Talleres de los Ballesteros. These pieces<br>were sold in shops throughout the country, including Mexico City and Acapulco.<br>The company also began exporting jewelry in 1952.<br><br>A modernized corporate version of Los Ballesteros continues to sell its<br>products, both jewelry, and decorative giftware, through stores in Mexico as<br>well as through other vendors worldwide. The company’s commitment to quality in<br>honor of their heritage is strong, and they are still using the traditional<br>Talleres de los Ballesteros stylized B logo in their branding.<br><br>anderas

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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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1" Antonio Pineda (1919-2009) Taxco Sterling belt buckle 57.7 grams, very sturdy, other measurements in pics. This is an extremely high quality and good looking buckle. Due to reflections it's difficult to present items of this type in the light the deserve in the time available to me.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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1940er Matl Sterling Repousse Ohrringe/Brosche. Ich verkaufe das abgebildete Set. Die Ohrringe waren ursprünglich verschraubt und wurden später zu durchbohrten Ohrringen umgebaut. Alle drei Stücke garantierten einen Silbergehalt von 900 oder höher. Brosche 1 5/8" breit, Ohrringe 0,75" breit, 24,5 Gramm Gesamtgewicht. MAT-MATILDE POULAT & RICARDO SALAS SCHMUCK Matl ist das Zeichen, das auf einigen der schönsten und einzigartigsten Schmuckstücke Mexikos erscheint. Matilde Eugenia Poulat führte MATL 1934 ein und seit ihrem Tod im Jahr 1960 wurden ihre Designs und Techniken von ihrem Neffen Ricardo Salas weitergeführt. Für Sr. Salas, der Gedichte in der Sprache der Azteken, dem Zeichen matl, rezitieren kann, hat eine größere Bedeutung in seiner Anspielung auf das Nahuatl oder aztekische Wort für Wasser, atl. Als junge Frau studierte Matilde Poulat Malerei an der renommierten Kunstakademie San Carlos in Mexiko-Stadt und unterrichtete anschließend Malkurse an einer Kunstschule, bis sich ihr Interesse ausschließlich dem Silber zuwandte. Matilde Poulats Entwürfe für Schmuck und religiöse Figuren waren Teil der neuen kulturellen Vision der mexikanischen Intellektuellen nach der Revolution in den 1920er Jahren. Künstler suchten nach mexikanischer Ästhetik und lehnten europäische Themen zugunsten der Kunst der Indianer vor der Eroberung ab Mexikanische Pueblos. Sra. Inspiration fand Poulat im mextekischen Goldschmuck, der 1932 in Monte Alban entdeckt wurde. Ihre Motivwahl – Taube, Blumen und Glöckchen – erinnert an die skurrilen Motive der zeitgenössischen mexikanischen Volkskunst. Matilde Poulat erhielt internationale Anerkennung für ihren Schmuck, als sie 1941 gebeten wurde, an einer Ausstellung lateinamerikanischen Silbers bei der Pan American Union in Washington, D.C. teilzunehmen, da die Nachfrage nach Matl-Silber während des Zweiten Weltkriegs zunahm und die Zahl der Silberschmiede zunahm im größeren auf dreiunddreißig erhöht. Im Jahr 1950 wurde Srta. Poulat und ihr Neffe eröffneten im ersten Stock ihres Hauses einen Ausstellungsraum, wo sie auch die Werkstatt hatte. Ricardo Salas erinnert sich, dass sie dreitausend Arten von Silberschmuck und hundert verschiedene religiöse Stücke hergestellt haben. Ricardo Salas arbeitete seit seinem elften Lebensjahr eng mit seiner Tante zusammen. Er sagt, sie habe sein künstlerisches Talent erkannt, als sie ihn mit selbstgemachten Puppen spielen sah. Sr. Salas wurde an die San Carlos Akademie geschickt, wo er den premio Diego Rivera erhielt. Als Jugendlicher lernte er die Techniken des Silberschmieds und perfektionierte das Schnitzen von Elfenbein, Korallen, Türkis und anderen Steinen, die für Schmuck und Figuren verwendet wurden. Von Sr. Aus Salas Sicht arbeiteten er und seine Tante als Designer so eng zusammen, dass es wirklich keinen Vergleich ihrer Arbeit geben kann. Im Jahr 1955 schrieb William Spratling über Matilde Poulat: „Sie hat weiterhin einige der bezauberndsten einheimischen Schmuckstücke Mexikos hergestellt, die zutiefst ihr Eigen sind.“ Ihr Schmuck hat den gleichen Charme und die gleiche entzückende Oberfläche und Farbqualität wie die alten Lackarbeiten von Uruapan. Spratlings Bewunderung für mattes Silber spiegelt seine Anerkennung ihrer gemeinsamen Wertschätzung für die mexikanische Kunst wider. Diese gegenseitige Inspiration führte jeden der beiden Künstler innerhalb desselben Mediums in unterschiedliche Richtungen. Der Überschwang des Mattsilbers ähnelt den Innenräumen der Kirchen in Puebla, wie der Kapelle Santa Maria Tonantzintla, wo Indianer das Innere der Kuppel mit polychromen und vergoldeten Engeln bedeckten. Bei mattem Silber wird die Farbgebung durch Stücke von Korallen, Türkis und Amethystquarz erreicht. Die Oberflächen sind mit aufgebrachtem Draht verziert und mit Prägungen und Repousse von erstaunlicher Komplexität ausgearbeitet (Taf. XXIII-1, XXIII-10). Matilde Poulat und Ricardo Salas ist es gelungen, die künstlerische Sprache der Mixteken mit Fantasie, Drama und einem ganz persönlichen Stil in Schmuck und Silberfiguren zu integrieren.

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6.6" Ramona Loloma modernist sterling silver spiderweb turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with some expected age appropriate wear. If no maker is mentioned or mark shown in the pictures please assume this piece is unmarked which is to be expected with older Native American silver jewelry. If it‘s hallmarked and I‘m not familiar with the artist most of the time I will just mention the hallmark with no research/attribution as time is everything in our business. Thank you for looking. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. Ramona Loloma Poleyma (Hopi) made jewels from 1977 to 1984, she also excels at making rugs. Ramona was born on June 27, 1934 and lives in Hotevilla, Third Mesa Arizona. Ramona, sister of Charles Loloma, were aunt and uncle of Verma Nequatewa and Sherian Honhongva. Apprenticing with Loloma (Nequatewa from 1966, Honhongva from 1976), the sisters worked with him until his retirement in the late 80s. Their sense of continuity with and difference from him was reflected in the name they chose to share when they began to exhibit together in 1989: Sonwai is the feminine form of the Hopi word for “beauty (the masculine being “loloma). Around 1993 the sisters began to work independently. Nequatewa continued with the Sonwai name, while Honhongva used her own name.

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Carmelo Patania #8 turquoise modernist sterling silver clip on earrings. Great earrings, tested and guaranteed solid sterling silver with weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century. Clip on earrings as shown. Strong springs on clips. Frank Patania Sr. and brother Carmelo "Pat" Patania opened up their Thunderbird Shop in Tucson, AZ in 1937. They combined old world jewelry-making with the influence of the Southwest jewelry. Many Native American jewelers apprenticed with the Patania family.

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sz11 Vintage Native American Modernist sterling silver turquoise/coral ring Tested and guaranteed solid sterling silver. Nice ring from the third quarter of the 20th century. Some expected wear, weight and measurements in pictures. Unmarked.

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Heavy vintage sterling silver Mexican modernist bar choker/bangle bracelet. Weight and measurements in pictures, solid sterling silver. Fully functional, with no issues. 6.5" bracelet, 16" necklace.

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16.5" Alice Platero Navajo modernist sterling silver turquoise beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Nusie Henry Belon Navajo Modernist sterling silver turquoise necklace/earrings. Solid sterling silver tested and guaranteed with artists signature, weight and measurements in the pictures. 17" long, nice piece with no issues.

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6.25" Johnny Mike Begay Navajo rails modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No damage or significant wear, circa third quarter of the 20th century. Kenneth Begay was a noted Navajo jeweler who worked at the White Hogan Gallery at Scottsdale. He brought in his brother, Johnny Mike, to work with him. Kenneth is credited with inventing rail bracelets of all types, but it was Johnny Mike who expanded this style. Johnny Mike passed away in 1976, since then others have copied his style.

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Alvin Tso Navajo Mediterranean Coral Modernist Armband aus Sterlingsilber, passend für Handgelenke bis zu 6,75 Zoll. Alle Edelmetalle werden geprüft und garantiert. Jeder als Silber oder Sterling bezeichnete Schmuck der amerikanischen Ureinwohner besteht garantiert zu mindestens 90 % (Münz-)Silber und möglicherweise zu einem höheren Gehalt. Alles, was markiert ist, ist garantiert das, was markiert ist. Die meisten Armbänder werden an einem 6-Zoll-Handgelenk (nicht behaart) fotografiert, Ringe, wenn möglich, an einem Finger der entsprechenden Größe. Bei Armbändern wird der Innenumfang angezeigt, wenn das Maß nicht in der Beschreibung angegeben ist wo das Metall auf die Zahl auf dem Maßband trifft.

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sz5 William Spratling silver ring with aztec pattern. 10.1 grams . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 5 Ring.

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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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Gerald M. Stinn (1937 - 2019) California Modernist sterling necklace - turquoise. The collar necklace is marked Stinn on one side and Sterling on the other. The mark can be seen in the last pic when it's on a scale. No issues, measurements in pics.Gerald M. Stinn (1937 - 2019) Gerald Stinn studied jewelry, crafts, and design at Drake University in Iowa, and taught at public schools and the Des Moines Art Center. In 1965 he moved to California, where he continued teaching for five years. Stinn spent the rest of his life in CA devoting himself fully to designing and making jewelry. There are examples of Stinn's work in the Smithsonian and other museums.All precious metals are tested and guaranteed,

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Henry Steig (1906-1973) Modernist sterling freeform Screw back earrings (3)<br>pair. Selling the 3 pairs shown, largest 1.25" long, 19.7 grams total.<br><br>Jules Brenner and Henry Steig were among group of prominent of New York<br>mid-century studio jewelers who hand-crafted pieces of wearable art that<br>celebrated the avant-garde, rejected traditional jewelry forms, and appealed to<br>an intellectual and liberal middle class. Jules Brenner was born in the Bronx,<br>grew up in Washington Heights, and studied acting with Stella Adler and painting<br>and sculpture in Greenwich Village. Henry Steig (also known as Henry Anton)<br>studied at City College and the National Academy of Design, and began his career<br>as a New York City jazz musician, writer, novelist, cartoonist, and painter.<br>During the 1950s, both Brenner and Steig operated shops and studios in Manhattan<br>and in Provincetown, Massachusetts—then a prominent artists’ enclave—where they<br>sold hand-wrought silver and gold designs which often emphasized biomorphic,<br>surrealist, cubist, and geometric forms.<br><br><br>Everyone knows the famous picture from the film The Seven Year Itch, of Marilyn<br>Monroe standing on a New York sidewalk, her skirt blown up by on updraft from<br>the subway grate below. However, not everyone knows that at that moment she was<br>standing in front of Henry Steig's jewelry shop at 590 Lexington Avenue.<br>Henry Steig was a man of many talents. Before he became a jeweler, he was a jazz<br>musician, painter, sculptor, commercial artist, cartoonist, photographer, short<br>story writer and novelist.<br><br>"Henry was a Renaissance man," says New Yorker cartoonist Mischa Richter, who<br>was Steig's good friend and Provincetown neighbor.<br><br>Henry Anion Steig was born on February 19, 1906, in New York City. His parents,<br>Joseph and Laura, had come to America at the turn of the century, from Lvov<br>(called Lemberg in German), which was then in the Polish port of the<br>Austro-Hungarian Empire. Joseph was a housepainter and Laura, a seamstress.<br><br>They had four sons, Irwin, Henry, William and Arthur, all of them versatile,<br>talented and artistic. William Steig is the well-known New Yorker cartoonist and<br>author-illustrator of children's books. lrwin was a writer of short stories for<br>the New Yorker. Arthur was a painter and poet whose poems were published in the<br>New Republic and Poetry magazines.<br><br>William Steig recalls, "My father and mother both began pointing and become<br>exhibiting artists after their sons grew up." In the May 14, 1945, issue of<br>Newsweek magazine, an article was published about an exhibition, "possibly the<br>first one family show on Art Row (57th Street)" at the New Art Circle Gallery.<br>It was called "The Eight Performing Steigs, Artists All." Included were<br>paintings By Joseph and Laura Steig; drawings and sculpture by William and<br>paintings by his wife, Liza; paintings by Arthur and his wife, Aurora; and<br>photographs by Henry and paintings by his wife, Mimi. The only brother not<br>included was Irwin, "the only non-conformist Steig," who was working at that<br>time as advertising manager of a Connecticut soap manufacturer.<br><br>In the article "the brothers attribute the family's abundance of good artists to<br>the fact that we all like each other's work…get excited about it. Whenever<br>anyone starts they get lots of encouragement. Joseph Steig adds, 'Painting is a<br>contagious thing. If you lived in our environment, you would probably point.'"<br><br>Henry Steig grew up in this extraordinary environment. The family lived in the<br>Bronx. After graduating from high school, Henry Steig went to City College<br>(CCNY). After three years he left to study painting and sculpture at the<br>National Academy of Design. He was also an accomplished musician, playing<br>saxophone, violin and classical guitar, and while he was in college, he began<br>working as a jazz musician. From about 1922, when only sixteen years old, until<br>1932 he played reed instruments with local dance bands.<br><br>After four years at the National Academy, Steig worked as a commercial artist<br>and cartoonist. He signed his cartoons "Henry Anton" because his brother William<br>was working as a cartoonist at the same time, for many of the same magazines.<br>From about 1932 to 1936, Henry Anton cartoons appeared in Life, Judge, New<br>Yorker and other magazines.<br><br>Steig began a writing career in 1935 that lasted until about 1947. He became<br>very successful and well known as a short story writer, with stories appearing<br>regularly in Saturday Evening Post, New Yorker, Esquire, Colliers and others.<br>They were often humorous tales about jazz and the jazz musicians who populated<br>the world of music in the roaring twenties. Other stories were about his Bronx<br>childhood. He also wrote nonfiction magazine pieces, including a New Yorker<br>profile of Benny Goodmon and jazz criticism. Several of his nonfiction articles<br>were illustrated by William Steig.<br><br>In 1941 , Alfred A. Knopf published Henry Steig's novel, Send Me Down. The<br>story, told with absolute realism, is about two brothers who become jazz<br>musicians in the twenties. On the book jacket, Steig wrote, "Much of the<br>material for Send Me Down was gathered during my years as a jazz musician<br>playing with local jazz bands and with itinerant groups in vaudeville and on<br>dance hall tour engagements. Although I was only second-rate as a musician, I<br>know my subject from the inside, and I believe I was the first to write stories<br>about jazz musicians, based on actual personal experience." His son, Michael,<br>recalls that there was some interest in making a movie of the book. "My father<br>told me that John Garfield wanted to play the lead character."<br><br>Steig did go to Hollywood in 1941, under contract to write screenplays. He was<br>going to work with Johnny Mercer, the songwriter. After the ing of Pearl Harbor<br>on December 7, he returned to New York. "He undoubtedly would have returned<br>anyway," says Michael Steig. "He was not happy with the contract his agent had<br>negotiated for him." Mischa Richter odds, "Henry was very unimpressed with<br>Hollywood."

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6 1/8" 1980's J Wright Southwestern modernist sterling onyx/red jasper cuff braceletAll precious metals are tested and guaranteed,

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6.75" Lori Carved Turquoise Southwestern modernist sterling cuff bracelet. High quality, handmade, one of a kind, sturdy, carved turquoise. This isn't Lori Bonn, not sure who Lori is or was but she did good work. Hand carved stone like Zuni work.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is<br>stored in a secure location and cannot be accessed for more pictures, videos, or<br>measurements until sold. If you look at pictures/description your question<br>should be answered. Thank you so much for your time and consideration

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

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Margot De Taxco 5740 Sterling Pendant/pin and earrings set. Pin has loops and a hook to fix onto a necklace if wanted. Measurements in pics. 23.4 grams. No issues.Margot Van Voorhies was born in 1896 in San Francisco, California. By the time<br>she left her native country for good, she had survived the death of her father<br>in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the<br>hands of a er in 1931 and the end of her first marriage in 1936.<br><br>Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways<br>she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van<br>Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the<br>path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the<br>design, crafting, and production of silver objects, in particular jewelry and<br>housewares.<br><br>Soon, Castillo would become Margot’s second husband. At the time, Castillo was<br>working for William Spratling, a pioneer in Mexican silversmithing. He brought<br>Margot into the business as a designer, helping her to transform her paper<br>creations into three-dimensional forms in silver. In 1939, the pair, along with<br>other members of Castillo’s family, opened shop as Los Castillo Taller [Taller<br>is Spanish for “Workshop”], with Margot as the top designer.<br><br>After ten years, the marriage between Castillo and Van Voorhies dissolved, as<br>did their professional association. Margot went on to open her own shop in 1948,<br>taking the name Margot de Taxco, by which she is best known today. Seven years<br>later, enamel was added to many of her pieces, and this is where Margot found<br>her legacy.<br><br>At the peak of her career, Margot, who designed each piece herself, had two<br>dozen silversmiths and a dozen enamellists in her employ to execute her vision.<br>The men performed the duties as silversmiths; the women did the enamel work,<br>using tiny brushes to bring the watercolor drawings to life. To ensure the<br>accurate rendering of her jewelry designs, she compiled a book of instructions<br>and drawings, detailing the construction and finishing of each. Margot attracted<br>talented craftsmen who later went on to cement their own reputations, such as<br>Sigi Pineda, Miguel Melendez, and Melecio Rodriguez.<br><br>Many contemporary Hollywood celebrities were clients of Margot, including John<br>Wayne and Lana Turner, who visited her shop every year.<br><br>Tragedy struck in the form of a fire in 1960. Forced to move her studio, she<br>never again regained her prior success, and the business folded in 1974. Margot<br>granted several of the silversmiths in her employ permission to use her molds to<br>create pieces on their own, in return for debt forgiveness. As a result, many of<br>Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and<br>Geronimo Fuentes, bearing their hallmark rather than hers.<br><br>Margot passed away in 1985. But her talent as a designer and her influence as an<br>artist have continued to gain recognition since the time of her death.<br><br>Margot’s shop produced some repousse silver (a technique where a raised or<br>relief design is hammered in from the reverse side of the piece). But she is<br>best known for her champlevé enamel work. Champlevé is created by carving,<br>etching, striking, or casting troughs or cells into the surface of a piece and<br>filling it with vitreous enamel. In Margot’s jewelry, the designs were<br>die-struck, a process that was detailed and critical to the final product.<br><br>Margot produced many suites that included necklaces, brooches, bracelets, and<br>earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized<br>for its elegance, femininity, and variety.<br><br>There were many areas of influence that can be found in Margot’s work. Her fish<br>and wave motifs celebrated her love of Japanese art. The ornate swirls and<br>floral motifs were reminiscent of the Art Nouveau style. Mischievous<br>pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck<br>graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts.<br><br>Margot de Taxco pieces are distinguished by the stamp that includes her name,<br>Eagle 16 (or Eagle 1, for her earlier works), along with a production number.<br>Issued by the government, the eagle stamp was a way to identify th

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4pr Ledesma/other Taxco Modernist sterling clip/screw back earrings with no issues, weight and measurements in pics. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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6 5/8" Vintage Los Castillo Sterling Multi-stone bracelet. No issues, clasp is plated brass, the rest is solid sterling.Los Castillo Jewelry - History Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting their own business in Taxco, Mexico. Antonio Castillo rose to the level of master silversmith during his time working with Spratling.The Los Castillo workshop trained and employed many skilled silversmiths over its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van Voorhies Carr. All these artists went on to open their own successful workshops, including van Voorhies Carr who founded Margot de Taxco after she and Antonio Castillo divorced.Los Castillo is known for its quality silver wares as well as mixed metals that incorporated copper and/or brass with sterling silver. Other decorative home accessories can be found with silver plating and inlaid stone embellishments.Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design talent. He developed the techniques for married metals, feathers with silver, Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th Edition), p. 86.

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Antonio Pineda (1919-2009) Taxco Sterling belt buckle 59.7 grams, very sturdy, other measurements in pics. This is an extremely high quality and good looking buckle. Due to reflections it's difficult to present items of this type in the light the deserve in the time available to me.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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6 5/8" Vintage Los Castillo Sterling und Sodalith Armband Los Castillo Schmuck – Geschichte Antonio Castillo und seine Brüder Jorge, Miguel und Justo gründeten Los Castillo im Jahr 1939. Sie hatten alle eine Lehre bei William Spratling gemacht, bevor sie ihr eigenes Unternehmen in Taxco, Mexiko, gründeten. Antonio Castillo stieg während seiner Zeit bei Spratling zum Silberschmiedmeister auf. Die Werkstatt in Los Castillo bildete im Laufe ihrer jahrzehntelangen Tätigkeit viele qualifizierte Silberschmiede aus und beschäftigte sie, darunter den Cousin der Castillo-Brüder Salvador Teran, Sigi Pineda, Antonio Pineda und Antonio Castillos Frau Margot van Voorhies Carr. Alle diese Künstler eröffneten ihre eigenen erfolgreichen Werkstätten, darunter van Voorhies Carr, der Margot de Taxco gründete, nachdem sie und Antonio Castillo sich scheiden ließen. Los Castillo ist bekannt für seine hochwertigen Silberwaren sowie für gemischte Metalle, bei denen Kupfer und/oder Messing mit Sterlingsilber kombiniert werden. Weitere dekorative Wohnaccessoires finden Sie mit Versilberung und eingelegten Steinverzierungen. Chato (Jorge) Castillo war einer der Castillo-Brüder, die in den 1930er Jahren für William Spratling arbeiteten. Er ist bekannt für sein technisches Fachwissen und sein Designtalent. Er entwickelte die Techniken für verbundene Metalle, Federn mit Silber, aztekische Mosaik- oder Steineinlagen, Concha- oder Abalone-Einlagen, ... (Mexican Silver: Modern Hand-wrought Jewelry & Metalwork von Morrill und Berk (Schiffer: 2007, 4. Auflage), S. 86.

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Frank Patania Sr Sierra Blanca Ski Club Ruidoso NM sterling gold filled pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, Circa mid 20th century, thick gold filled on sterling silver.

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David Andersen 830 Silver Ringebu 6pc Knife set. 8" long each. Selling the set shown all solid 830 silver mid century modern pattern with stainless steel blades. All by David Andersen and signed. No issues, all very clean. Measurements in pictures, no other measurements are available. 1

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David Andersen 830 Silver Ringebu Demitasse/coffee spoons Sugar tongs butter. Selling the set shown all solid 830 silver mid century modern pattern. All by David Andersen and signed. No issues, all very clean. Measurements in pictures, no other measurements are available. 11 Demi spoons, 1 tongs, 1 small butter spreader.

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Johnny Mike Begay Navajo modernist sterling silver belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a .75" belt. No apparent damage. Kenneth Begay was a noted Navajo jeweler who worked at the White Hogan Gallery at Scottsdale. He brought in his brother, Johnny Mike, to work with him. Kenneth is credited with inventing rail bracelets of all types, but it was Johnny Mike who expanded this style. Johnny Mike passed away in 1976, since then others have copied his style

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Vintage Abstract Southwestern Modernist sterling silver bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 38" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Unknown maker, apparently unmarked.

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6.25" 3 Vintage Heavy Southwestern sterling silver chiseled cuff bracelets. Tested and guaranteed solid sterling silver with minimal wear, no damage. Weight and measurements in pictures. Circa third quarter of the 20th century. Selling all three.

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c1960 c-31 Southwest Modernist sterling silver coral cluster turquoise bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 39" long with no issues. No detectable markings, likely Native American made. Tray is tared out, so weight shown is just the bolo of course.

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Ray Scott Navajo textured overlay modernist sterling silver cuff bracelet. Weight and measurements in pictures, solid sterling silver. Ray Scott is an accomplished Native American Navajo silversmith. His art is his own. It is innovative and original... it explores our senses. His jewelry is often a journey into the 3rd dimension... depth. It is twisted, layered, textured and colored all to produce feelings of movement. Ray‘s jewelry is art. Lyrical, musical in a way that stirs your emotions. Beautiful compositions in turquoise and silver. It should also be noted that Ray‘s choice of gemstones never fails to add to the piece. Nothing in Ray Scott jewelry happens by accident. His jewelry is always well thought out with the express purpose of moving his designs forward. "I take great pride in my work", Ray says and he means every word. Ray (Raynard) Scott jewelry is made entirely by him. Nothing is bought from jewelry supply stores... nor do any other silversmiths participate in its making.

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Großes Los Ballesteros Modernist Sterling-Manschettenarmband. Tolle Manschette ohne Beschädigung oder nennenswerte Abnutzung. Los Ballesteros Schmuck – Geschichte Dieses Unternehmen wurde 1937 von Jalil Majul Ballesteros in Iguala, Mexiko, gegründet. Er wurde von seinem Großvater und seinem Paten in die Kunst des Silberschmiedens eingewiesen und fertigte schon früh Schmuckstücke mit filigraner Optik an. 1941 verlegte er seine Werkstatt nach Taxco und übernahm Stile, die eher den dort hergestellten Touristenstücken entsprachen. In den 1950er Jahren wurde die Akkordarbeit an kleinere Familienwerkstätten in der Gegend von Taxco verlagert, und die Stücke wurden mit der Aufschrift Talleres de los Ballesteros gekennzeichnet. Diese Stücke wurden in Geschäften im ganzen Land verkauft, darunter in Mexiko-Stadt und Acapulco. 1952 begann das Unternehmen auch mit dem Export von Schmuck. Eine modernisierte Unternehmensversion von Los Ballesteros verkauft seine Produkte, sowohl Schmuck als auch dekorative Geschenkartikel, weiterhin über Geschäfte in Mexiko sowie über andere Anbieter weltweit. Das Unternehmen legt großen Wert auf Qualität und würdigt damit sein Erbe. In seinem Branding verwendet es nach wie vor das traditionelle stilisierte B-Logo von Talleres de los Ballesteros.

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Antonio Pineda (1919-2009) Mid Century Modern sterling belt buckle 2.5" x 1 3/8", fits up to a 1 1/8" belt. 42.9 grams. <br><br>Pineda is one of two living members of the Taxco School and is recognized as a<br>world-class designer and a Mexican national treasure. <br> Pineda’s jewelry is especially known for its elegant acknowledgment of the<br>human form. It is often said that a Pineda fits the body perfectly, that it<br>feels right when it is worn. So, for example, a thick geometric necklace that<br>might at first glance seem too weighty or rigid to wear comfortably is, in fact,<br>faceted, hinged, or hollowed in such a way that it gracefully encircles the neck<br>or drapes down the décolletage.  In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with as much ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master.

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Antonio Pineda (1919-2009) Los Castillo Modernistische Space-Age-Manschettenknöpfe aus Sterlingsilber, 1 5/16" x .75" Fläche, 24,7 Gramm. In der Bergstadt Taxco im mexikanischen Bundesstaat Guerrero kann der großflächige Bergbau auf die Zeit datiert werden 16. Jahrhundert, und Silber ist eine Lebenseinstellung. In den Jahren nach der mexikanischen Revolution (1910– 20) wurden dort Schmuck und andere Silbergegenstände mit einem völlig innovativen Ansatz hergestellt, informiert durch den Modernismus und die Schaffung einer neuen mexikanischen nationalen Identität. Heute, im Alter von 89 Jahren, Antonio Pineda ist eines von zwei lebenden Mitgliedern der Taxco School und gilt als Weltklasse-Designerin und ein mexikanischer Nationalschatz. Fast zweihundert Beispiele von Pinedas gefeierten Silberarbeiten werden gezeigt wird in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, einem reisenden, ausgestellt Ausstellungseröffnung im Fowler Museum am 24. August 2008. Angesichts Pinedas zahlreicher Erfolge und seines internationalen Ansehens ist es bezeichnend, dass er sich selbst identifiziert hauptsächlich als Taxqueño oder Taxco, Silberschmied. Von Anfang an hat die Taxco-Bewegung neue Wege beschritten Grundlage für technische Leistung und Design. Der in den USA geborene und in Taxco ansässige Designer William Spratling gilt als Vorreiter der zeitgenössischen Taxco-Silberbewegung Gruppe talentierter mexikanischer Designer, die anschließend unabhängige Werkstätten gründeten und das entwickelten unverwechselbare „Taxco-Schule“. Diese Designer integrierten zahlreiche ästhetische Ausrichtungen – präkolumbianische Kunst; Silberarbeiten, religiöse Bilder und andere Kunstwerke aus der mexikanischen Kolonialzeit; Und lokale Populärkunst – und verschmilzt sie mit dem breiten Spektrum der Moderne. Pineda selbst wird für seine kühnen Designs und den genialen Einsatz von Edelsteinen gelobt. Silberne Verführungsspuren Die Entwicklung seiner Arbeit in den 1930er bis 1970er Jahren zeigt mehr als fünfzig Halsketten und Halsketten Armbänder sowie zahlreiche schöne Ringe, Ohrringe und diverse Beispiele seiner Hohlwaren und Geschirr. Alle Werke zeichnen sich durch Pinedas schwer zu erreichende Kombination hochraffinierter Ausführung aus und handgearbeiteter Reiz. Der Schmuck von Pineda ist vor allem für seine elegante Anspielung auf die menschliche Form bekannt. Es ist oft sagte, dass ein Pineda perfekt zum Körper passt und sich beim Tragen richtig anfühlt. Also zum Beispiel eine dicke Eine geometrische Halskette, die auf den ersten Blick zu schwer oder zu starr erscheint, um sie bequem zu tragen, ist in der Tat facettiert, aufklappbar oder ausgehöhlt, so dass es den Hals anmutig umschließt oder verführerisch drapiert bis zum Dekolleté. Darüber hinaus verwendete kein anderer Taxqueño-Juwelier so viele kostbare Halbedelsteine ​​oder besetzte sie wie viel Einfallsreichtum, Geschick und Abwechslung, genau wie Pineda. Nur die talentiertesten Silberschmiede konnten es schaffen Los Castillo Schmuck – Geschichte Antonio Castillo und seine Brüder Jorge, Miguel und Justo gründeten Los Castillo im Jahr 1939. Sie hatten alle eine Lehre bei William Spratling gemacht, bevor sie ihr eigenes Unternehmen in Taxco, Mexiko, gründeten. Antonio Castillo stieg während seiner Zeit bei Spratling zum Silberschmiedmeister auf. Die Werkstatt in Los Castillo bildete im Laufe ihrer jahrzehntelangen Tätigkeit viele qualifizierte Silberschmiede aus und beschäftigte sie, darunter den Cousin der Castillo-Brüder Salvador Teran, Sigi Pineda, Antonio Pineda und Antonio Castillos Frau Margot van Voorhies Carr. Alle diese Künstler eröffneten ihre eigenen erfolgreichen Werkstätten, darunter van Voorhies Carr, der Margot de Taxco gründete, nachdem sie und Antonio Castillo sich scheiden ließen. Los Castillo ist bekannt für seine hochwertigen Silberwaren sowie für gemischte Metalle, bei denen Kupfer und/oder Messing mit Sterlingsilber kombiniert werden. Weitere dekorative Wohnaccessoires finden Sie mit Versilberung und eingelegten Steinverzierungen. Chato (Jorge) Castillo war einer der Castillo-Brüder, die in den 1930er Jahren für William Spratling arbeiteten. Er ist bekannt für sein technisches Fachwissen und sein Designtalent. Er entwickelte die Techniken für verbundene Metalle, Federn mit Silber, aztekische Mosaik- oder Steineinlagen, Concha- oder Abalone-Einlagen, ... (Mexican Silver: Modern Hand-wrought Jewelry & Metalwork von Morrill und Berk (Schiffer: 2007, 4. Auflage), S. 86.

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c1950‘s Antonio Pineda Taxco sterling silver modernist hunting cufflinks. Weight and measurements in the pictures. Solid sterling silver, marked as shown with no issues.

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

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6.5" Vintage Los Ballesteros Sterling and gemstone bracelet. Stones untested, likely synthetic.

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1950er Jahre Los Ballesteros Mid Century Modern mexikanischer Anhänger aus Sterlingsilber. Mitte des Jahrhunderts, 1950er oder 60er Jahre, schwache Adlermarkierung. Der Anhänger ist 4" hoch mit Öse x 2 5/8" breit, der Halsreif ist etwa 16". Der Halsreif ist Vintage, aber nicht von Los Ballesteros, und er hat ein paar kleine Biegungen, keine Probleme mit dem Anhänger. 687,3 Gramm Gesamtgewicht. Das ist ein sehr ungewöhnlicher Anhängerstil in sehr großer Größe.

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Georg Jensen Acorn sterling Nutracker with stainless steel cracker. Sterling handle with stainless "cracker" part.. No damage or significant wear, vintage set. Measurements shown in one of the pictures. No monograms or monogram removals. Designed in 1915 by Johan Rohde, the Acorn sterling silver cutlery pattern represents the early foundation of Georg Jensens organic and timeless design language. In contrast to the Art Nouveau style of the early 1900s, Acorns design captures a classic, understated style where decoration is used to emphasise the form and shape. Regarded as both a sumptuous and noble pattern, Acorn at one time had 220 individual pieces. Todays range totals approximately 75 pieces and remains one of Georg Jensens most exclusive silver cutlery patterns. silverdrawer

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William Spratling sterling Aztec style pin 1/7/8" wide with no issues. c1940'sSpratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Large William Spratling sterling bow pin with amethyst 42.2 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Modernist sterling nephrite Jade belt buckle Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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David Andersen Norwegen Sterling Emaille MCM Abstract Pin 1 5/8" x 1,25" 17,2 Gramm ohne Beschädigung der Emaille.

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Henry Steig (1906-1973) Modernist sterling freeform pin and screw back earrings<br>set 2 5/8" x 2 1/8", earrings 1". 14 grams total weight.<br><br>Jules Brenner and Henry Steig were among group of prominent of New York<br>mid-century studio jewelers who hand-crafted pieces of wearable art that<br>celebrated the avant-garde, rejected traditional jewelry forms, and appealed to<br>an intellectual and liberal middle class. Jules Brenner was born in the Bronx,<br>grew up in Washington Heights, and studied acting with Stella Adler and painting<br>and sculpture in Greenwich Village. Henry Steig (also known as Henry Anton)<br>studied at City College and the National Academy of Design, and began his career<br>as a New York City jazz musician, writer, novelist, cartoonist, and painter.<br>During the 1950s, both Brenner and Steig operated shops and studios in Manhattan<br>and in Provincetown, Massachusetts—then a prominent artists’ enclave—where they<br>sold hand-wrought silver and gold designs which often emphasized biomorphic,<br>surrealist, cubist, and geometric forms.<br><br><br>Everyone knows the famous picture from the film The Seven Year Itch, of Marilyn<br>Monroe standing on a New York sidewalk, her skirt blown up by on updraft from<br>the subway grate below. However, not everyone knows that at that moment she was<br>standing in front of Henry Steig's jewelry shop at 590 Lexington Avenue.<br>Henry Steig was a man of many talents. Before he became a jeweler, he was a jazz<br>musician, painter, sculptor, commercial artist, cartoonist, photographer, short<br>story writer and novelist.<br><br>"Henry was a Renaissance man," says New Yorker cartoonist Mischa Richter, who<br>was Steig's good friend and Provincetown neighbor.<br><br>Henry Anion Steig was born on February 19, 1906, in New York City. His parents,<br>Joseph and Laura, had come to America at the turn of the century, from Lvov<br>(called Lemberg in German), which was then in the Polish port of the<br>Austro-Hungarian Empire. Joseph was a housepainter and Laura, a seamstress.<br><br>They had four sons, Irwin, Henry, William and Arthur, all of them versatile,<br>talented and artistic. William Steig is the well-known New Yorker cartoonist and<br>author-illustrator of children's books. lrwin was a writer of short stories for<br>the New Yorker. Arthur was a painter and poet whose poems were published in the<br>New Republic and Poetry magazines.<br><br>William Steig recalls, "My father and mother both began pointing and become<br>exhibiting artists after their sons grew up." In the May 14, 1945, issue of<br>Newsweek magazine, an article was published about an exhibition, "possibly the<br>first one family show on Art Row (57th Street)" at the New Art Circle Gallery.<br>It was called "The Eight Performing Steigs, Artists All." Included were<br>paintings By Joseph and Laura Steig; drawings and sculpture by William and<br>paintings by his wife, Liza; paintings by Arthur and his wife, Aurora; and<br>photographs by Henry and paintings by his wife, Mimi. The only brother not<br>included was Irwin, "the only non-conformist Steig," who was working at that<br>time as advertising manager of a Connecticut soap manufacturer.<br><br>In the article "the brothers attribute the family's abundance of good artists to<br>the fact that we all like each other's work…get excited about it. Whenever<br>anyone starts they get lots of encouragement. Joseph Steig adds, 'Painting is a<br>contagious thing. If you lived in our environment, you would probably point.'"<br><br>Henry Steig grew up in this extraordinary environment. The family lived in the<br>Bronx. After graduating from high school, Henry Steig went to City College<br>(CCNY). After three years he left to study painting and sculpture at the<br>National Academy of Design. He was also an accomplished musician, playing<br>saxophone, violin and classical guitar, and while he was in college, he began<br>working as a jazz musician. From about 1922, when only sixteen years old, until<br>1932 he played reed instruments with local dance bands.<br><br>After four years at the National Academy, Steig worked as a commercial artist<br>and cartoonist. He signed his cartoons "Henry Anton" because his brother William<br>was working as a cartoonist at the same time, for many of the same magazines.<br>From about 1932 to 1936, Henry Anton cartoons appeared in Life, Judge, New<br>Yorker and other magazines.<br><br>Steig began a writing career in 1935 that lasted until about 1947. He became<br>very successful and well known as a short story writer, with stories appearing<br>regularly in Saturday Evening Post, New Yorker, Esquire, Colliers and others.<br>They were often humorous tales about jazz and the jazz musicians who populated<br>the world of music in the roaring twenties. Other stories were about his Bronx<br>childhood. He also wrote nonfiction magazine pieces, including a New Yorker<br>profile of Benny Goodmon and jazz criticism. Several of his nonfiction articles<br>were illustrated by William Steig.<br><br>In 1941 , Alfred A. Knopf published Henry Steig's novel, Send Me Down. The<br>story, told with absolute realism, is about two brothers who become jazz<br>musicians in the twenties. On the book jacket, Steig wrote, "Much of the<br>material for Send Me Down was gathered during my years as a jazz musician<br>playing with local jazz bands and with itinerant groups in vaudeville and on<br>dance hall tour engagements. Although I was only second-rate as a musician, I<br>know my subject from the inside, and I believe I was the first to write stories<br>about jazz musicians, based on actual personal experience." His son, Michael,<br>recalls that there was some interest in making a movie of the book. "My father<br>told me that John Garfield wanted to play the lead character."<br><br>Steig did go to Hollywood in 1941, under contract to write screenplays. He was<br>going to work with Johnny Mercer, the songwriter. After the ing of Pearl Harbor<br>on December 7, he returned to New York. "He undoubtedly would have returned<br>anyway," says Michael Steig. "He was not happy with the contract his agent had<br>negotiated for him." Mischa Richter odds, "Henry was very unimpressed with<br>Hollywood."

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Im Ruhestand befindliche, modernistische Sterling-Ohrringe von James Avery, 1 5/8" hoch x 1,25" breit x 6 Gramm, ohne Beschädigung oder nennenswerte Gebrauchsspuren. James Avery gründete sein Unternehmen 1954 und fertigte zunächst Schmuck in einer Garage für zwei Autos in Kerrville, Texas, mit nur 250 US-Dollar und dem Wunsch, dauerhaften Wert für andere zu schaffen. Herr Avery glaubte, dass der Sinn das Leben schöner macht, und dieses Konzept bestimmt bis heute die Art und Weise, wie wir Schmuck entwerfen. Im Jahr 2007, 53 Jahre nach der Gründung des Unternehmens, trat James Avery offiziell als CEO zurück und übergab die Leitung an seine Söhne Chris und Paul. Mr. Averys Mission war einfach: Schmuck mit Bedeutung zu schaffen – sowohl für ihn selbst als auch für andere. Mit dem Fokus auf die Schaffung geradliniger Designs und der Grundüberzeugung von Integrität in allen Dingen wurde sein Schmuck zu mehr als nur Edelmetallen und Edelsteinen. Die Gäste kamen mit ihren Geschichten – ihren besonderen Momenten – zu ihm, damit er daraus Stücke herstellen konnte, die sie ein Leben lang mit Stolz tragen würden. Vom Schreiben von Briefen bis zur Begrüßung von Kunden legte Herr Avery Wert darauf, dauerhafte Beziehungen zu jeder Person aufzubauen, die mit seinen Entwürfen in Verbindung stand.

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26" Helen Beckerhoff modernist sterling necklace with 1900 US silver dollar pendant. Nice solid sterling period mid century US made necklace just signed Beckerhoff, tested sterling. The pendant is removable.Helen Beckerhoff by Stowe Speaks Interviewed by Amanda Kuhnert on April 2010. Helen was a long-time resident of Stowe. From the late 1940’s to the late 1960’s she owned and operated a ski lodge, The Lantern, in the heart of Stowe Village. In the rear of the lodge Helen had a jewelry store, The Silver Shop, where she designed and made handcrafted silver jewelry. However, the shop was best known for the place where local, state, National and world events and issues were debated. Helen was always community minded. She served on the Stowe Select Board, the Stowe Planning Commission, and was secretary to the Stowe Area Association. When most people settled into retirement, Helen earned her Master’s degree and then taught English as a second language in China. She never lost her passion for travel.

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William Spratling silver modernist sterling screw back earrings sphere 18 grams, measurements in pics, no issues. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Men's Size 10 Ring.

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William Spratling sterling Bird pin with amethyst 20.9 grams, other measurements in pics. Stone intact and structurally sound with what appears to be natural fissures.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Harald Christian Nielsen for Georg Jensen Silver and Hematite ring 46A Size 6, super clean with no damage or detectable wear. <br><br>Harald Nielsen (20 July 1892 – 22 December 1977) was a Danish designer of silver for Georg Jensen. The younger brother of Georg Jensen's third wife, he joined the company at 17 as a chaser's apprentice but later became one of the company's leading designers in the 1920s and 1930s and Jensen's closest colleague. One of his most well-known designs being the pyramid flatware pattern. In the early 1950s he headed the company's apprentice school and in 1958 became its artistic director.<br><br>Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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William Spratling (1900-1967) Taxco Modernistische Manschettenknöpfe aus Sterlingsilber. Jede Seite 18 mm x 14 mm, 15,3 Gramm. William Spratling (1900-1967) Spratling, ein Architekt und Künstler, der an der Tulane University in New Orleans lehrte, kam Ende der 1920er Jahre nach Mexiko und ließ sich in der Stadt Taxco nieder. Nachdem er durch seine Kollegen in Tulane ein Interesse für die mesoamerikanische Archäologie und Kultur entwickelt hatte, reiste er mehrere Sommer lang nach Mexiko, um Vorträge zu halten und zu erkunden. Er suchte abgelegene Dörfer im Bundesstaat Guerrero auf, 110 Meilen von Mexiko-Stadt entfernt, wo mancherorts Nahuatl, die aztekische Sprache, gesprochen wurde. Zahlreiche gesammelte Artefakte und zeitgenössisches einheimisches Kunsthandwerk. Spratling verdiente ein Vermögen mit der Herstellung und Gestaltung von Silber, aber seine wahre Lebensaufgabe bestand darin, die alte Kultur seiner Wahlheimat zu bewahren, zu erlösen und zu interpretieren. Er erklärte dem nordamerikanischen Publikum die Gemälde der modernen mexikanischen Meister und erlangte Anerkennung als gelehrter und früher Sammler präkolumbianischer Kunst. Spratling und seine Werkstatt wurden nach und nach zu einer sichtbaren und kulturell attraktiven Verbindung zwischen einem stetigen Strom namhafter amerikanischer Besucher und dem Land, das sie sehen und erleben wollten. Spratling hatte das seltene Glück, dass sein eigener Ruf – als einer der am meisten bewunderten Amerikaner Mexikos – vor seinem Tod zur Legende wurde. „William Spratling, His Life and Art“ rekonstruiert anschaulich dieses überaus vielfältige Leben, dessen einzigartiges ästhetisches Erbe nur ein Teil seiner größeren kulturellen Errungenschaft ist, die Einstellung der Amerikaner gegenüber einer Zivilisation, die sich von ihrer eigenen unterscheidet, tiefgreifend zu beeinflussen.

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