Produk

4.25" tall x 3.5" wide with no cracks or chips, no loss of enamel or other issues. Some wear to Gilding on rim. Guaranteed circa late 19th century. Selling both for one price. Tw98

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Frame measure 20.25" x 24.25" x 2" deep. Time is approximately 7.5" x 10.25".<br>Very unusual piece from a well listed artist.<br><br>BIOGRAPHY: Harris Strong was born in Waukesha, Wisconsin in 1920.  His aunt<br>owned a greeting card company, and that influenced him to become an artist.  He<br>also had a strong scientific bent, so he was meticulous about the "engineering"<br>of his tiles, which featured many innovations when competitors were creating<br>"pie plates," in his own dismissive works. <br><br>During the war, he was a cryptographer, working directly under General Douglas<br>MacArthur during World War II.  Afterward, he studied ceramics* and the<br>chemistry of ceramic glazes at North Carolina State University.  Then he worked<br>in Brooklyn, New York at Kelby Pottery.  <br><br>Later his own business really took off. He had showrooms in Chicago, New York<br>and Tokyo… he created a 30' long free-standing ceramic tile mural for the<br>Waldorf-Astoria in York City, which remains in place.  One friend says he was<br>the first to ever show art at a home furnishings show. <br><br>He loved, and sang Gilbert & Sullivan, collected stamps, and played bridge.  In<br>1970, Strong relocated to Trenton, Maine, but after a fire destroyed his glazes<br>developed over 20 years, he shifted his focus to prints, serigraphs*, woodcuts*,<br>etchings*, engravings*, collage* and paintings. <br><br>Strong died in 2006.

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Harry Morgan (1947-2008) Navajo Heavy stamped silver and turquosie pin<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is<br>stored in a secure location and cannot be accessed for more pictures, videos, or<br>measurements until sold. If you look at pictures/description your question<br>should be answered. Thank you so much for your time and consideration!<br><br>NUMEROUS award winner Navajo artist Harry Morgan (1947-2008) was a 5th<br>generation Navajo silversmith who'll always be remembered for his traditional<br>"Vintage Revival-Old Pawn" style jewelry that had these gleaming sterling<br>vintage looking darkened finishings that were made in a classic old style Navajo<br>design..The beauty he gave the sterling was so warm that it brought out the<br>metal's maximum luster..Harry once said "That's the way old style jewelry should<br>look," he said.. "When silver is all shined up it hides all of the intricate<br>detail in the stamp work and the bezels. This older style is what I grew up with<br>and what I love."<br><br>Although it was his mother who inspired him to create this style of jewelry that<br>had that old Navajo look,it was Harry however who was the 1st to bring this<br>style to the forefront of the industry..Paving the way for others like his<br>brother-in-law Kirk Smith who then followed in Harry's footsteps & with Kirk's<br>connection with other artists,they then followed in Kirk's footsteps. Now this<br>is the dominant style amongst most Navajo artists & you see this old pawn style<br>darkened finishing everywhere..Kirks name will always be associated with Harry's<br>& vise versa.<br><br>if you've ever wondered why most Navajo pieces have that old style look &<br>finishing where many of you can't tell if the piece is new or old anymore,it was<br>this man who we can give the credit to for bringing a style of jewelry that we<br>now see everywhere. He lived to see his jewelry being exhibited at the Heard<br>Museum a year before his death..<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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This is a beautiful reproduction of the actual plates made for First Lady Martha Washington.The originals were giving as a gift to the first lady by the East India Trading Co.This is by Haviland Limoges France. It is in good used condition with a few minor scratches on the gold.These Plates were reproduced in the 1950's an 1960's. It measures 8 5/8" in diameter. tw53

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Haviland Roses Bows Double Gold 16.75" x 11.25" platter Schlieger 842. Near mint with no cracks, chunks, restorations, or utensil marks. Very clean gold, difficult to find size in this pattern. Less common than the larger size.

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Hawkes Sterling Base Cut Glass Centerpiece compote. Hawkes cut glass bowl with<br>an urn and scrolling flowers set in a sterling base marked Hawkes Sterling, 12<br>1/2" wide by 6" ht. NOTE: Exhibited at the Wichita Art Museum where there is a<br>current permanent exhibition of the Burnstein Collection. All museum ID tags can<br>be removed. PROVENANCE: Burnstein Collection.<br><br>Thomas Gibbons Hawkes, born in County Cork, Ireland in 1846 to a prominent<br>family with a glassworking heritage, emigrated to the United States in 1863. His<br>career began as a foreman for glass factory Hoare and Daily in Brooklyn, New<br>York moving with the company to Corning, New York in 1868.<br><br>Once in Corning, he soon opened his own cutting shop which was incorporated as<br>T.G. Hawkes & Company in 1890. This on the heels of success the year before when<br>Hawkes famously won acclaim and Grand Prize at the Universal Exposition in<br>Paris.<br><br>Thomas Gibbons Hawkes<br>European taste for sparkling cut glass at this time was emulated in the United<br>States in what was called the Brilliant Cut Glass Period. Over 1,000 cutting<br>shops were founded to meet the demand and T.G. Hawkes & Company flourished. The<br>company was in operation for 82 years.

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Hawkes Twist Cut Crystal Wine Goblets (10) 5 5/16". Selling all 10, top quality American antique cut crystal. One has chip on foot, it's on the front right in the pics, the chip could be polished out. No other chips or cracks, beautiful scarce art deco pattern by an Important American Glass company. TW164Thomas Gibbons Hawkes, born in County Cork, Ireland in 1846 to a prominent family with a glassworking heritage, emigrated to the United States in 1863. His career began as a foreman for glass factory Hoare and Daily in Brooklyn, New York moving with the company to Corning, New York in 1868.Once in Corning, he soon opened his own cutting shop which was incorporated as T.G. Hawkes & Company in 1890. This on the heels of success the year before when Hawkes famously won acclaim and Grand Prize at the Universal Exposition in Paris.Thomas Gibbons Hawkes European taste for sparkling cut glass at this time was emulated in the United States in what was called the Brilliant Cut Glass Period. Over 1,000 cutting shops were founded to meet the demand and T.G. Hawkes & Company flourished. The company was in operation for 82 years.

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Heavy 6.75" Mexican Sterling Charm bracelet. Nice vintage bracelet from the 60's<br>or 70's with no issues or damage. All of the charms are 925 or 950 silver except<br>the coin which I believe is 72% silver. I couldn't find a mark on the filigree<br>cube but it tests sterling and is very high quality. 88 grams total weight.

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Heavy antique 900 Silver repousse box. Very thick solid 90% silver, heavy for<br>it's size. 3.25" x 1.5" x 163.5 grams with no issues.

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Heavy ATI Modernist Mexican Sterling cuff bracelet with no issues.

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Heavy Gold Alka Kunst Egyptian Revival Espresso cup and saucer. Very high<br>quality thick gold, great design. 4.25" wide saucer, smaller cabinet cup or<br>espresso for the fanciest of people. No damage or wear.<br>isshelf

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

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Heavy Monteros modernist Mexican Sterling silver and onyx necklace 175.6 grams.<br>Chip to left stone, discreet repair to second to right stone. Approx 14.5"<br>inside circumference.

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Heavy Native American multi-stone Inlay center sterling cuff bracelet. PB or RB<br>Hallmark in center, no silver mark, tested and guaranteed to be at least coin<br>silver (90%), no significant issues with cuff.

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Heavy Obsidian Sterling rose quartz ring. Very cool and substantial ring with no issues. anderas

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Heavy Retro 17" Mexican Sterling silver choker 200.6 grams with no issues.

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Heavy Retro Byzantine sterling bracelet. New old stock item from jewelry store<br>that closed in the early 2000's, unworn.<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.<br><br>When I call a piece of jewelry "retro", I mean last quarter of the 20th century,<br>"vintage" would be second or third quarter of the 20th century, "antique" would<br>be first quarter of the 20th century or earlier.

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Heavy Retro Byzantine sterling multi-strand bracelet. New old stock item from<br>jewelry store that closed in the early 2000's, unworn.<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.<br><br>When I call a piece of jewelry "retro", I mean last quarter of the 20th century,<br>"vintage" would be second or third quarter of the 20th century, "antique" would<br>be first quarter of the 20th century or earlier.

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Heavy Retro Byzantine sterling multi-strand bracelet. New old stock item from<br>jewelry store that closed in the early 2000's, unworn.<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.<br><br>When I call a piece of jewelry "retro", I mean last quarter of the 20th century,<br>"vintage" would be second or third quarter of the 20th century, "antique" would<br>be first quarter of the 20th century or earlier.

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Heavy Retro Byzantine sterling multi-strand bracelet. New old stock item from<br>jewelry store that closed in the early 2000's, unworn.<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.<br><br>When I call a piece of jewelry "retro", I mean last quarter of the 20th century,<br>"vintage" would be second or third quarter of the 20th century, "antique" would<br>be first quarter of the 20th century or earlier.

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Heavy Retro Mexican Sterling and obsidian necklace. 17" long x 20mm wide x 136.8 grams with no issues. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Heavy Retro Mexican Sterling collar necklace 18" long 166 grams with no issues. Very substantial necklace in a cool design.anderas

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Heavy Retro Modernist Mexican Sterling Fish necklace and earrings. Selling the set shown with no issues. 17.5" long necklace, 1.75" long earrings. 89 grams total weight. anderas

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Heavy Retro Sterling Spratling DNA Ball style necklace and bracelet set. Each<br>marked 925 with no other detectable markings, likely Mexican silver after a<br>William Spratling design. Likely from the last quarter of the 20th century. 20"<br>necklace, 9.5" bracelet 215.7 grams total.

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Heavy Retro sterling wheat chain with mabe pearl and garnets 16" long 7mm wide chain. 85 grams with no issues.All precious metals are tested and guaranteed, if Stated sterling it's guaranteed to be 90% silver or more, all clasps are functional, I will not offer anything here with any significant issues. Measurements and weight should be shown in the pics if not otherwise described in the listing.When I call a piece of jewelry "retro", I mean last quarter of the 20th century, "vintage" would be second or third quarter of the 20th century, "antique" would be first quarter of the 20th century or earlier.anderas

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Heavy Retro Taxco Sterling silver belt. 44" maximum length 5/8" wide at maximum<br>point, extremely well made belt with lots of silver made by hand in the last<br>quarter of the 20th century when skilled artisans with more time than money<br>could afford to make something such as this. Silver is much more expensive now,<br>between that and labor a piece like this would be cost prohibitive except to<br>large high end designers that would charge an arm and a leg for something of<br>this quality.<br><br>It has a hook on both ends so adjustable to any size under 44", could also be<br>worn as a triple necklace or whatever your heart desires, 234 grams total<br>weight.

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Heavy Stamped Begay Sterling Turquoise Navajo cuff bracelet. No issues or damage<br>6.75" including the 1 1/8" slightly adjustable gap. .5" wide 43.2 grams

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Heavy Sterling Belt buckle Gunfight at the OK Corral 100 Anniversary, solid sterling with no issues.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more<br>pictures, videos, or measurements until sold. If you look at<br>pictures/description your question should be answered. Thank you so much for<br>your time and consideration!<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Heavy Sterling Cobalt lined salt and pepper set. Selling two salts and two peppers, very heavy thick sterling with no dents or bends, no deep scratches. One cobalt insert with the tiniest chigger bites, other with no damage but I couldn't get it out. Total weight approx 300 grams for the 4 pieces without the cobalt liners. silverdrawer

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Heavy Sterling Michael Dawkins Choker with Mabe pearl pendant. 16.5" long with<br>no issues. 106.4 grams.

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Heavy Vintage Native American silver belt buckle with nice turquoise. Weight and measurements in pics.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Heavy vintage Native American sterling feather necklace. 26" long necklace, other measurements in pics. Very well made and substantial piece. Heavy gauge solid sterling silver, unmarked.

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Heavy Vintage Native American Sterling Shadowbox cuff bracelet. Unmarked tested<br>sterling. Clean with little wear and no issues.

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Heavy Vintage Sterling Flower brooch 2 3/8" 31.3 grams.

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Heavy Vintage Zuni Channel inlay cuff bracelet. Very well made cuff with natural stones and shell, the stones are very secure, there are some open channels that I believe were intentionally left open by the artisan when he made the cuff to give it character, you be the judge. 1 1/8" wide, fits up to a 7 3/8" wrist, 1.5" gap. 124.7 grams.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Taller Borda Hector Aguilar Shop Sterling silver Aztec style bracelet, fits up<br>to a 7" wrist with no issues. 59.3 grams. Made at Hector Aguilar's Shop, Taller<br>Borda.<br><br>Who was silversmith Hector Aguilar?<br>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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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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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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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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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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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 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 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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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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Hector Aguilar Taxco Mid Century Modernist sterling silver screw back earrings. Selling the earrings shown with no issues. Hector Aguilar was a master silversmith, jewelry maker, and the first graduate from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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

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Helen & Lincoln Zunie Horse channel inlay sterling ranger belt buckle set<br><br>Helen and Lincoln Zunie began their jewelry career in the 1950's. They are best known for their exquisite channel inlay jewelry of animals, such as horses and cattle. This Vintage Ranger buckle set is inlaid with natural turquoise, Shell, Coral, and Jet. The reigns are of silver with fine silver twist wire framing the buckle. A wonderful patina graces the entire piece. Hallmarked H - L ZUNIE.<br><br>The buckle measures 3.75" long by 2 1/8" wide. The keepers are 7/8” wide and the tip is 3/4” by 1 3/8” long. The buckle will take a 3/4" belt. The belt that it is on is 1 1/8" but tapers down to 3/4". The belt it is on is a size 38 and very clean. I'm selling the buckle and giving you the belt for free, if it works for you then great. <br><br>The late lapidary legends Helen and Lincoln Zunie were a collaborative couple of Zuni artisans who were prolific in their creation of incredibly intricate inlay pieces. Most of their work utilizes stones of turquoise, shell, mother of pearl, and black onyx, in conjunction with sterling silver to create images of Hereford bulls and horse profiles that marry their talent and technique with the Western vibe that was all the rage during the mid 20th Century, their peak of production.<br><br>Lincoln Zunie (1938-1983, Zuni). Active 1960s-1970s. Channel inlay; figural inlay, often horse or cow motifs. Father of Patty Zunie Edaakie. Brother of Joe and William Zunie. Lincoln Zunie shared the stamp with his wife Helen Zunie (d). <br><br>Mark: H-L ZUNIE<br><br>Helen Zunie (? - 2008; Zuni). Active 1960s - 1970s. Channel inlay, figural inlay, often horse or cow motifs. Helen Zunie shared the stamp with her husband, Lincoln Zunie.<br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn't answered in this listing that we put so much effort into already :)<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Helen Naha (1922-1993) Feather Woman Hopi Pueblo Spider clan Ladle. 6.5" long x<br>4 1/16" wide with no damage or detectable wear. There are some numbers engraved<br>on the base and I'm not sure of their significance. They look like museum<br>collection inventory numbers but could be polished out if for some reason became<br>a distraction.<br><br>Helen Naha (1922-1993) Feather Woman was a member of the Spider Clan at Hopi<br>Pueblo Arizona. She was the daughter-in-law of Paqua Naha (the first Frog<br>Woman). She was married to Paqua’s son, Archie. At first, she followed the style<br>of her mother-in-law and her sister-in-law, Joy Navasie. She eventually<br>developed her own distinctive style, using black and red paint on a white slip<br>to create bold designs. Often, she would take the effort and time to polish the<br>inside of a bowl as well as the outside. Both of her daughters, Sylvia and<br>Rainy, as well as her granddaughter, Tyra Naha, have followed in her footsteps.<br>tw250

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Hemerson Brown Navajo Sterling Royston/Sleeping Beauty turquoise Cuff Bracelet. Large and heavy cuff with high quality stones, Hemerson Brown is a very skilled contemporary Navajo Silversmith as shown here. No issues, appears unworn. Navajo artist Hemerson Brown has a way of making pieces of jewelry you just want to own. His work is definitely not subtle, his bold designs bring the silver and stone to life. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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1946 Green Top Pottery Petersham Massachusetts Henry Jewett Greene(1879-1970). 8" wide x 2.25" tall with no cracks, chips, restorations, scratches, or crazing. It is iscised hjg 46 on the footrim. Henry and his wife Bertha Elizabeth Auracher were married on October 23, 1907 in Lisbon, Iowa. Henry and Bertha were self-taught potters. Henry while active would have lectures called "The Lure of Pottery" where he would discuss his world travels of visiting other countries to learn about the pottery making medium. In these lectures, he would discuss in detail visits to a few of the important Chinese kilns where it was reflected some of the finest pottery in the world was made. These lectures would also typically include a demonstration of Henry at the wheel. In 1938 they exhibited at the Syracuse Ceramic Nationals. Henry's work can be found in the University of Michigan Museum of Art Collection. tw238

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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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Henry Steig (1906-1973) Pin sterling Modernis Abad Pertengahan (2). Menjual kedua pin yang unik, keduanya bertanda tangan, Bagian dari koleksi penting Perhiasan Henry Steig yang dibeli langsung darinya pada tahun 50-an-60-an yang cukup beruntung dapat saya tawarkan. batu kecubung 2.75" x .75" Mutiara 2.75"x 5/8" 19.berat keseluruhan 2 gram. Jules Brenner dan Henry Steig termasuk di antara kelompok pembuat perhiasan studio abad pertengahan terkemuka di New York yang membuat karya seni wearable yang merayakan avant-garde, menolak bentuk perhiasan tradisional, dan menarik perhatian kelas menengah yang intelektual dan liberal. Jules Brenner lahir di Bronx, dibesarkan di Washington Heights, dan belajar akting dengan Stella Adler serta melukis dan memahat di Greenwich Village. Henry Steig (juga dikenal sebagai Henry Anton) belajar di City College dan National Academy of Design, dan memulai karirnya sebagai musisi jazz Kota New York, penulis, novelis, kartunis, dan pelukis. Selama tahun 1950-an, Brenner dan Steig mengoperasikan toko dan studio di Manhattan dan di Provincetown, Massachusetts—yang saat itu merupakan kawasan seniman terkemuka—tempat mereka menjual desain perak dan emas buatan tangan yang sering kali menekankan bentuk biomorfik, surealis, kubisme, dan geometris.Semua orang tahu gambar terkenal dari film The Seven Year Itch, tentang Marilyn Monroe berdiri di trotoar New York, roknya tertiup angin ke atas dari jeruji kereta bawah tanah di bawah. Namun, tidak semua orang mengetahui bahwa saat itu dia sedang berdiri di depan toko perhiasan Henry Steig di 590 Lexington Avenue.Henry Steig adalah pria dengan banyak talenta. Sebelum menjadi pembuat perhiasan, ia adalah seorang musisi jazz, pelukis, pematung, seniman komersial, kartunis, fotografer, penulis cerita pendek dan novelis."Henry adalah seorang pria Renaisans," kata kartunis New Yorker Mischa Richter, yang merupakan teman baik Steig dan tetangga Provincetown.Henry Anion Steig lahir pada tanggal 19 Februari 1906, di Kota New York. Orang tuanya, Joseph dan Laura, datang ke Amerika pada pergantian abad, dari Lvov (disebut Lemberg dalam bahasa Jerman), yang saat itu berada di pelabuhan Polandia di Kekaisaran Austro-Hungaria. Joseph adalah seorang pelukis rumah dan Laura, seorang penjahit.Mereka memiliki empat putra, Irwin, Henry, William dan Arthur, semuanya serba bisa, berbakat, dan artistik. William Steig adalah kartunis terkenal warga New York dan penulis-ilustrator buku anak-anak. irwin adalah seorang penulis cerita pendek untuk New Yorker. Arthur adalah seorang pelukis dan penyair yang puisinya diterbitkan di majalah New Republic dan Puisi.William Steig mengenang, "Ayah dan ibu saya mulai menunjuk dan menjadi seniman pameran setelah putra mereka tumbuh dewasa." Pada majalah Newsweek edisi 14 Mei 1945, sebuah artikel diterbitkan tentang sebuah pameran, "mungkin pertunjukan keluarga pertama di Art Row (57th Street)" di New Art Circle Gallery. Itu disebut "Delapan Pertunjukan Steig, Semua Artis." Termasuk lukisan karya Joseph dan Laura Steig; gambar dan patung karya William dan lukisan karya istrinya, Liza; lukisan karya Arthur dan istrinya, Aurora; serta foto karya Henry dan lukisan karya istrinya, Mimi. Satu-satunya saudara lelaki yang tidak termasuk adalah Irwin, "satu-satunya Steig yang non-konformis," yang saat itu bekerja sebagai manajer periklanan di sebuah produsen sabun Connecticut.Dalam artikel "saudara-saudara mengaitkan banyaknya seniman bagus dalam keluarga dengan fakta bahwa kami semua menyukai karya satu sama lain…menjadi bersemangat karenanya. Setiap kali seseorang memulai, mereka mendapat banyak dorongan. Joseph Steig menambahkan, 'Melukis adalah hal yang menular. Jika Anda tinggal di lingkungan kami, Anda mungkin akan menunjuk.'"Henry Steig tumbuh di lingkungan yang luar biasa ini. Keluarga itu tinggal di Bronx. Setelah lulus SMA, Henry Steig melanjutkan ke City College (CCNY). Setelah tiga tahun dia pergi untuk belajar melukis dan patung di National Academy of Design. Dia juga seorang musisi ulung, bermain saksofon, biola, dan gitar klasik, dan ketika dia masih kuliah, dia mulai bekerja sebagai musisi jazz. Sejak sekitar tahun 1922, ketika baru berusia enam belas tahun, hingga tahun 1932 ia memainkan alat musik buluh dengan band tari lokal.Setelah empat tahun di Akademi Nasional, Steig bekerja sebagai seniman komersial dan kartunis. Dia menandatangani kartunnya "Henry Anton" karena saudaranya William juga bekerja sebagai kartunis, untuk banyak majalah yang sama. Dari sekitar tahun 1932 hingga 1936, kartun Henry Anton muncul di majalah Life, Judge, New Yorker, dan majalah lainnya.Steig memulai karir menulis pada tahun 1935 yang berlangsung hingga sekitar tahun 1947. Ia menjadi sangat sukses dan terkenal sebagai penulis cerita pendek, dengan cerita-cerita yang muncul secara teratur di Saturday Evening Post, New Yorker, Esquire, Colliers dan lain-lain. Kisah-kisah tersebut sering kali merupakan kisah-kisah lucu tentang jazz dan para musisi jazz yang menghuni dunia musik pada tahun dua puluhan. Cerita lainnya adalah tentang masa kecilnya di Bronx. Dia juga menulis artikel majalah nonfiksi, termasuk profil Benny Goodmon di New Yorker dan kritik jazz. Beberapa artikel nonfiksinya diilustrasikan oleh William Steig.Pada tahun 1941, Alfred A. Knopf menerbitkan novel Henry Steig, Send Me Down. Ceritanya, diceritakan dengan sangat realisme, tentang dua bersaudara yang menjadi musisi jazz di tahun dua puluhan. Di jaket bukunya, Steig menulis, "Sebagian besar materi untuk Send Me Down dikumpulkan selama bertahun-tahun saya sebagai musisi jazz yang bermain dengan band jazz lokal dan dengan grup keliling di vaudeville dan dalam tur ruang dansa. Meskipun saya hanya kelas dua sebagai musisi, saya mengetahui subjek saya dari dalam, dan saya yakin saya adalah orang pertama yang menulis cerita tentang musisi jazz, berdasarkan pengalaman pribadi yang sebenarnya." Putranya, Michael, mengenang bahwa ada minat untuk membuat film dari buku tersebut. “Ayah saya mengatakan kepada saya bahwa John Garfield ingin memainkan karakter utama."Steig pergi ke Hollywood pada tahun 1941, di bawah kontrak untuk menulis skenario. Dia akan bekerja dengan Johnny Mercer, penulis lagu. Setelah penyerangan Pearl Harbor pada 7 Desember, dia kembali ke New York. “Dia pasti akan kembali lagi,” kata Michael Steig. “Dia tidak senang dengan kontrak yang dinegosiasikan agennya untuknya." Mischa Richter berselisih, "Henry sangat tidak terkesan dengan Hollywood."

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Henry Steig (1906-1973) Set anting-anting pin dan sekrup belakang sterling modernis 2 5/8" x 2 1/8", anting-anting 1". berat keseluruhan 14 gram. Jules Brenner dan Henry Steig termasuk di antara kelompok pembuat perhiasan studio abad pertengahan terkemuka di New York yang membuat karya seni buatan tangan yang merayakan avant-garde, menolak bentuk perhiasan tradisional, dan menarik perhatian intelektual dan kelas menengah yang liberal. Jules Brenner lahir di Bronx, dibesarkan di Washington Heights, dan belajar akting dengan Stella Adler serta melukis dan memahat di Greenwich Village. Henry Steig (juga dikenal sebagai Henry Anton) belajar di City College dan National Academy of Design, dan memulai karirnya sebagai musisi jazz Kota New York, penulis, novelis, kartunis, dan pelukis. Selama tahun 1950-an, Brenner dan Steig mengoperasikan toko dan studio di Manhattan dan di Provincetown, Massachusetts—yang saat itu merupakan kawasan seniman terkemuka—tempat mereka menjual desain perak dan emas buatan tangan yang sering kali menekankan bentuk biomorfik, surealis, kubisme, dan geometris.Semua orang tahu gambar terkenal dari film The Seven Year Itch, tentang Marilyn Monroe berdiri di trotoar New York, roknya tertiup angin ke atas dari jeruji kereta bawah tanah di bawah. Namun, tidak semua orang mengetahui bahwa saat itu dia sedang berdiri di depan toko perhiasan Henry Steig di 590 Lexington Avenue.Henry Steig adalah pria dengan banyak talenta. Sebelum menjadi pembuat perhiasan, ia adalah seorang musisi jazz, pelukis, pematung, seniman komersial, kartunis, fotografer, penulis cerita pendek dan novelis."Henry adalah seorang pria Renaisans," kata kartunis New Yorker Mischa Richter, yang merupakan teman baik Steig dan tetangga Provincetown.Henry Anion Steig lahir pada tanggal 19 Februari 1906, di Kota New York. Orang tuanya, Joseph dan Laura, datang ke Amerika pada pergantian abad, dari Lvov (disebut Lemberg dalam bahasa Jerman), yang saat itu berada di pelabuhan Polandia di Kekaisaran Austro-Hungaria. Joseph adalah seorang pelukis rumah dan Laura, seorang penjahit.Mereka memiliki empat putra, Irwin, Henry, William dan Arthur, semuanya serba bisa, berbakat, dan artistik. William Steig adalah kartunis terkenal warga New York dan penulis-ilustrator buku anak-anak. irwin adalah seorang penulis cerita pendek untuk New Yorker. Arthur adalah seorang pelukis dan penyair yang puisinya diterbitkan di majalah New Republic dan Puisi.William Steig mengenang, "Ayah dan ibu saya mulai menunjuk dan menjadi seniman pameran setelah putra mereka tumbuh dewasa." Pada majalah Newsweek edisi 14 Mei 1945, sebuah artikel diterbitkan tentang sebuah pameran, "mungkin pertunjukan keluarga pertama di Art Row (57th Street)" di New Art Circle Gallery. Itu disebut "Delapan Pertunjukan Steig, Semua Artis." Termasuk lukisan karya Joseph dan Laura Steig; gambar dan patung karya William dan lukisan karya istrinya, Liza; lukisan karya Arthur dan istrinya, Aurora; serta foto karya Henry dan lukisan karya istrinya, Mimi. Satu-satunya saudara lelaki yang tidak termasuk adalah Irwin, "satu-satunya Steig yang non-konformis," yang saat itu bekerja sebagai manajer periklanan di sebuah produsen sabun Connecticut.Dalam artikel "saudara-saudara mengaitkan banyaknya seniman bagus dalam keluarga dengan fakta bahwa kami semua menyukai karya satu sama lain…menjadi bersemangat karenanya. Setiap kali seseorang memulai, mereka mendapat banyak dorongan. Joseph Steig menambahkan, 'Melukis adalah hal yang menular. Jika Anda tinggal di lingkungan kami, Anda mungkin akan menunjuk.'"Henry Steig tumbuh di lingkungan yang luar biasa ini. Keluarga itu tinggal di Bronx. Setelah lulus SMA, Henry Steig melanjutkan ke City College (CCNY). Setelah tiga tahun dia pergi untuk belajar melukis dan patung di National Academy of Design. Dia juga seorang musisi ulung, bermain saksofon, biola, dan gitar klasik, dan ketika dia masih kuliah, dia mulai bekerja sebagai musisi jazz. Sejak sekitar tahun 1922, ketika baru berusia enam belas tahun, hingga tahun 1932 ia memainkan alat musik buluh dengan band tari lokal.Setelah empat tahun di Akademi Nasional, Steig bekerja sebagai seniman komersial dan kartunis. Dia menandatangani kartunnya "Henry Anton" karena saudaranya William juga bekerja sebagai kartunis, untuk banyak majalah yang sama. Dari sekitar tahun 1932 hingga 1936, kartun Henry Anton muncul di majalah Life, Judge, New Yorker, dan majalah lainnya.Steig memulai karir menulis pada tahun 1935 yang berlangsung hingga sekitar tahun 1947. Ia menjadi sangat sukses dan terkenal sebagai penulis cerita pendek, dengan cerita-cerita yang muncul secara teratur di Saturday Evening Post, New Yorker, Esquire, Colliers dan lain-lain. Kisah-kisah tersebut sering kali merupakan kisah-kisah lucu tentang jazz dan para musisi jazz yang menghuni dunia musik pada tahun dua puluhan. Cerita lainnya adalah tentang masa kecilnya di Bronx. Dia juga menulis artikel majalah nonfiksi, termasuk profil Benny Goodmon di New Yorker dan kritik jazz. Beberapa artikel nonfiksinya diilustrasikan oleh William Steig.Pada tahun 1941, Alfred A. Knopf menerbitkan novel Henry Steig, Send Me Down. Ceritanya, diceritakan dengan sangat realisme, tentang dua bersaudara yang menjadi musisi jazz di tahun dua puluhan. Di jaket bukunya, Steig menulis, "Sebagian besar materi untuk Send Me Down dikumpulkan selama bertahun-tahun saya sebagai musisi jazz yang bermain dengan band jazz lokal dan dengan grup keliling di vaudeville dan dalam tur ruang dansa. Meskipun saya hanya kelas dua sebagai musisi, saya mengetahui subjek saya dari dalam, dan saya yakin saya adalah orang pertama yang menulis cerita tentang musisi jazz, berdasarkan pengalaman pribadi yang sebenarnya." Putranya, Michael, mengenang bahwa ada minat untuk membuat film dari buku tersebut. “Ayah saya mengatakan kepada saya bahwa John Garfield ingin memainkan karakter utama."Steig pergi ke Hollywood pada tahun 1941, di bawah kontrak untuk menulis skenario. Dia akan bekerja dengan Johnny Mercer, penulis lagu. Setelah penyerangan Pearl Harbor pada 7 Desember, dia kembali ke New York. “Dia pasti akan kembali lagi,” kata Michael Steig. “Dia tidak senang dengan kontrak yang dinegosiasikan agennya untuknya." Mischa Richter berselisih, "Henry sangat tidak terkesan dengan Hollywood."

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Henry Steig (1906-1973) Anting belakang sekrup bentuk bebas sterling modernis (3) sepasang. Jual 3 pasang yang tertera, yang terbesar 1.Panjang 25", 19.totalnya 7 gram. Jules Brenner dan Henry Steig termasuk di antara kelompok pembuat perhiasan studio abad pertengahan terkemuka di New York yang membuat karya seni buatan tangan yang merayakan avant-garde, menolak bentuk perhiasan tradisional, dan menarik perhatian intelektual dan kelas menengah yang liberal. Jules Brenner lahir di Bronx, dibesarkan di Washington Heights, dan belajar akting dengan Stella Adler serta melukis dan memahat di Greenwich Village. Henry Steig (juga dikenal sebagai Henry Anton) belajar di City College dan National Academy of Design, dan memulai karirnya sebagai musisi jazz Kota New York, penulis, novelis, kartunis, dan pelukis. Selama tahun 1950-an, Brenner dan Steig mengoperasikan toko dan studio di Manhattan dan di Provincetown, Massachusetts—yang saat itu merupakan kawasan seniman terkemuka—tempat mereka menjual desain perak dan emas buatan tangan yang sering kali menekankan bentuk biomorfik, surealis, kubisme, dan geometris.Semua orang tahu gambar terkenal dari film The Seven Year Itch, tentang Marilyn Monroe berdiri di trotoar New York, roknya tertiup angin ke atas dari jeruji kereta bawah tanah di bawah. Namun, tidak semua orang mengetahui bahwa saat itu dia sedang berdiri di depan toko perhiasan Henry Steig di 590 Lexington Avenue.Henry Steig adalah pria dengan banyak talenta. Sebelum menjadi pembuat perhiasan, ia adalah seorang musisi jazz, pelukis, pematung, seniman komersial, kartunis, fotografer, penulis cerita pendek dan novelis."Henry adalah seorang pria Renaisans," kata kartunis New Yorker Mischa Richter, yang merupakan teman baik Steig dan tetangga Provincetown.Henry Anion Steig lahir pada tanggal 19 Februari 1906, di Kota New York. Orang tuanya, Joseph dan Laura, datang ke Amerika pada pergantian abad, dari Lvov (disebut Lemberg dalam bahasa Jerman), yang saat itu berada di pelabuhan Polandia di Kekaisaran Austro-Hungaria. Joseph adalah seorang pelukis rumah dan Laura, seorang penjahit.Mereka memiliki empat putra, Irwin, Henry, William dan Arthur, semuanya serba bisa, berbakat, dan artistik. William Steig adalah kartunis terkenal warga New York dan penulis-ilustrator buku anak-anak. irwin adalah seorang penulis cerita pendek untuk New Yorker. Arthur adalah seorang pelukis dan penyair yang puisinya diterbitkan di majalah New Republic dan Puisi.William Steig mengenang, "Ayah dan ibu saya mulai menunjuk dan menjadi seniman pameran setelah putra mereka tumbuh dewasa." Pada majalah Newsweek edisi 14 Mei 1945, sebuah artikel diterbitkan tentang sebuah pameran, "mungkin pertunjukan keluarga pertama di Art Row (57th Street)" di New Art Circle Gallery. Itu disebut "Delapan Pertunjukan Steig, Semua Artis." Termasuk lukisan karya Joseph dan Laura Steig; gambar dan patung karya William dan lukisan karya istrinya, Liza; lukisan karya Arthur dan istrinya, Aurora; serta foto karya Henry dan lukisan karya istrinya, Mimi. Satu-satunya saudara lelaki yang tidak termasuk adalah Irwin, "satu-satunya Steig yang non-konformis," yang saat itu bekerja sebagai manajer periklanan di sebuah produsen sabun Connecticut.Dalam artikel "saudara-saudara mengaitkan banyaknya seniman bagus dalam keluarga dengan fakta bahwa kami semua menyukai karya satu sama lain…menjadi bersemangat karenanya. Setiap kali seseorang memulai, mereka mendapat banyak dorongan. Joseph Steig menambahkan, 'Melukis adalah hal yang menular. Jika Anda tinggal di lingkungan kami, Anda mungkin akan menunjuk.'"Henry Steig tumbuh di lingkungan yang luar biasa ini. Keluarga itu tinggal di Bronx. Setelah lulus SMA, Henry Steig melanjutkan ke City College (CCNY). Setelah tiga tahun dia pergi untuk belajar melukis dan patung di National Academy of Design. Dia juga seorang musisi ulung, bermain saksofon, biola, dan gitar klasik, dan ketika dia masih kuliah, dia mulai bekerja sebagai musisi jazz. Sejak sekitar tahun 1922, ketika baru berusia enam belas tahun, hingga tahun 1932 ia memainkan alat musik buluh dengan band tari lokal.Setelah empat tahun di Akademi Nasional, Steig bekerja sebagai seniman komersial dan kartunis. Dia menandatangani kartunnya "Henry Anton" karena saudaranya William juga bekerja sebagai kartunis, untuk banyak majalah yang sama. Dari sekitar tahun 1932 hingga 1936, kartun Henry Anton muncul di majalah Life, Judge, New Yorker, dan majalah lainnya.Steig memulai karir menulis pada tahun 1935 yang berlangsung hingga sekitar tahun 1947. Ia menjadi sangat sukses dan terkenal sebagai penulis cerita pendek, dengan cerita-cerita yang muncul secara teratur di Saturday Evening Post, New Yorker, Esquire, Colliers dan lain-lain. Kisah-kisah tersebut sering kali merupakan kisah-kisah lucu tentang jazz dan para musisi jazz yang menghuni dunia musik pada tahun dua puluhan. Cerita lainnya adalah tentang masa kecilnya di Bronx. Dia juga menulis artikel majalah nonfiksi, termasuk profil Benny Goodmon di New Yorker dan kritik jazz. Beberapa artikel nonfiksinya diilustrasikan oleh William Steig.Pada tahun 1941, Alfred A. Knopf menerbitkan novel Henry Steig, Send Me Down. Ceritanya, diceritakan dengan sangat realisme, tentang dua bersaudara yang menjadi musisi jazz di tahun dua puluhan. Di jaket bukunya, Steig menulis, "Sebagian besar materi untuk Send Me Down dikumpulkan selama bertahun-tahun saya sebagai musisi jazz yang bermain dengan band jazz lokal dan dengan grup keliling di vaudeville dan dalam tur ruang dansa. Meskipun saya hanya kelas dua sebagai musisi, saya mengetahui subjek saya dari dalam, dan saya yakin saya adalah orang pertama yang menulis cerita tentang musisi jazz, berdasarkan pengalaman pribadi yang sebenarnya." Putranya, Michael, mengenang bahwa ada minat untuk membuat film dari buku tersebut. “Ayah saya mengatakan kepada saya bahwa John Garfield ingin memainkan karakter utama."Steig pergi ke Hollywood pada tahun 1941, di bawah kontrak untuk menulis skenario. Dia akan bekerja dengan Johnny Mercer, penulis lagu. Setelah penyerangan Pearl Harbor pada 7 Desember, dia kembali ke New York. “Dia pasti akan kembali lagi,” kata Michael Steig. “Dia tidak senang dengan kontrak yang dinegosiasikan agennya untuknya." Mischa Richter berselisih, "Henry sangat tidak terkesan dengan Hollywood."

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Henryk Winogard 999 Silver Icon pendant. Weight and measurements in pics, no issues.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist, rings<br>photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Herbert and Veronica Thompson Navajo Sterling Multi-Stone Channel inlay pendant. 21.5 grams 2 7/8" tall x 15/16" wide. No damage, little to no wear. Herb and Veronica Thompson Herb is full-blooded Navajo (Dineh), and was born and raised in Shiprock, New Mexico. He was born into the Redhouse Clan (Kinlichiini) for the Bitter Water Clan (Tohdichiini). Veronica, as well is full-blooded Navajo (Dineh), was born and raised in Tuba City, Arizona, and is born into the Salt (Ashiihi) Clan for the Tsinajinnie Clan and has attended school there until transferring to the Intermountain Indian High School in Brigham City, Utah, where as coincidence would have it, Herb also transferred from Shiprock to Intermountain High School. This led to love and marriage. They have been married 45 years in August. Herb and his family currently live just outside of Farmington, New Mexico in a small community called Kirtland. They have four outstanding children, two young men and two beautiful daughters. The oldest one Aaron, Eric, Letitia, and the youngest Nicole. They have eleven grandchildren and two great-grandchildren, Amari and Araceli. Herb and Veronica are respected members of the community and are very giving people. Herb is part of the team that put together the juried art show in Farmington called The Totah Festival. It is a big draw and has many excellent artists attend. Herb sees to it that the work displayed there are authentic and handmade. His knowledge is highly respected in both stones and metals. One of his great joys is sharing that knowledge with the people that purchase his jewelry. They are former members of the Indian Arts & Crafts Association out of Albuquerque, New Mexico and the American Indian Guild of Fresno, California. Both Herb and Veronica are self-taught artists. They have been doing this for 32 years. It began as a part-time operation. Herb started silversmithing between construction and oil field truck driving jobs. They used to fall back on their jewelry until another job came around. Finally, a family friend and well-known artist, Mark Silversmith, took Herb with him to an art show. He saw the quality in Herb’s work. After an hour, Herb sold all the bolo ties he had with him, and that started the process that turned the jewelry business into a successful full-time venture. The Thompsons now attend at least one major art show per month and they are recognized wherever they go. They regularly get invitations to sell their jewelry throughout the country. In the summertime they display and sell their art work at the Four Corners Monument where they meet people from all over the world. In the wintertime, they go to various juried art shows. Herb decided to try silversmithing after hearing from his mother that his grandfather made jewelry in the late 1800’s and early 1900’s to support his family. Herb never met his grandfather, but told himself and family that he will continue the silversmithing and carry on the jewelry business.

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Herbert Begay Sterling and Skyhorse turquoise bolo tie 40" long. Slide and tips solid sterling. Other measurements and weight in pics. No issues. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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Herend Albino Rabbits figure. 2.25" tall and wide with no damage or wear. figshelf

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Herend Fortuna Candleabra Rust Butterflies Chinoiserie Pattern Gilding Peach<br>Border 19151 vboh 9" tall x 6" wide<br><br>Near mint barely if used at all condition. No cracks, chips, gold wear, or<br>utensil marks. All hand made and hand decorated.

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