William Spratling(1900-1967) タスコ モダニスト スターリング フロッグのプール カフリンクス。問題なく完全に機能します。 16mm×12mm×16.5グラム。 ウィリアム スプラットリング (1900-1967) スプラットリングは、ニューオーリンズのチューレーン大学で教鞭をとった建築家兼芸術家で、1920 年代後半にメキシコに来てタスコ市に定住しました。テュレーンの同僚たちからメソアメリカの考古学と文化に興味を持ち、彼は講義と探検のために数夏メキシコへ旅行した。彼はメキシコシティから110マイル離れたゲレーロ州の人里離れた村を探し、そこではアステカ族の言語であるナワトル語が話されている場所もあった。収集された工芸品や現代の先住民工芸品が点在しています。スプラットリングは銀の製造とデザインで富を築きましたが、彼の本当の生涯の仕事は、引き取った国の古代文化を保存し、償還し、解釈することでした。彼は北米の聴衆にメキシコの近代巨匠の絵画を説明し、先コロンブス期美術の学識ある初期のコレクターとして名声を博しました。スプラットリングと彼のワークショップは、着実に続く著名なアメリカ人訪問者と、彼らが見たい、体験したいと望む国との間の、目に見えて文化的に魅力的なつながりとして徐々に認知されるようになりました。スプラットリング氏は、メキシコで最も尊敬されるアメリカ人の一人としての自身の評判が、亡くなる前に伝説的な地位を獲得するのを目撃するという稀な幸運に恵まれた。 『ウィリアム・スプラットリング、その生涯と芸術』は、この豊かで多様な人生を生き生きと再構築しており、その独特の美的遺産は、自国とは異なる文明に対するアメリカ人の態度に深い影響を与えた、より大きな文化的成果の一部にすぎません。

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

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

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

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

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

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

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6.25 インチのヴィンテージ ナバホ モダニスト スターリングとコーラルのブレスレット、幅 30 mm。 すべての貴金属は検査され、保証されています。シルバーまたはスターリングと呼ばれるネイティブ アメリカンのジュエリーは、少なくとも 90% (コイン) の銀と、マークされているものはすべて、マークされているものであることが保証されており、ほとんどのブレスレットは 6 インチの手首 (毛のないもの) で撮影されており、指輪は可能な場合は適切なサイズの指で撮影されています。ブレスレットの場合、説明に寸法が記載されていない場合は、金属が布製の巻尺の数字と一致する内周が表示されます。

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Navajo Larry Begay Modernist Sterling High Grade Spiderweb turquoise cuff<br>bracelet. Fits up to a 6.5" wrist, no issues, super clean piece in both design<br>and condition.

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

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

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

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

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Everett MacDonald (1924-1991) Laa Beach, CA Modernist Sterling silver Abstract<br>cufflinks. No issues.<br><br><br>Everett Macdonald, whose Beach shop opened in 1947. Macdonald created open<br>sculptural silver and gold jewelry, often utilizing nylon monofilament within<br>the negative spaces of his pendants and earrings, reminiscent of sculpture by<br>Henry Moors and Naum Gabo.<br><br><br>anderas

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

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

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

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Mid Century Los Ballesteros Secret compartment Chrysocolla and sterling pendant<br>3" tall x 2 1/8" wide with no issues. Really cool, the secret door snaps shut<br>very tightly to the point of possibly being waterproof. 38.4 grams.

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

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1940's Matl Sterling Repousse earrings/brooch. Selling the set shown, earrings were originally screw back and later converted to pierced. All three pieces guaranteed 900 silver or higher content. Brooch 1 5/8" wide, earrings .75" wide, 24.5 grams total weight.MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art.Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces.Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work.In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal.

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

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

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

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

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

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

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

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Alvin Tso Navajo Mediterranean Coral Modernist sterling silver bracelet, fits up<br>to a 6.75" wrist.<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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sz5 William Spratling silver ring with aztec pattern. 10.1 grams . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 5 Ring.

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6.25" Vintage Navajo modernist sterling silver turquoise inlay cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Great condition with age appropriate wear, circa third quarter of the 20th century. Apparently unmarked. Listed with ExportYourStore.com

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

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

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

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

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

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

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

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

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

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

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6 5/8" Vintage Los Castillo Sterling and Sodalite bracelet<br><br>Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>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<br>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.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>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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Frank Patania Sr Sierra Blanca Ski Club Ruidoso NM sterling gold filled pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, Circa mid 20th century, thick gold filled on sterling silver.

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

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

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

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

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

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

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

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Large Los Ballesteros Modernist Sterling Cuff Bracelet. Great cuff with no damage or significant wear.Los Ballesteros Jewelry - History This business was established in 1937 by Jalil Majul Ballesteros in Iguala, Mexico. He had been apprenticed in the art of silversmithing by his grandfather and father, and early on, he made jewelry with a filigree look. In 1941 he moved his workshop to Taxco and adopted styles that were more in line with the tourist pieces produced there.During the 1950s, piecework was farmed out to smaller family workshops in the Taxco area, and the pieces were marked Talleres de los Ballesteros. These pieces were sold in shops throughout the country, including Mexico City and Acapulco. The company also began exporting jewelry in 1952.A modernized corporate version of Los Ballesteros continues to sell its products, both jewelry, and decorative giftware, through stores in Mexico as well as through other vendors worldwide. The company’s commitment to quality in honor of their heritage is strong, and they are still using the traditional Talleres de los Ballesteros stylized B logo in their branding.

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

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Antonio Pineda (1919-2009) Los Castillo Modernist space age sterling cufflinks 1 5/16" x .75" face, 24.7 grams.Pineda is one of two living members of the Taxco School and is recognized as a world-class designer and a Mexican national treasure.   Pineda’s jewelry is especially known for its elegant acknowledgment of the human form. It is often said that a Pineda fits the body perfectly, that it feels right when it is worn. So, for example, a thick geometric necklace that might at first glance seem too weighty or rigid to wear comfortably is, in fact, faceted, hinged, or hollowed in such a way that it gracefully encircles the neck or drapes down the décolletage.  In addition, no other taxqueño jeweler used as many costly semiprecious stones or set them with as much ingenuity, skill, and variety as did Pineda. Only the most talented of silversmiths could master.

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

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

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

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1950's Los Ballesteros Mid Century Modern Mexican Sterling Silver Pendant. Mid century Period 1950's or 60's faint eagle mark. The Pendant is 4" high with bail x 2 5/8" wide , Choker is about 16". The choker is vintage but not los Ballesteros and it has a few small bends, no issues with pendant. 687.3 grams total weight. This is a very uncommon style of Pendant in a very large size.

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

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

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

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

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David Andersen Norway Sterling Enamel MCM Abstract pin 1 5/8" x 1.25" 17.2 grams with no damage to enamel.

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

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Retired James Avery Modernist sterling earrings 1 5/8" tall x 1.25" wide x 6<br>grams with no damage or significant wear.<br><br><br>James Avery founded his company in 1954, initially crafting jewelry in a two-car<br>garage in Kerrville, Texas, with just $250 and a desire to create lasting value<br>for others. Mr. Avery believed that meaning is what makes life more beautiful<br>and this concept continues to drive how we design jewelry to this day. In 2007,<br>53 years after he first founded the company, James Avery officially stepped down<br>as CEO and passed the reins on to his sons, Chris and Paul.<br><br>Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself<br>and others. With a focus on creating straightforward designs and a core belief<br>of integrity in all things, his jewelry became more than precious metals and<br>gemstones. Guests came to him with their stories—their special moments—so he<br>could craft them into pieces they would wear with pride for a lifetime. From<br>writing letters to greeting Customers, Mr. Avery prioritized developing lasting<br>relationships with each person who connected with his designs.

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

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

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

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

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

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William Spratling(1900-1967) タスコ モダニズムのスターリング ミックスメタル カフリンクス。各辺18mm×14mm、15.3グラム。 ウィリアム スプラットリング (1900-1967) スプラットリングは、ニューオーリンズのチューレーン大学で教鞭をとった建築家兼芸術家で、1920 年代後半にメキシコに来てタスコ市に定住しました。テュレーンの同僚たちからメソアメリカの考古学と文化に興味を持ち、彼は講義と探検のために数夏メキシコへ旅行した。彼はメキシコシティから110マイル離れたゲレーロ州の人里離れた村を探し、そこではアステカ族の言語であるナワトル語が話されている場所もあった。収集された工芸品や現代の先住民工芸品が点在しています。スプラットリングは銀の製造とデザインで富を築きましたが、彼の本当の生涯の仕事は、引き取った国の古代文化を保存し、償還し、解釈することでした。彼は北米の聴衆にメキシコの近代巨匠の絵画を説明し、先コロンブス期美術の学識ある初期のコレクターとして名声を博しました。スプラットリングと彼のワークショップは、着実に続く著名なアメリカ人訪問者と、彼らが見たい、体験したいと望む国との間の、目に見えて文化的に魅力的なつながりとして徐々に認知されるようになりました。スプラットリング氏は、メキシコで最も尊敬されるアメリカ人の一人としての自身の評判が、亡くなる前に伝説的な地位を獲得するのを目撃するという稀な幸運に恵まれた。 『ウィリアム・スプラットリング、その生涯と芸術』は、この豊かで多様な人生を生き生きと再構築しており、その独特の美的遺産は、自国とは異なる文明に対するアメリカ人の態度に深い影響を与えた、より大きな文化的成果の一部にすぎません。

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William Spratling(1900-1967) Taxco Modernist スターリング カフリンクス、両方向 30 mm、10.8 グラム。問題なく完全に機能しますウィリアム スプラットリング (1900 ～ 1967) スプラットリングは、ニューオーリンズのチューレーン大学で教鞭を執った建築家兼芸術家で、1920 年代後半にメキシコに来て、タスコ市に定住しました。テュレーンの同僚たちからメソアメリカの考古学と文化に興味を持ち、彼は講義と探検のために数夏メキシコへ旅行した。彼はメキシコシティから110マイル離れたゲレーロ州の人里離れた村を探し、そこではアステカ族の言語であるナワトル語が話されている場所もあった。収集された工芸品や現代の先住民工芸品が点在しています。スプラットリングは銀の製造とデザインで富を築きましたが、彼の本当の生涯の仕事は、引き取った国の古代文化を保存し、償還し、解釈することでした。彼は北米の聴衆にメキシコの近代巨匠の絵画を説明し、先コロンブス期美術の学識ある初期のコレクターとして名声を博しました。スプラットリングと彼のワークショップは、着実に続く著名なアメリカ人訪問者と、彼らが見たい、体験したいと望む国との間の、目に見えて文化的に魅力的なつながりとして徐々に認知されるようになりました。スプラットリング氏は、メキシコで最も尊敬されるアメリカ人の一人としての自身の評判が、亡くなる前に伝説的な地位を獲得するのを目撃するという稀な幸運に恵まれた。 『ウィリアム・スプラットリング、その生涯と芸術』は、この豊かで多様な人生を生き生きと再構築しており、その独特の美的遺産は、自国とは異なる文明に対するアメリカ人の態度に深い影響を与えた、より大きな文化的成果の一部にすぎません。

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William Spratling(1900-1967) タスコ モダニストのスターリング フィスト カフリンクス、問題なく完全に機能します。 22mm角、12.7グラム。 ウィリアム スプラットリング (1900-1967) スプラットリングは、ニューオーリンズのチューレーン大学で教鞭をとった建築家兼芸術家で、1920 年代後半にメキシコに来てタスコ市に定住しました。テュレーンの同僚たちからメソアメリカの考古学と文化に興味を持ち、彼は講義と探検のために数夏メキシコへ旅行した。彼はメキシコシティから110マイル離れたゲレーロ州の人里離れた村を探し、そこではアステカ族の言語であるナワトル語が話されている場所もあった。収集された工芸品や現代の先住民工芸品が点在しています。スプラットリングは銀の製造とデザインで富を築きましたが、彼の本当の生涯の仕事は、引き取った国の古代文化を保存し、償還し、解釈することでした。彼は北米の聴衆にメキシコの近代巨匠の絵画を説明し、先コロンブス期美術の学識ある初期のコレクターとして名声を博しました。スプラットリングと彼のワークショップは、着実に続く著名なアメリカ人訪問者と、彼らが見たい、体験したいと望む国との間の、目に見えて文化的に魅力的なつながりとして徐々に認知されるようになりました。スプラットリング氏は、メキシコで最も尊敬されるアメリカ人の一人としての自身の評判が、亡くなる前に伝説的な地位を獲得するのを目撃するという稀な幸運に恵まれた。 『ウィリアム・スプラットリング、その生涯と芸術』は、この豊かで多様な人生を生き生きと再構築しており、その独特の美的遺産は、自国とは異なる文明に対するアメリカ人の態度に深い影響を与えた、より大きな文化的成果の一部にすぎません。

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William Spratling(1900-1967) タスコ モダニストのスターリング フィスト カフリンクス、問題なく完全に機能します。幅 20 mm、14.7 グラムウィリアム スプラットリング (1900-1967) スプラットリングは、ニューオーリンズのチューレーン大学で教鞭を執った建築家兼芸術家で、1920 年代後半にメキシコに来てタスコ市に定住しました。テュレーンの同僚たちからメソアメリカの考古学と文化に興味を持ち、彼は講義と探検のために数夏メキシコへ旅行した。彼はメキシコシティから110マイル離れたゲレーロ州の人里離れた村を探し、そこではアステカ族の言語であるナワトル語が話されている場所もあった。収集された工芸品や現代の先住民工芸品が点在しています。スプラットリングは銀の製造とデザインで富を築きましたが、彼の本当の生涯の仕事は、引き取った国の古代文化を保存し、償還し、解釈することでした。彼は北米の聴衆にメキシコの近代巨匠の絵画を説明し、先コロンブス期美術の学識ある初期のコレクターとして名声を博しました。スプラットリングと彼のワークショップは、着実に続く著名なアメリカ人訪問者と、彼らが見たい、体験したいと望む国との間の、目に見えて文化的に魅力的なつながりとして徐々に認知されるようになりました。スプラットリング氏は、メキシコで最も尊敬されるアメリカ人の一人としての自身の評判が、亡くなる前に伝説的な地位を獲得するのを目撃するという稀な幸運に恵まれた。 『ウィリアム・スプラットリング、その生涯と芸術』は、この豊かで多様な人生を生き生きと再構築しており、その独特の美的遺産は、自国とは異なる文明に対するアメリカ人の態度に深い影響を与えた、より大きな文化的成果の一部にすぎません。

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Mid Century Modernist Los Ballesteros Sterling and Onyx bracelet. Very cool<br>bracelet from the third quarter of the 20th century with almost no issues or<br>detectable wear. One very small "chigger bite" on the outside rim of one of the<br>stones, not noticeable whatsoever.<br><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.

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Mid Century Modernist Los Ballesteros Sterling and Cat's Eye bracelet. Very cool<br>bracelet from the third quarter of the 20th century with no issues or detectable<br>wear.<br><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.

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Antonio Pineda (1919-2009) Taxco Hammered silver pin and earrings set. All pieces hand hammered and seem a perfect match. Earring don't have a Pineda hallmark but the Mexico and Sterling stamps look the same. Measurements and weight 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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6.25" 1950‘s Southwestern Modernist sterling silver turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa mid 20th century with age appropriate wear.. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. No apparent markings, very similar in style to that which was being made by Patania‘s Thunderbird studios and a few others in the mid 20th century.

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6" JB Southwestern modernist sterling silver cast cuff bracelet Native American. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Fits up to a 6" wrist.

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1990‘s Santa Fe Artisan Modernist sterling silver earrings collection. High end, really nice with no issues. Selling all shown, one pair likely cost what I‘m asking for the lot originally. Weight and measurements in pics, all solid sterling. NO issues. Very high quality pieces from an extremely high quality collection put together in the 90‘s. I didn‘t have time to try to idenify much of it as there just is no time, but the pieces I did recognize were all from very high end mostly Santa Fe, New Mexico artists. It was all collected on trips to Santa Fe in the 90‘s. anderas anderas

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1990‘s Santa Fe Artisan gemset modernist sterling silver earrings collection. High end, really nice with no issues. Selling all shown, one pair likely cost what I‘m asking for the lot originally. Weight and measurements in pics, all solid sterling. NO issues. Very high quality pieces from an extremely high quality collection put together in the 90‘s. I didn‘t have time to try to idenify much of it as there just is no time, but the pieces I did recognize were all from very high end mostly Santa Fe, New Mexico artists. It was all collected on trips to Santa Fe in the 90‘s. anderas anderas

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c1970‘s M Native American modernist sterling necklace. No issues, weight and measurements in pics. Solid sterling silver. M hallmark on cast spirals, no other detectable markings. 22" long.

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Large Los Castillo Mixed Metals Chrysocolla inlay Aztec Shaman pendant necklace. Very high quality with no issues. Weight and measurements in pictures. This particular pendant is very uncommon. 24" long necklace.

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Porter Blanchard Modernist Sterling Ice Tongs. Nice pair of Heavy American sterling super cool ice tongs.. Very clean as found estate condition with no significant wear or damage. Slight tarnish, I can hand polish before shipping upon request. 83.7 grams 6" long. Porter George Blanchard (1886–1973) was an American silversmith living and working in Pacoima, California. He is considered to be part of the Arts and Crafts Movement. Blanchard learned the trade of the silversmith from his father, George Porter Blanchard in Gardner, Massachusetts. In 1923, Blanchard moved to Burbank, California, where he established a studio for silversmithing.[3] Between the 1930s and 1950, he operated a shop in Hollywood. He then worked from his home in Pacoima from the 1940s until his death in 1973.[4] His daughter Alice Blanchard married Lewis Wise, who conducted business as Porter Blanchard Silversmiths in Calabasas, California. After 1955, all Porter Blanchard flatware was made at the Calabasas shop, while the holloware was made at Blanchard's Pacoima home. His daughter Rebecca married Allan Adler, who continued designing as a silversmith in the Arts and Crafts tradition. Blanchard was a member of the Boston Society of Arts and Crafts and was awarded their title of medalist in 1944 tw187

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1950's William Spratling Sterling Screw back earrings. No damage, great vintage earrings. 16 grams total.

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NA Vintage Southwestern modernist sterling silver turquoise, onyx belt buckle. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional. All items will likely have some age appropriate/expected wear, the older they are the more wear they should have. Circa third quarter of the 20th century.. Fits a 1.5" belt. Listed with ExportYourStore.com

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6.4" Arthur Platero Laguna Zuni modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with age appropriate wear.. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change.

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6" Emilia Castillo Modernist hammered sterling silver cuff bracelet w/amethyst. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Good condition, circa last quarter of the 20th century. Emilia Castillo is the daughter of Antonio Castillo,founder of Los Castillo & like her father & uncles (Chato for one), Emilia has jewelry designing in her blood & who better to learn & be inspired by, but this famous family that were one of Taxco‘s founding families during the Mexican Silver Renaissance days. Her brother is Wolmar Castillo. She started her business in ‘86 after studying with master craftsman in her father‘s studio.

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Vintage Southwestern Modernist sterling lapis necklace 17" long with no issues, other measurements in pics. Apparently unmarked, high quality.All precious metals are tested and guaranteed,

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Retired James Avery Onyx 18k/sterling modernist pendant. 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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Unusual patinated Sterling modernist bracelet. Very cool designer signed, can't<br>make it out at the moment. Patent number on unique closure, some wear to patina,<br>overall very attractive bracelet.

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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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Large Taxco Modernist Sterling on Wood Crucifix. I've had/seen much smaller versions of this. This one is very large with no issues, just the sterling part is bigger than complete versions I've had/seen before. Total height 12.25" x 7.5" Thick sterling tube recessed into the cross with a thick modernist sterling Jesus with his crown of thorns on top of that. isshelf

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6 5/8" Michael Kirl Isleta Pueblo modernist sterling cuff bracelet.Award-winning contemporary jewelry artist Isleta Pueblo/Navajo Creates cutting-edge jewelry with high quality gemstones Channel inlay, tufa casting, feather designs, hand-rolled beads Best of Division, Santa Fe Indian Market, 1993 1st Place, Gallup Inter-tribal Indian Ceremonial, 1987, 1981, 1992 Artist of the Year, Indian Arts and Crafts Association, 1997 “It is an enormous pleasure to be recognized for my art form by an establishment synonymous with quality and integrity.

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6 3/8" c1950's High grade turquoise southwestern modernist sterling cuff bracelet. Nice and sturdy, 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, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration! 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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18" Vintage Mid Century Modernist Mexican sterling spherical necklace, graduated circles from 27mm to 37mm wide. 114.8 grams with no issues.

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6 5/8" Vintage Taxco sterling modernist link bracelet. Very substantial bracelet with no issues. <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. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.<br><br>anderas

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7" Southwestern Modernist Sterling bracelet with freeform turquoise. Tested and guaranteed sterling, signed by the artisan with no purity markings. Fits up to a 7" wrist.   All precious metals are tested and guaranteed,

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