Große antike Mikromosaik-Anstecknadel aus 18 Karat Gold. Erstaunliches Stück künstlerischen Schmucks aus dem 19. Jahrhundert, 2" x 1 5/8" 39,4 Gramm auf meiner Waage. Von mir und einem unabhängigen Juwelier getestet: 18-karätiges Gold, ohne Markierung. Das im letzten Bild gezeigte Gutachten ist enthalten.

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c1880 Austin Fire Department Washington 1 Sterling Pin Abzeichen. Äußerst seltene kleine Anstecknadel aus dem letzten Viertel des 19. Jahrhunderts bis spätestens ins frühe 20. Jahrhundert. Wie unten angegeben, wurde die Washington 1 Station 1916 geschlossen. Die Washington 1 war die erste Feuerwache in Austin, wie unten angegeben. Dies wurde von mir in Austin in einer Tasche gefunden, in der sich auch der Brief befand, den ich beifüge. Ich habe einen großen Teil dieses Anwesens von einer Familie gekauft, von der ich weiß, dass sie seit den 1920er Jahren im selben Haus lebt. Der freiwillige Feuerwehrmann, der dies trug, war ein Mann namens John F. Westlund (1858–1945), oder es besteht eine geringere Wahrscheinlichkeit, dass es Lee Wesley Westlund (1891–1970) in sehr jungen Jahren gewesen sein könnte. Es gibt ein Feuermuseum in Austin, das ich noch nicht besucht habe und das wahrscheinlich eines davon bestätigen könnte. Maße ca. 1,25 x 5/8", auf der Rückseite mit „Sterling“ gekennzeichnet. Es hat einen Emaille-Schriftzug mit allgemeinen Gebrauchsspuren, ist aber äußerst selten und wichtig. Die Central Station No. 1 war nicht die erste Feuerwache in der Innenstadt von Austin. Im Jahr 1868 wurde die Washington Fire Company Nr. 1 in der 6th Street gegründet. Das erste von Hand gezogene Feuerwehrauto wurde durch einen Dampfer ersetzt, der wiederum aufgegeben wurde, als die Wassergesellschaft Anfang der 1880er Jahre auf das Holly-System umstieg. Der Motorenhersteller wurde daraufhin in einen Schlauchhersteller umgewandelt. Austin Fire Department: Freiwillige für professionelle Feuerwehrleute Die Feuerwehr von Austin begann in den 1870er Jahren mit einem sehr formellen Freiwilligenprogramm. Der Erfolg der Freiwilligenorganisation verzögerte tatsächlich die Notwendigkeit einer Karriereabteilung bis 1916. Es waren Austins Geschäftsleute und Kaufleute, die hauptsächlich die Freiwilligenliste umfassten. Viele haben ihr Leben der Feuerwehr gewidmet. Im Frühjahr 1916 stimmten die Bürger von Austin für die Gründung einer bezahlten städtischen Feuerwehr. Über Nacht wuchs die Abteilung von mehr als 200 Freiwilligen auf 27 bezahlte Feuerwehrleute, die sechs 24-Stunden-Schichten pro Woche arbeiteten. Der erste bezahlte Feuerwehrchef, der von der Stadtverwaltung von Austin ernannt wurde, war CF Millett. Unter Milletts Leitung wurden strenge Brandschutzverordnungen erlassen, die von den engagierten Freiwilligen wirksam durchgesetzt wurden. Bis 1874 richtete der Stadtrat eine Feuerwehr mit einem Chef, einem stellvertretenden Chef, einem Protokollführer, Feuerkommissaren und einer Feuerpolizei ein. In den 1880er Jahren bestand die Feuerwehr von Austin sowohl aus freiwilligen als auch aus bezahlten Feuerwehrleuten. Im Juni 1916 wurde Clarence Woodward zum Feuerwehrchef ernannt. Die Freiwilligen Feuerwehren lösten sich auf und die Feuerwehr nummerierte ihre Feuerwachen neu und benannte ihren Apparat um, was bis heute in Kraft ist. Washington #1 hat seine Station geschlossen Aus Austin Hook and Ladder #1 wurde Truck Co. 1, Engine 1 Colorado Nr. 2 wurde zu Schlauch 1 in der zentralen Feuerwache 1 Schutz Nr. 3 wurde zu Motor 2 an Station 2 und LKW 2 wurde erstellt East Austin Nr. 4 wurde an Station 5 zu Motor 5 South Austin Nr. 5 wurde an Station 6 zu Motor 6 North Austin Nr. 6 wurde an Station 3 zu Motor 3 West Austin Nr. 7 wurde an Station 4 zu Motor 4 Der zehnte Bezirk Nr. 8 wurde an Station 7 zum Motor 7 Und Rescue #9 wurde an Station 8 zu Engine 8

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Antique 10k gold natural Diamond, Sapphire, Ruby butterfly pendant/pin/brooch. Tested and guaranteed solid 10k gold, natural Diamonds, Sapphires, and Rubies. Great piece with no significant issues. No detectable markings other than illegible scratched mark on back. 12.7 grams

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Großer antiker 14-Karat-Gold-Sardonyx-Muschel-Cameo-Anhänger/Brosche mit natürlichen Perlen. 2,75" x 2" x 21,2 Gramm. Teil einer beeindruckenden Sammlung seltener Kameen. Ohne Markierung, aber säuregeprüft, um knapp 14 Karat Gold zu sein, garantiert massives Gold von 10–14 Karat.

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Große antike 18-karätige Hartstein-Cameo-Sardonyx-Karneol-Brosche. Erstaunliches Hochrelief aus dem 19. Jahrhundert, getestet und garantiert mindestens aus massivem 18-karätigem Gold. 2,25" hoch x 1 5/8" breit, 34,7 Gramm.

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

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Modernistische 14k Tiffany Dackel Weiner Hundenadel. Seltener Vintage-Artikel, etwa 40–50 Jahre alt, ohne Probleme. 2" breit x 7/8" hoch x 5,6 Gramm. Garantiert authentisch, entworfen und verkauft von Tiffany in den späten 70er bis frühen 80er Jahren.

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Viktorianische Cameo-Brosche aus 14-karätigem Roségold mit Perlenbesatz aus Hartstein. Geschnitzte Kamee aus Hartstein aus dem 19. Jahrhundert ohne Probleme, Rahmen getestet und garantiert aus massivem 14-karätigem Gold, ohne Markierung. 1,75" hoch x 1,45" breit. 19,4 Gramm.

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Antique 14k gold Signed Hardstone cameo pendant/pin w/pearls Victorian. Illegibly signed, circa last half of the 19th century, tested 14k gold+. No detectable markings on the gold. Very good condition. Measurements and weight in pictures.

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Sammlung antiker chinesischer Jadeit-, Silber-, Korallen- und Nephritnadeln. Alle aus dem 19. bis frühen 20. Jahrhundert, alle aus derselben Nachlasssammlung. Die Seladon- und Rotbraun-Jade-Tigernadel ist 2" x 1 1/8" groß, was Ihnen eine gute Vorstellung von der Größe anderer Stücke geben sollte. Alle Stücke mit hochwertigen Silberbeschlägen. Verkaufe die 5 abgebildeten Pins.

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Viktorianische Hochrelief-Lava-Cameo-Brosche aus 18 Karat Roségold. 19. Jahrhundert, ungestempelt, aber getestet und garantiert aus massivem 18-karätigem Gold. 2" hoch x 1,75" breit ohne Probleme.

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Antike chinesische Qing Jade Knöpfe/Ornamente Haarnadel Lot. Verkaufe das Los, alles aus dem 18./19. Jahrhundert, größte 4,5 Zoll, keine offensichtlichen Schäden, aber möglicherweise einige kleine Kerben an den Kanten. Porzellanschublade

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

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Großer antiker 14-Karat-Hartstein-Cameo-Onyx-Anhänger/Brosche, 43 mm hoch, ohne drehbaren Anhängerring, 35 mm breit, 21,6 Gramm. Keine erkennbaren Markierungen, getestet (an mehreren Stellen) und garantiert solides 14-karätiges Gold. Ca. 1870er Jahre, vollständig handgeschnitzte Onyx-Kamee.

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Henry Steig (1906-1973) sterling pins (2). Selling both one of a kind pins, both<br>signed, one stamped, one by hand. Part of a significant collection of Henry<br>Steig Jewelry purchased directly from him in the 50's-60's that I'm lucky enough<br>to be able to offer. Largest 3" x 1 1/8", other 2" x 1.25"...Both seem to<br>possibly represent human forms. 38.6 grams total.<br><br>Jules Brenner and Henry Steig were among group of prominent of New York<br>mid-century studio jewelers who hand-crafted pieces of wearable art that<br>celebrated the avant-garde, rejected traditional jewelry forms, and appealed to<br>an intellectual and liberal middle class. Jules Brenner was born in the Bronx,<br>grew up in Washington Heights, and studied acting with Stella Adler and painting<br>and sculpture in Greenwich Village. Henry Steig (also known as Henry Anton)<br>studied at City College and the National Academy of Design, and began his career<br>as a New York City jazz musician, writer, novelist, cartoonist, and painter.<br>During the 1950s, both Brenner and Steig operated shops and studios in Manhattan<br>and in Provincetown, Massachusetts—then a prominent artists’ enclave—where they<br>sold hand-wrought silver and gold designs which often emphasized biomorphic,<br>surrealist, cubist, and geometric forms.<br><br>Everyone knows the famous picture from the film The Seven Year Itch, of Marilyn<br>Monroe standing on a New York sidewalk, her skirt blown up by on updraft from<br>the subway grate below. However, not everyone knows that at that moment she was<br>standing in front of Henry Steig's jewelry shop at 590 Lexington Avenue.<br>Henry Steig was a man of many talents. Before he became a jeweler, he was a jazz<br>musician, painter, sculptor, commercial artist, cartoonist, photographer, short<br>story writer and novelist.<br><br>"Henry was a Renaissance man," says New Yorker cartoonist Mischa Richter, who<br>was Steig's good friend and Provincetown neighbor.<br><br>Henry Anion Steig was born on February 19, 1906, in New York City. His parents,<br>Joseph and Laura, had come to America at the turn of the century, from Lvov<br>(called Lemberg in German), which was then in the Polish port of the<br>Austro-Hungarian Empire. Joseph was a housepainter and Laura, a seamstress.<br><br>They had four sons, Irwin, Henry, William and Arthur, all of them versatile,<br>talented and artistic. William Steig is the well-known New Yorker cartoonist and<br>author-illustrator of children's books. lrwin was a writer of short stories for<br>the New Yorker. Arthur was a painter and poet whose poems were published in the<br>New Republic and Poetry magazines.<br><br>William Steig recalls, "My father and mother both began pointing and become<br>exhibiting artists after their sons grew up." In the May 14, 1945, issue of<br>Newsweek magazine, an article was published about an exhibition, "possibly the<br>first one family show on Art Row (57th Street)" at the New Art Circle Gallery.<br>It was called "The Eight Performing Steigs, Artists All." Included were<br>paintings By Joseph and Laura Steig; drawings and sculpture by William and<br>paintings by his wife, Liza; paintings by Arthur and his wife, Aurora; and<br>photographs by Henry and paintings by his wife, Mimi. The only brother not<br>included was Irwin, "the only non-conformist Steig," who was working at that<br>time as advertising manager of a Connecticut soap manufacturer.<br><br>In the article "the brothers attribute the family's abundance of good artists to<br>the fact that we all like each other's work…get excited about it. Whenever<br>anyone starts they get lots of encouragement. Joseph Steig adds, 'Painting is a<br>contagious thing. If you lived in our environment, you would probably point.'"<br><br>Henry Steig grew up in this extraordinary environment. The family lived in the<br>Bronx. After graduating from high school, Henry Steig went to City College<br>(CCNY). After three years he left to study painting and sculpture at the<br>National Academy of Design. He was also an accomplished musician, playing<br>saxophone, violin and classical guitar, and while he was in college, he began<br>working as a jazz musician. From about 1922, when only sixteen years old, until<br>1932 he played reed instruments with local dance bands.<br><br>After four years at the National Academy, Steig worked as a commercial artist<br>and cartoonist. He signed his cartoons "Henry Anton" because his brother William<br>was working as a cartoonist at the same time, for many of the same magazines.<br>From about 1932 to 1936, Henry Anton cartoons appeared in Life, Judge, New<br>Yorker and other magazines.<br><br>Steig began a writing career in 1935 that lasted until about 1947. He became<br>very successful and well known as a short story writer, with stories appearing<br>regularly in Saturday Evening Post, New Yorker, Esquire, Colliers and others.<br>They were often humorous tales about jazz and the jazz musicians who populated<br>the world of music in the roaring twenties. Other stories were about his Bronx<br>childhood. He also wrote nonfiction magazine pieces, including a New Yorker<br>profile of Benny Goodmon and jazz criticism. Several of his nonfiction articles<br>were illustrated by William Steig.<br><br>In 1941 , Alfred A. Knopf published Henry Steig's novel, Send Me Down. The<br>story, told with absolute realism, is about two brothers who become jazz<br>musicians in the twenties. On the book jacket, Steig wrote, "Much of the<br>material for Send Me Down was gathered during my years as a jazz musician<br>playing with local jazz bands and with itinerant groups in vaudeville and on<br>dance hall tour engagements. Although I was only second-rate as a musician, I<br>know my subject from the inside, and I believe I was the first to write stories<br>about jazz musicians, based on actual personal experience." His son, Michael,<br>recalls that there was some interest in making a movie of the book. "My father<br>told me that John Garfield wanted to play the lead character."<br><br>Steig did go to Hollywood in 1941, under contract to write screenplays. He was<br>going to work with Johnny Mercer, the songwriter. After the ing of Pearl Harbor<br>on December 7, he returned to New York. "He undoubtedly would have returned<br>anyway," says Michael Steig. "He was not happy with the contract his agent had<br>negotiated for him." Mischa Richter odds, "Henry was very unimpressed with<br>Hollywood."

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

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

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Iriniri Gemstone mounted Sterling silver box/pendant/pin. Very cool box who's lid doubles as a pendant/pin. 2" deep, 114.2 grams, other measurements in pics. The lid/pendant is Sterling with a large cabochon of some sort of petrified something or other.Iriniri Designs was originally established in Sugar Loaf, New York in 1987. Named for the two co-owners, Irit and Nirit, Iriniri strives to provide its customers with a beautifully curated collection of unique and inspiring gifts.

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10k/14k gold large vintage deep carved pink shell cameo pendant/pin. Bail likely a later addition, marked and tested 14k gold, body unmarked (tested and guaranteed) solid 10k gold. No damage, very high relief beautiful cameo.

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c1900 Syman Bros. Denver Colorado 14k gold high relief pink shell cameo - nice Marked Syman with no detectable gold markings, tested and guaranteed solid 14k gold. No damage, very high relief beautiful cameo. These pics are a little too bright and the color is washed out in the pics, plus it was on a lighted table. There is no time for more pics, it‘s great.

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Fred Davis (1880-1961) large sterling and amethyst tulip flower pin 39.8 grams, other measurements in pics.Frederick W. Davis is known among collectors for his work as a jewelry<br>designer and silversmith based in Mexico City, Mexico. He began designing and<br>crafting jewelry and decorative objects in the 1920s. The wares he produced<br>often reflected his affinity for pre-Columbian artifacts. He occasionally<br>collaborated with Valentín Vidaurreta, another respected Mexican silver<br>craftsman with roots in Mexico City. Davis is credited as an avid promoter of<br>other silver artists, including William Spratling, who worked in Mexico from the<br>1920s through the 1950s. Frederick Davis Jewelry - HistoryDavis moved from the<br>United States to Mexico in 1910. Working as an assistant manager for the Sonora<br>News Company, he toured the country on buying trips to stock railway station<br>shops with native folk art for his employer. He established relationships with<br>many artisans during his travels, and his knowledge of Mexican crafts grew<br>extensively. His ardent work resulted in a promotion to manager of Sonora’s arts<br>and crafts showroom in Mexico City. René d’Harnoncourt, who later served as the<br>director of the Museum of Modern Art in New York, was employed by Davis in 1927<br>as an assistant. Their work together led to the company’s distribution and<br>exhibition of works by Mexican painters who are now well known, such as Diego<br>Rivera, among many others. During this era, Davis and d’Harnoncourt left an<br>indelible footprint on the trade of Mexican handcrafts, including silver<br>jewelry, from that point on. Davis took a position managing antiques and fine<br>crafts for Sanborn’s department store in 1933 after d’Harnoncourt moved to the<br>United States. He remained with the store for 20 years, where he continued to<br>promote Mexican art and artisans while designing and producing silver wares.<br>Davis died in 1961.

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Vintage 14k gold carved moss in snow Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite.

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

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Großer Matl-Stil Sterling Türkis Amethyst Repousse Vögel Anhänger/Anstecknadel, 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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c1910 Antique Diamond 10k Emaille Blumennadel 1 5/8" x 1" x 5,5 Gramm ohne nennenswerte Probleme, leichte Abnutzung der Emaille an den Spitzen der Blütenblätter. Ohne Markierungen, säuregeprüft, hält bei 10.000 stabil, verblasst bei 14.000 leicht, also wahrscheinlich irgendwo in der Mitte.

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Antike schottische Citrin/Achat/Sterling-Anhängerbrosche, 2 3/8 Zoll, 32 Gramm, erstaunlicher Zustand ohne Gebrauchsspuren an den Steinen, handgraviertes Stück aus dem 19. Jahrhundert, funktionsfähig als Anhänger oder Brosche. Nicht gekennzeichnetes geprüftes Sterling.

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Hector Aguilar Taxco 940 silver 3d Floral pin. 2.75", 39 grams with no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Retro-Sarda-Set aus byzantinischem Sterlingsilber mit blauem Topas, Laborspinell und Türkis. Retro-Set, das noch nie getragen wurde, ca. 20 Jahre alt, mit Originalpreisschildern im Gesamtwert von 800 $, aber meine Frau hat sie entfernt. Es ist ein wirklich schönes Set und würde das obere Ende dessen darstellen, was Sarda anbietet, ein Design im Ruhestand. Steine ​​werden als Topas und Spinell getestet, aber ich glaube, dass die Spinelle im Labor hergestellt wurden. Verkaufe genau das abgebildete Armband und die abgebildete Halskette. Alle Edelmetalle sind getestet und garantiert. Wenn Sterling angegeben ist, besteht es garantiert zu 90 % aus Silber oder mehr, alle Verschlüsse sind funktionsfähig, ich werde hier nichts mit nennenswerten Problemen anbieten. Maße und Gewicht sollten in den Bildern angezeigt werden, sofern in der Auflistung nicht anders beschrieben. Wenn ich ein Schmuckstück „Retro“ nenne, meine ich das letzte Viertel des 20. Jahrhunderts, „Vintage“ wäre das zweite oder dritte Viertel des 20. Jahrhunderts, „antik“ wäre das erste Viertel des 20. Jahrhunderts oder früher.

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c1950‘s Ricardo 10k/Sterling horse pin hand engraved. This started it‘s life as a buckle and was quickly turned into a pin. This is a big chunk of solid 10k gold on the front. No issues. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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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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Fred Davis (1880-1961) Sterling and amethyst large pin 25.7 grams, other measurements in pics.Frederick W. Davis is known among collectors for his work as a jewelry<br>designer and silversmith based in Mexico City, Mexico. He began designing and<br>crafting jewelry and decorative objects in the 1920s. The wares he produced<br>often reflected his affinity for pre-Columbian artifacts. He occasionally<br>collaborated with Valentín Vidaurreta, another respected Mexican silver<br>craftsman with roots in Mexico City. Davis is credited as an avid promoter of<br>other silver artists, including William Spratling, who worked in Mexico from the<br>1920s through the 1950s. Frederick Davis Jewelry - HistoryDavis moved from the<br>United States to Mexico in 1910. Working as an assistant manager for the Sonora<br>News Company, he toured the country on buying trips to stock railway station<br>shops with native folk art for his employer. He established relationships with<br>many artisans during his travels, and his knowledge of Mexican crafts grew<br>extensively. His ardent work resulted in a promotion to manager of Sonora’s arts<br>and crafts showroom in Mexico City. René d’Harnoncourt, who later served as the<br>director of the Museum of Modern Art in New York, was employed by Davis in 1927<br>as an assistant. Their work together led to the company’s distribution and<br>exhibition of works by Mexican painters who are now well known, such as Diego<br>Rivera, among many others. During this era, Davis and d’Harnoncourt left an<br>indelible footprint on the trade of Mexican handcrafts, including silver<br>jewelry, from that point on. Davis took a position managing antiques and fine<br>crafts for Sanborn’s department store in 1933 after d’Harnoncourt moved to the<br>United States. He remained with the store for 20 years, where he continued to<br>promote Mexican art and artisans while designing and producing silver wares.<br>Davis died in 1961.

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Türkise Cowboy-Hutnadel aus Sterlingsilber von Pin Roycroft Renaissance Artisan Alburn Sleeper (1937-2021) Sehr große, coole und gut verarbeitete 39,5 Gramm aus den frühen Siebzigern. 3" hoch x 2,25" breit. Dies wurde direkt aus dem Nachlass von Alburn Sleeper erworben, es war eines seiner früheren Stücke, er trug es früher auf einer Stetson-Mütze. Als Teenager lernte Mr. Sleeper Metallarbeiten von Walter U. Jennings, einem echten Roycrofter, der mit Elbert Hubbard als Kupferschmied, Silberschmied und Buchbinder gearbeitet hatte.

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Antike schottische Distelnadel aus Achat/Amethyst/Sterling. Sehr schönes Exemplar aus dem 19. Jahrhundert, frisch aus einer lokalen Nachlasssammlung, 2,5" breit x 2" hoch, 31,4 Gramm, unmarkiert, aber getestetes Sterling. Erstaunlicher Zustand ohne erkennbare Probleme. Viele tolle Handgravuren.

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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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Hector Aguilar Taxco 940 silver Orchid and botanical pins. Selling both, the orchid or lily is 2.25" x 2", The solid leaf pin is 2.75" x 2 3/8", total weight for both 37 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Hector Aguilar Taxco 940 silver Dress clip and Orchid lily pin. Selling both, the orchid or lily is 2.25" x 2", dress clip 3" x 2 1/8", total weight for both 34.9 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Vintage 14k gold/diamond carved moss in snow Jadeite Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite, natural diamond.

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Antique Victorian 9ct gold and turquoise pin/brooch . Tested and guaranteed solid 9ct gold. It XRF‘s at just over 9ct 37.7% gold. No issues, circa late 19th century to turn of the last century. Weight and measurements in pictures, unmarked.

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Hector Aguilar Taxco 940 silver large botanical pin 5 1/8" x 2" x 23.1 gramsHector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Hector Aguilar Taxco 940 silver 3d Dogwood flower pin 3.5" x 1.25" x 21.2 grams, no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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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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Antikes chinesisches Export-Nadelkissen aus Silber. Ende des 19. bis sehr frühen 20. Jahrhunderts. 2,75" breit x 1,5" hoch. Kein Schaden, leichte Gebrauchsspuren am abnehmbaren Nadelkissen sind zu erwarten. Hoher Gehalt an reinem Silber.

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Large Mid Century Taxco Sterling and other flower pin collection. Dating from the 40‘s-70‘s. Mostly Taxco with a few others, all sterling, The largest is 4 3/8" 137.8 grams total weight.

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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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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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Atique Skonvirke 830 Silber Arts and Crafts Korallenbrosche. Silberbrosche aus dem skandinavischen Kunsthandwerk aus dem ersten Viertel des 20. Jahrhunderts, 7,6 cm x 2 1/8 x 9,4 Gramm, ohne Probleme.

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Retro-Kollektion: Broschen aus mexikanischem Sterlingsilber/Messing mit gemischten Metallen. Der Verkauf der genau gezeigten Sammlung erfolgt unpoliert und lässt sich auf Wunsch mit geringem Aufwand wunderbar reinigen. Alle sind aus Sterlingsilber mit Messingakzenten und mit 925 oder Sterling gekennzeichnet. Penny ist im zweiten Bild für den Maßstab abgebildet. Die längste Länge beträgt 4,5 Zoll. Gesamtgewicht 169,4 Gramm, verschiedene Hersteller wie abgebildet. Kein Schaden. Sie sind etwa 40 Jahre alt und werden möglicherweise nie getragen.

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Henning Koppel for Georg Jensen Modernist sterling pin x. Circa third quarter of the 20th century. No issues, weight and measurements in pics. Solid sterling, selling the exact piece shown. GEORG JENSEN (1866 - 1935) When the 37-year-old Georg Jensen, with both an apprenticeship as goldsmith and sculptor behind him, made silver his way of living by establishing his silver smithy in Copenhagen in 1904, it was with the fine craftsmans understanding and appreciation of the material combined with the accomplished artists sense of form. Through his childhood in the picturesque surroundings of Raadvad north of Copenhagen Georg Jensen was inspired to become an artist. He succeeded in becoming both sculptor and ceramist but it was by way of his talent as a silver smith that he achieved the most remarkable recognition. The Georg Jensen Silversmithy created some of the most original and epoch-defining jewelry, hollowware and cutlery patterns. At Georg Jensens death in 1935 the smithy was acknowledged as one of the most important silversmithies in the world. Georg Jensen was instrumental in defining the character of the twentieth century Scandinavian Design by drawing on Danish traditions and infusing them with a progressive design rationale. He rejected the popular taste of the time for romantic and historicist ornamentation and ostentation, instead embracing the avant-garde Art Nouveau style with its simple organic forms and craft-based approach to production. Georg Jensen was a sensitive artist endowed with a great talent which made it possible for him to turn his vision into reality.

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Large 1950's Sterling Los Castillo Amethyst fly pinLos 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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William Spratling sterling Amethyst pre-columbian style pin 1 5/8" tall x 1 1/16" wide.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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

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Hector Aguilar Taxco 940 silver ploral pin #1 3 1/8" x 2.5" x 24 grams.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Valerie & Benny Aldrich Sterling Intarsien-Intarsien-Hutnadel 2,75" x 1 3/8" x 20,4 Gramm.Eingebettet in die Berge von Durango, Colorado, verfolgen Benny und Valerie Aldrich und ihr vierköpfiges Team ein Gruppenziel: Wir arbeiten in Harmonie und Ausgeglichenheit, um Ausdrucksformen der Vollkommenheit und Liebe für uns selbst und andere zu schaffen. Unter Verwendung der Elemente der Erde und des Meeres gehen ihre Kunstwerke von Hand zu Hand und schaffen Schmuckstücke von einzigartiger Erbstücke von kompromissloser Schönheit.Der Intarsien-Intarsienstil von Aldrich vereint den Stil der alten Welt mit der neuen Welt der Welt lebendige Farben und Handwerkskunst. Von Erdtönen bis hin zu extremem Schimmer und Funkeln erinnert der Schmuck an die Schmetterlinge und Kolibris der Natur.Valeries Kombination lebendiger Farben und Bennys Fachwissen im Gold- und Silberschmiedehandwerk werden meisterhaft umgesetzt; Sie rahmen sie zu tragbarer Kunst ein, die ihresgleichen sucht.Die Aldrichs waren in den frühen 1970er Jahren Pioniere bei der Integration von facettierten Edelsteinen in Schmuckstücke im südwestlichen Stil. Sie gehörten zu den Ersten, die Stachelaustern und Purpur-Eselschalen wieder in die blühende Industrie einführten. Ihre Beziehungen zu Bergleuten und Importeuren auf der ganzen Welt sind entscheidend für den Erhalt der herrlichen Farben, für die sie berühmt sind. Dies ist das Ergebnis einer über 45-jährigen Suche nach Edelstein- und Mineralienausstellungen.Alle Edelmetalle werden geprüft und garantiert, jeder Schmuck der amerikanischen Ureinwohner, der als Silber oder Sterling bezeichnet wird, hat eine Garantie von mindestens 90 % (Münze). ) Silber und möglicherweise höherer Gehalt. Die meisten Manschettenarmbänder werden am Handgelenk einer 6 Zoll großen Frau fotografiert und enthalten ein Foto, das den Innenumfang zeigt, an dem die Metallspitze auf die Zahl auf dem Maßband trifft.

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Chinesische Emaille-Brosche aus Sterlingsilber aus den 1930er Jahren mit vergoldeter, filigraner Fächerbrosche aus Türkis. Chinesisch aus der ersten Hälfte des 20. Jahrhunderts, einfach mit Silber gekennzeichnet. 2,75" breit und lang ohne Probleme.

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Chinesische Emaille-Brosche aus vergoldetem Sterlingsilber mit Türkis und Koralle aus den 1930er Jahren. Chinesisch aus der ersten Hälfte des 20. Jahrhunderts, einfach mit Silber gekennzeichnet. 2,75" breit und lang ohne Probleme.

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Handgefertigte Anstecknadel aus Sterling Zealandia. Älteres Stück aus den 80er oder 90er Jahren, meiner Meinung nach von besserer Qualität als neuere Arbeiten. 2,5" x 1,5" x 23,5 Gramm ohne Probleme.

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Anhänger/Brosche aus Sterlingsilber mit antikem Blautopas. Tolles Stück aus dem 19. Jahrhundert, ungestempeltes, getestetes 97 %-Silber, Steintests wie ein Topas und es ist wunderschön. Anhänger ca. 5 cm breit, Stein ca. 22 mm breit, 25,9 Gramm. Ohne Markierung.

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Hector Aguilar Taxco 940 silver 3d Floral pin. 3.75" x 3" x 26 grams with no issues.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Große Retro-Modernist-Pin-Kollektion aus Sterlingsilber. Alle drei sind von hoher Qualität, aber oben links ist wirklich hochwertig, das Beste vom Besten. Es misst 3 5/8" x 2 1/8", 91,9 Gramm Gesamtgewicht (3 zusammen), alle drei Sterlingsilber.

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Ca. 1935-1948 Matilde Poulat Repousse Sterling Black Cat's Eye Anstecknadel. Tolle Anstecknadel ohne Probleme, 1,75 Zoll, 18,7 Gramm. -Anderas- 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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Antik gravierte türkisfarbene Anstecknadel aus 14-karätigem Gold. Gekennzeichnet und getestet aus massivem 14-karätigem Gold. Mark ist beim Fangen ohnmächtig, mit der Zeit abgenutzt. Handgraviertes, fantastisches Stück. 15/16" x 5/8" x 2,5 Gramm.

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2 schottische Distel-Stecknadeln und eine weitere viktorianische Sterling-Stecknadel. Verkaufe die drei abgebildeten Anstecknadeln, von denen eine im viktorianischen Stil auf dem Schaft markiert ist und eine Länge von 4 7/8 Zoll hat. Die anderen beiden haben britische Punzen, für die ich keine Zeit hatte und darauf hinweist, dass sie aus Sterlingsilber sind und beide eine Länge von 7 Zoll haben. Verkaufe alle drei ohne Schaden Silberschublade

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Henning Koppel for Georg Jensen Modernist sterling pin. Circa third quarter of the 20th century. No issues, weight and measurements in pics. GEORG JENSEN (1866 - 1935) When the 37-year-old Georg Jensen, with both an apprenticeship as goldsmith and sculptor behind him, made silver his way of living by establishing his silver smithy in Copenhagen in 1904, it was with the fine craftsmans understanding and appreciation of the material combined with the accomplished artists sense of form. Through his childhood in the picturesque surroundings of Raadvad north of Copenhagen Georg Jensen was inspired to become an artist. He succeeded in becoming both sculptor and ceramist but it was by way of his talent as a silver smith that he achieved the most remarkable recognition. The Georg Jensen Silversmithy created some of the most original and epoch-defining jewellery, hollowware and cutlery patterns. At Georg Jensens death in 1935 the smithy was acknowledged as one of the most important silversmithies in the world. Georg Jensen was instrumental in defining the character of the twentieth century Scandinavian Design by drawing on Danish traditions and infusing them with a progressive design rationale. He rejected the popular taste of the time for romantic and historicist ornamentation and ostentation, instead embracing the avant-garde Art Nouveau style with its simple organic forms and craft-based approach to production. Georg Jensen was a sensitive artist endowed with a great talent which made it possible for him to turn his vision into reality.

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c1940‘s large Bakelite dragon pin. Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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c1900 10k gold, ruby, and seed pearl pendant/pin. Apparently unmarked, tested and guaranteed solid 10k gold. I believe this was an enhancer pendant and the pinback which I think is gold filled was added later. The main part is solid gold.

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50's-60's Los Castillo Abalone sterling mosaic bird pin, no issues.Los Castillo Jewelry - HistoryAntonio Ca stillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments. Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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William Spratling sterling Aztec style pin 1.5" wide with 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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Hector Aguilar Taxco 940 silver ploral pin #2 3 5/8" x 2" x 15.7 grams.Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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c1940's Bakelite Giraffe brooch . Very chunky and fun with no issues. Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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c1940's Bakelite and wood fox pin Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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Antiker Jugendstil-Anhänger/Brosche aus Sterlingsilber und Koralle. 2 3/8" x 1 7/8" x 17,1 Gramm ohne Probleme. Gepunzt wie abgebildet, sehr hochwertiges Stück.

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Sterling WW2 USMC United States Marine Core Hat Pin 9,7 Gramm 1 3/8" hoch.

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Carmen Beckmann Modernist sterling chrysocolla pin 16.6 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Carmen Beckmann Modernist sterling turquoise pendant/pin 22.7 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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um 1900, 10-karätiges Gold, netzartig montierte Cameo-Brosche aus rosa Muschelmuschel. Markiert und geprüft mit 10 Karat Gold. 1,25" x 1 1/8" mit 0,75" x 9/16" Cameo. Keine Schäden oder Probleme.

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

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50's-60's Los Castillo sterling chrysocolla inlay aztec warrior pin, no issues.Los Castillo Jewelry - HistoryAntonio Ca stillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments. Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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Antonio Pineda (1919-2009) Taxco flower pin with leaf, measurements in pics.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, 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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Antonio Pineda (1919-2009) Taxco 980 silver flower pin 12.8 grams, other measurements in pics.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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c1940's Bakelite cherries brooch. Very chunky and fun with no issues. Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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Antike norwegische Hochzeitsbrosche aus 830er Silber mit Spiegeln. Ende des 19. bis Anfang des 20. Jahrhunderts. 3" groß, 15,6 Gramm ohne Probleme. Wirklich schöne Anstecknadel. Fängt das Licht ein, wenn Sie sich bewegen.Traditionelle Hochzeitsnadel Norwegen. Tolle Mantelrevers- oder Hutnadel hier. Aus dem Internet: Die Kraft des Silbers Im ländlichen Norwegen des 18. und 19. Jahrhunderts trugen Frauen, Männer und Kinder jeden Tag irgendeine Art von Silberschmuck. Oft hatte das Silber die Form einer Brosche oder eines Anhängers. Einige Slje-Stile waren spezifisch für eine Region, andere wurden im ganzen Land verwendet. Einfache Anstecknadeln wurden täglich als einziger Verschluss an einem Hemd oder einer Bluse getragen. Zu besonderen Anlässen trugen die Norweger mehr Silber zu ihren Bunadern, festlichen Trachten, wie große Broschen, Knöpfe und Schuhschnallen sowie Fingerringe. Silber zeigte den Reichtum und Wohlstand einer Familie, und die Norweger glaubten auch, dass es Krankheiten bei Menschen heilte und Tiere, bessere Ernten und Schutz vor Stürmen und bösen Geistern. Das Huldrevolk war vielleicht der Hauptgrund für das Tragen von Silberschmuck. Huldrefolk, auch bekannt als Unterweltkreaturen, versuchte, seinen Genpool zu stärken, indem es Menschen heiratete und Kinder stahl. Die norwegischen Landbewohner wussten nie, wann oder wo sie einem Huldrefolk begegnen würden, daher hielten sie es für wichtig, täglich Silberschmuck zu tragen. Das Metall selbst war stark und baumelnde Ornamente sorgten für zusätzlichen Schutz, indem sie das Böse vom Träger wegreflektierten. Jedes Mal, wenn Schmuck in der Kirche getragen oder an die nächste Generation weitergegeben wurde, wurde er noch mächtiger. Initiationsriten, insbesondere Taufe und Hochzeit, waren häufige Zeiten für Angriffe des Huldrevolks, da Menschen verwundbar waren, wenn sie ihren Status änderten. Die Zeit zwischen Geburt und Taufe war für Kleinkinder besonders gefährlich, da sie ständig der Gefahr ausgesetzt waren, mit Huldrefolk-Babys vertauscht zu werden. Eltern hefteten dem Baby oft ein kleines Täschchen an die Kleidung, bis die Taufe einen dauerhafteren Schutz bot. Mädchen bekamen zum Schutz bei der Konfirmation vielleicht ihr erstes vollgroßes Kleid. Genau in dem Moment, in dem eine Frau vom Single- zum Heiratsleben überging, riskierte sie, von den Huldreleuten auf den Berg mitgenommen zu werden. Bräute trugen den meisten und feinsten Schmuck, darunter mehrere große Broschen, Fingerringe und Brauthalsketten. Frauen in ganz Norwegen trugen besondere Kopfbedeckungen. Bräute in Mittelnorwegen trugen mit Perlen und Ohrhängern verzierte Kopfbedeckungen. In West- und Nordnorwegen trugen Bräute Metallkronen mit hängenden Verzierungen in Form von Kreisen, Kreuzen, Blättern und Vögeln. Die wenigen Kronen, die es in einer Kirchengemeinde gab, konnten oft vom Eigentümer, meist einem Pfarrer oder einem wohlhabenden Bauern, gemietet werden. Die norwegischen Einwanderer nahmen ihre Bunader oft mit in ihre neuen Häuser, benutzten sie jedoch selten. Sie verwendeten jedoch weiterhin ihren Slje. Norwegische Frauen übernahmen schnell die amerikanische Kleidung, trugen aber stolz einen Slje am Hals, um ihr norwegisches Erbe zu zeigen. Sljer werden nicht mehr zum Schutz verwendet; Tatsächlich sind sich die meisten Träger heute dieser Funktion, die früher so wichtig war, nicht einmal bewusst. Silber ist als Symbol ethnischer Abstammung immer noch ein starkes Symbol. anderas

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Vintage-Brosche aus Sterlingsilber, Kollektion Grady Alexander, mexikanisches, chinesisches Filigran 8. Alle acht abgebildeten Broschen werden ohne Probleme verkauft. Die größte ist 2,75". Schöne, lustige Sammlung aus dem dritten Viertel des 20. Jahrhunderts. Alles aus Sterlingsilber, mit allen Marken versehen, bis auf die detailliertere chinesische Filigranblume, die Sterling getestet hat.

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Retired James Avery Sterling/brass tree pin. Solid sterling, weight and measurements in pics with no issues.

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

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c1900 James Aitchison Scottish Sterling Emaille Pin Dinna Forget mit Citrin/Amethyst Disteln. Hochwertiges Stück scheint Punzen auf einem der Distelstiele zu haben, getestet in Sterling. 1,5" breit, 15,4 Gramm.

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large AARIKKA Finland Modernist sterling pin. Large with no issues, weight and measurements in pics.

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Mid Century Modernist Los Ballesteros Sterling and Onyx pin. No damage.All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible.

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4 retro Sterling silver French Poodle pins. Size and weight in pics. All marked and tested sterling, some with other markings.

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Large Dian Malouf Sterling leaf pin. No issues, measurements in pics. Signed Copyright DLM with no purty markings, tested sterling.A visionary who has spent her life searching the globe for unusual objects, Dian<br>Malouf is a nationally recognized jewelry designer, published author, mother and<br>obsessive measurer of electromagnetic fields. Known for bold silver and gold<br>jewelry enlivened by diamonds and vivid semiprecious stones,<br><br>Dian Malouf is one of the few fine jewelry designers whose work is instantly<br>recognizable as hers alone. Dian has designed over 10,000 pieces since the first<br>silver dome ring that she made for herself launched the business by popular<br>demand in 1986, and many are one-of-a-kind pieces prized by collectors.<br><br>Dian frequently incorporates her passion for environmental causes, and political<br>and social themes into her designs.

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Bjarne Meyer (1896-1949) and HK Denmark Brooch. Selling the two brooches shown, largest 2 1/8". The HK could be Henning Koppel whol worked for Jensen, both top quality and from the same collection. Bjarne Meyer, a silversmith that did work for Kalo, Art Metal Studios, Georg Jensen and Gorham silver.Not much is known about him personally, but his work is sought after by arts and crafts and Chicago silver collectors. anderas

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Cecilia Tono Piedra Negra Mid Century Modernist sterling mixed metals pendant/pin. Measurments in pics. 31.5 grams..

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4 lustige Vintage Sterling- und Steinnadeln. Alle Mitte bis Ende des 20. Jahrhunderts, alle in Sterlingsilber. Größte 3,5" x 1 5/8", 56,8 Gramm insgesamt.

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4 französische Limoges-Porzellannadeln. Die beiden floralen Exemplare stammen aus dem späten 19. Jahrhundert, die anderen beiden stammen aus der Mitte des 20. Jahrhunderts. Die älteren sind handbemalt. Größte 3 1/8" x 2". Verkaufe alle 4.

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Antiker italienischer Anhänger mit Miniaturmalerei aus 800er Silber. Tolles Stück ohne Beschädigung, kann ein Anhänger oder eine Anstecknadel sein. 1,5" hoch, 7,4 Gramm, handbemalt und unleserlich signiert.

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