모더니스트 주얼리

The hinged bracelet with raised, bypass spiraled silver design terminating with<br>two pear-shaped cabochon amethysts, with pin closure; mounted in sterling<br>silver; inner circumference 6 3/8 in.; signed WS Spratling Made In Mexico,<br>Sterling<br><br><br>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.<br><br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience.<br><br>Spratling had the rare good fortune to witness his own reputation -- as one of<br>the most admired Americans in Mexico -- assume legendary status before his<br>death. William Spratling, His Life and Art vividly reconstructs this richly<br>diverse life whose unique aesthetic legacy is but a part of its larger cultural<br>achievement of profoundly influencing Americans' attitudes toward a civilization<br>different from their own.

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c1930's William Spratling(1900-1967) Taxco 980 Silver"River of Life" cuff bracelet. Fantastic first design period Spratling cuff with no issues. 1 1/8" gap, 5 5/8" without gap, fits up to a 6.75" wrist, pictured on a 6" wrist. This is the a 1930's version of one of Spratling's more popular designs, the oldest version before he became so prolific. It's rare to find with this early mark.Spratling, an architect and artist who taught at Tulane University in New Orleans, came to Mexico in the late 1920s and settled in the city of Taxco. Having developed an interest in Mesoamerican archaeology and culture from his colleagues at Tulane, he traveled to Mexico for several summers lecturing and exploring. He sought out remote villages in the state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the Aztec language, was spoken. Spratling collected artifacts and contemporary indigenous crafts.Spratling made a fortune manufacturing and designing silver, but his true life's work was to conserve, redeem, and interpret the ancient culture of his adopted country. He explained for North American audiences the paintings of Mexico's modern masters and earned distinction as a learned and early collector of pre-Columbian art. Spratling and his workshop gradually became a visible and culturally attractive link between a steady stream of notable American visitors and the country they wanted to see and experience.Spratling had the rare good fortune to witness his own reputation -- as one of the most admired Americans in Mexico -- assume legendary status before his death. William Spratling, His Life and Art vividly reconstructs this richly diverse life whose unique aesthetic legacy is but a part of its larger cultural achievement of profoundly influencing Americans' attitudes toward a civilization different from their own.

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1950's William Spratling Sterling silver modernist wine goblets. Selling the<br>pair shown, estate fresh, never professionally polished. 3.25" tall x 3" wide at<br>the rims with no damage or significant wear. This pattern was produced in a<br>variety of shapes, every piece made by hand with slight variations. This form is<br>a very uncommon one in this pattern.<br><br>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.

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Margot de Taxco Los Castillo Sterling Aztec Eagle Warrior Fur clip. I believe this is from the late 40's and was designed by Margot. It's an amazing piece 3" tall x 4" wide with articulated earrings that spin around when in motion, all three pieces moving on their own. It's 50 grams even, can easily be worn as a pendant/brooch, or even hung on the wall. Very substantial thick gauge sterling silver, a rare and important design.Margot Van Voorhies was born in 1896 in San Francisco, California. By the time she left her native country for good, she had survived the death of her father in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the hands of a er in 1931 and the end of her first marriage in 1936. Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the design, crafting, and production of silver objects, in particular jewelry and housewares. Soon, Castillo would become Margot’s second husband. At the time, Castillo was working for William Spratling, a pioneer in Mexican silversmithing. He brought Margot into the business as a designer, helping her to transform her paper creations into three-dimensional forms in silver. In 1939, the pair, along with other members of Castillo’s family, opened shop as Los Castillo Taller [Taller is Spanish for “Workshop”], with Margot as the top designer. After ten years, the marriage between Castillo and Van Voorhies dissolved, as did their professional association. Margot went on to open her own shop in 1948, taking the name Margot de Taxco, by which she is best known today. Seven years later, enamel was added to many of her pieces, and this is where Margot found her legacy. At the peak of her career, Margot, who designed each piece herself, had two dozen silversmiths and a dozen enamellists in her employ to execute her vision. The men performed the duties as silversmiths; the women did the enamel work, using tiny brushes to bring the watercolor drawings to life. To ensure the accurate rendering of her jewelry designs, she compiled a book of instructions and drawings, detailing the construction and finishing of each. Margot attracted talented craftsmen who later went on to cement their own reputations, such as Sigi Pineda, Miguel Melendez, and Melecio Rodriguez. Many contemporary Hollywood celebrities were clients of Margot, including John Wayne and Lana Turner, who visited her shop every year. Tragedy struck in the form of a fire in 1960. Forced to move her studio, she never again regained her prior success, and the business folded in 1974. Margot granted several of the silversmiths in her employ permission to use her molds to create pieces on their own, in return for debt forgiveness. As a result, many of Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and Geronimo Fuentes, bearing their hallmark rather than hers. Margot passed away in 1985. But her talent as a designer and her influence as an artist have continued to gain recognition since the time of her death. Margot’s shop produced some repousse silver (a technique where a raised or relief design is hammered in from the reverse side of the piece). But she is best known for her champlevé enamel work. Champlevé is created by carving, etching, striking, or casting troughs or cells into the surface of a piece and filling it with vitreous enamel. In Margot’s jewelry, the designs were die-struck, a process that was detailed and critical to the final product. Margot produced many suites that included necklaces, brooches, bracelets, and earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized for its elegance, femininity, and variety. There were many areas of influence that can be found in Margot’s work. Her fish and wave motifs celebrated her love of Japanese art. The ornate swirls and floral motifs were reminiscent of the Art Nouveau style. Mischievous pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts. Margot de Taxco pieces are distinguished by the stamp that includes her name, Eagle 16 (or Eagle 1, for her earlier works), along with a production number. Issued by the government, the eagle stamp was a way to identify th

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

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c1960 Peter Broome California Modernist Sterling silver bangles set. Each approx<br>7 5/8" inside circumference, each different. Broome was active in the 50's-60's<br>in CA and produced some of the most amazing unique designs. He wasn't extremely<br>prolific but created some amazing unique designs that command respectable<br>prices. Selling all three bangles for one price.<br><br>anderas

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Mid Century William Spratling Sterling Creamer and Sugar. Very well made of<br>course, thick and heavy for their size. Sugar 4.75" handle to handle x 4" tall<br>with lid 361.3 grams total weight. Tiny dent on knob of lid, no other issues. I<br>can polish these before shipping, just ask please after purchase.<br><br>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.

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Mid Century Modernist Los Ballesteros Sterling Gemset Bangle. Really amazing mid century piece with no damage or significant wear.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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헨리 스타이그(1906-1973) 미드 센추리 모더니스트 스털링 핀(2). 두 종류의 핀 중 하나(둘 다 서명됨)를 판매합니다. 50~60년대에 그에게서 직접 구입한 중요한 Henry Steig 주얼리 컬렉션의 일부로 제가 제공할 수 있는 행운을 누리고 있습니다. 자수정 2.75" x .75인치 펄 2.75" x 5/8" 19.총 무게는 2g입니다. Jules Brenner와 Henry Steig는 아방가르드를 찬양하고 전통적인 주얼리 형태를 거부하며 지적이고 자유주의적인 중산층. Jules Brenner는 브롱크스에서 태어나 워싱턴 하이츠에서 자랐으며 그리니치 빌리지에서 Stella Adler와 함께 연기를 공부하고 회화와 조각을 공부했습니다. Henry Steig(Henry Anton으로도 알려짐)는 City College와 National Academy of Design에서 공부했으며 뉴욕시 재즈 음악가, 작가, 소설가, 만화가 및 화가로 경력을 시작했습니다. 1950년대에 Brenner와 Steig는 맨해튼과 매사추세츠 주 프로빈스타운(당시 저명한 예술가들의 거주지)에서 상점과 스튜디오를 운영했으며, 그곳에서 종종 생물 형태, 초현실주의, 입체파 및 기하학적 형태를 강조하는 손으로 만든 은색과 금색 디자인을 판매했습니다.영화 7년만의 외출에 나오는 마릴린 먼로가 뉴욕 보도에 서 있는 유명한 사진을 누구나 알고 있습니다. 그녀의 치마는 아래 지하철 격자판의 상승 기류에 의해 날아갑니다. 그러나 그 순간 그녀가 590 Lexington Avenue에 있는 Henry Steig의 보석상 앞에 서 있었다는 사실을 모든 사람이 아는 것은 아닙니다.헨리 스타이그(Henry Steig)는 많은 재능을 가진 사람이었습니다. 그는 보석상이 되기 전에는 재즈 음악가, 화가, 조각가, 상업 예술가, 만화가, 사진가, 단편 작가, 소설가였습니다.스타이그의 좋은 친구이자 프로빈스타운의 이웃이었던 뉴요커 만화가 미샤 리히터(Mischa Richter)는 "헨리는 르네상스 사람이었습니다."라고 말합니다.헨리 아니온 스타이그(Henry Anion Steig)는 1906년 2월 19일 뉴욕에서 태어났습니다. 그의 부모인 조셉(Joseph)과 로라(Laura)는 세기의 전환기에 당시 오스트리아-헝가리 제국의 폴란드 항구에 있던 Lvov(독일어로 Lemberg라고 함)에서 미국으로 왔습니다. Joseph은 집 페인트공이었고 Laura는 재봉사였습니다.그들에게는 어윈(Irwin), 헨리(Henry), 윌리엄(William), 아서(Arthur)라는 네 명의 아들이 있었는데, 모두 다재다능하고 재능이 있으며 예술적이었습니다. 윌리엄 스타이그(William Steig)는 뉴요커의 유명한 만화가이자 아동 도서 작가이자 일러스트레이터입니다. 어윈은 뉴요커(New Yorker)에 단편 소설을 쓰는 작가였습니다. Arthur는 New Republic 및 Poetry 잡지에 시를 게재한 화가이자 시인이었습니다.William Steig는 이렇게 회상합니다. "저의 아버지와 어머니는 아들이 성장한 후 가리키기 시작했고 전시 예술가가 되었습니다." 1945년 5월 14일자 Newsweek 잡지에는 New Art Circle 갤러리에서 열린 "아마도 Art Row(57번가)에서 열린 첫 번째 가족 전시회"라는 전시회에 대한 기사가 게재되었습니다. 그것은 "The Eight Performing Steigs, Artists All"라고 불렸습니다." 여기에는 Joseph과 Laura Steig의 그림, William의 그림과 조각, 그의 아내 Liza의 그림, Arthur와 그의 아내 Aurora의 그림, Henry의 사진과 그의 아내 Mimi의 그림이 포함되었습니다. 포함되지 않은 유일한 형제는 당시 코네티컷 비누 제조업체의 광고 관리자로 일하고 있던 "유일한 비순응주의자 Steig"인 Irwin이었습니다.기사에서 "형제들은 가족 모두가 서로의 작품을 좋아하기 때문에 좋은 예술가들이 많다고 생각합니다… 그것에 대해 신이 납니다. 누구든 시작할 때마다 많은 격려를 받습니다. Joseph Steig는 '회화는 전염되는 것입니다. 당신이 우리 환경에 살았다면 아마도 지적했을 것입니다.'"Henry Steig는 이러한 특별한 환경에서 자랐습니다. 가족은 브롱크스에 살았습니다. 고등학교를 졸업한 후 Henry Steig는 City College(CCNY)에 진학했습니다. 3년 후 그는 국립 디자인 아카데미(National Academy of Design)에서 회화와 조각을 공부하기 위해 떠났습니다. 그는 또한 색소폰, 바이올린, 클래식 기타를 연주하는 뛰어난 음악가였으며, 대학에 있는 동안 재즈 음악가로 활동하기 시작했습니다. 16세였던 1922년경부터 1932년까지 그는 현지 댄스 밴드와 함께 리드 악기를 연주했습니다.국립 아카데미에서 4년을 보낸 후 Steig는 상업 예술가이자 만화가로 일했습니다. 그의 형제 William이 동시에 많은 동일한 잡지에서 만화가로 일하고 있었기 때문에 그는 자신의 만화 "Henry Anton"에 서명했습니다. 1932년부터 1936년까지 Henry Anton 만화는 Life, Judge, New Yorker 및 기타 잡지에 게재되었습니다.Steig는 1935년에 글쓰기 경력을 시작하여 1947년경까지 지속되었습니다. 그는 Saturday Evening Post, New Yorker, Esquire, Colliers 등에 정기적으로 기사를 게재하면서 매우 성공했고 단편 작가로 잘 알려졌습니다. 그것은 종종 광란의 20년대에 음악계를 풍미했던 재즈와 재즈 음악가들에 대한 유머러스한 이야기였습니다. 다른 이야기는 그의 브롱스 어린 시절에 관한 것이었습니다. 그는 또한 Benny Goodmon의 New Yorker 프로필과 재즈 비평을 포함하여 논픽션 잡지 기사를 썼습니다. 그의 논픽션 기사 중 일부는 William Steig의 그림을 그렸습니다.1941년에 Alfred A. Knopf는 Henry Steig의 소설 Send Me Down을 출판했습니다. 20대에 재즈 뮤지션이 된 두 형제에 대한 이야기를 절대적인 사실감으로 전달합니다. 책 표지에 Steig는 "Send Me Down의 대부분의 자료는 내가 지역 재즈 밴드와 보드빌 순회 그룹 및 댄스홀 투어에서 연주하는 재즈 뮤지션으로 활동하는 동안 수집되었습니다."라고 썼습니다. 나는 음악가로서 이류에 불과했지만 내 주제를 속으로 알고 있으며 실제 개인적인 경험을 바탕으로 재즈 음악가에 대한 이야기를 쓴 최초의 사람이라고 생각합니다." 그의 아들 마이클은 책을 영화로 만드는 데 관심이 있었다고 회상합니다. "아버지는 존 가필드가 주연을 맡고 싶다고 말씀하셨어요."Steig는 1941년에 각본을 쓰기로 계약을 맺고 할리우드로 떠났습니다. 그는 작곡가인 조니 머서(Johnny Mercer)와 함께 작업할 예정이었습니다. 12월 7일 진주만 공격 이후 그는 뉴욕으로 돌아왔다. Michael Steig는 "그는 의심할 바 없이 돌아왔을 것입니다."라고 말했습니다. "그는 자신의 에이전트가 협상한 계약에 만족하지 않았습니다." 미샤 리히터(Mischa Richter) 확률, "헨리는 할리우드에 별로 감명을 받지 못했습니다."

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6.5" Fred Guerro (1934-2020) Navajo Modernist sterling turquoise cluster<br>bracelet. 5 3/8" plus 1 1/8" gap 32mm wide 59.9 grams, nice stones, no issues.<br><br>Fred was a master silversmith, selling his jewelry nationwide and with his<br>regular customers in Socorro, Alamogordo, and Gallup. He built houses, mostly<br>out of adobe mud, a skill that is becoming very rare.<br><br>Fred was also a skilled fence builder and travelled many miles to work for<br>ranchers across the state. Many nephews and relatives who travelled with him to<br>and fence building remember his stories, his humor, and jokes.<br><br>Fred was very hospitable by opening his home to many people who needed a place<br>to stay, needed a place to rehabilitate, and/or just needed to get it together.<br>He lived in Alamo most of his life, but also shortly in To’hajiilee, and<br>Socorro.<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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sz9.25 Frank Patania Sr(1899-1964) Modernist southwestern Sterling Coral andturquoise ring 8.8 grams.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.Frank Patania Sr. immigrated to New York City in 1908. Child labor laws kept the young man from working as a craftsman, but after World War I he was old enough to be hired as a designer for an important jewelry firm. In 1924 he contracted tuberculosis, and the firm sent him to a sanatorium in Santa Fe, New Mexico. Patania was seduced by the active art colony and healthy climate, and chose to remain in the Southwest even after his health improved. His work reflects both his European training and his exposure to Pueblo and Navajo jewelry.The legacy left by Frank Patania, Sr. came from the integration of two distinctly different traditions-one European, and the other Native American. On the one hand, Frank Sr. drew from a long history of Italian creative spirit, combining technical expertise and artistic imagination. He instilled in his family the Italian commitment to fine craftsmanship, as well as the Italian custom of family corporate bonding.This uniquely Italian tradition can be traced back as far as the Renaissance, and provides a structure in which each member of an artisan family has a job to perform that contributes to the family enterprise. This familial check and balance system has been a powerful asset to the Patania family's continued standard of excellence through the years. But Frank Sr.'s style was drastically transformed when he was introduced to the work of southwest Native American jewelers in the 1920s.His inspiration was multi-faceted; he began to work in a new medium-silver and turquoise-as well as in increased scale, and using new techniques. The successful marriage of these two disparate traditions has become the foundation upon which each generation has maintained the tradition of excellence in craftsmanship and design that has come to be known as the "Patania Thunderbird" style.

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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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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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Frank Patania Sr (1899-1964) Modernist southwestern Sterling and turquoiseclip-on earrings 22mm x 28mm x 10.5 grams. No issues, strong clips, great design.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.Frank Patania Sr. immigrated to New York City in 1908. Child labor laws kept the young man from working as a craftsman, but after World War I he was old enough to be hired as a designer for an important jewelry firm. In 1924 he contracted tuberculosis, and the firm sent him to a sanatorium in Santa Fe, New Mexico. Patania was seduced by the active art colony and healthy climate, and chose to remain in the Southwest even after his health improved. His work reflects both his European training and his exposure to Pueblo and Navajo jewelry.The legacy left by Frank Patania, Sr. came from the integration of two distinctly different traditions-one European, and the other Native American. On the one hand, Frank Sr. drew from a long history of Italian creative spirit, combining technical expertise and artistic imagination. He instilled in his family the Italian commitment to fine craftsmanship, as well as the Italian custom of family corporate bonding.This uniquely Italian tradition can be traced back as far as the Renaissance, and provides a structure in which each member of an artisan family has a job to perform that contributes to the family enterprise. This familial check and balance system has been a powerful asset to the Patania family's continued standard of excellence through the years. But Frank Sr.'s style was drastically transformed when he was introduced to the work of southwest Native American jewelers in the 1920s.His inspiration was multi-faceted; he began to work in a new medium-silver and turquoise-as well as in increased scale, and using new techniques. The successful marriage of these two disparate traditions has become the foundation upon which each generation has maintained the tradition of excellence in craftsmanship and design that has come to be known as the "Patania Thunderbird" style.

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Art Deco Sterling mesh handbag. Very nice handbag in incredible condition with no noted damage. Typically the top braided handle would have issues, or tears where it opens, this one is near perfect. Marked sterling with original dedication on inside rim. Frame is 3" wide, 16" total length with handle. 99.4 grams of solid sterling silver. silverdrawer

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Large Retro Modernist sterling pins collection. All three are high quality, but<br>top left is really high quality, best of the best. It measures 3 5/8" x 2 1/8",<br>91.9 grams total weight (3 together) All three sterling.

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1950's Estela Popowski Modernistic Mexican Silver Mixed Metal/Onyx Brooch. 2<br>9/16" tall x 1.75" wide in great vintage condition.<br>Popowski was a jewish immigrant who moved to Mexico in the 1950s. She lived and<br>worked in Taxco in the 1950s to early 1960s and designed jewelry for Los<br>Castillo, Antonio Pineda, and later in her own studio. She was not a<br>silversmith, so she designed the jewelry and had it executed by a number of<br>master silversmiths in Taxco. In the mid-1960s she moved to California where she<br>lived in Newport Beach while concentrating on painting and design projects.

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Retro Modernist Mexican Sterling silver Jewelry set. Selling the set shown,<br>necklace 17", bracelet 7.5". All sterling silver with no issues, appears unworn.<br><br>anderas

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Tiffany Modernist Sterling silver letter opener/clip. Guaranteed Authentic Tiffany from the third quarter of the 20th century, retailed by Tiffany.6 5/8" long x 14mm wide x 23.4 grams.anderas

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1940's Japanese Art Deco Sterling, Shibuichi and shakudo mixed metals case. 5<br>1/8" x 3 1/8" x 139.4 grams, very clean with minor wear, exterior polished. The<br>silver sections are solid high content silver(tested) but there are no<br>detectable silver markings.<br><br>Japanese silver case fabricated with shibuichi and shakudo panels in an art deco<br>parquetry design. The complex design is formed from individual panels soldered<br>together so the pattern repeats inside and out

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1940's Japanese Art Deco Sterling, Shibuichi and shakudo mixed metals case. 4.5"<br>x 3 1/8" x 110.2 grams, very clean with no issues.<br><br>Japanese silver case fabricated with shibuichi and shakudo panels in an art deco<br>parquetry design. The complex design is formed from individual panels soldered<br>together so the pattern repeats inside and out

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Large Mid Century Mexican Modernist sterling hinged bangle. Nice sized bracelet with no damage or significant wear. Mid 20th century.

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sz 8.5 Vintage Native American oversized Modernist sterling ring. Very high quality unmarked ring.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Most cuff bracelets are shown photographed on a 6" woman's wrist and will include a photo showing the inside circumference where the metal tip meets the number on the tape measure.

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c1920 Art Deco sterling change purse. Great condition snaps shut and stays locked shut. 2.5" x 2 1/8" without chain. Possibly missing a change insert. 57.8 grams.tw208

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sz9 Mexican Modernist sterling/turqouise ring. Great looking heavy and<br>substantial natural turquoise ring. 16.1 grams

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Mid Century Margot De Taxco Sterling silver pin. No damage or significant wear,<br>1.5" x 1.75" x 8.9 grams. -Anderas-<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 th

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Georg Jensen Sterling Silver Art Deco Flower Pin. Selling one with another available if you change the qty. 1 3/16" x 1 5/8" 11.5 grams in great vintage condition with no significant issues.

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Vintage Native American Modernist Sterling onyx cuff, marked as shown, no<br>issues.<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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Mid Century Modernist sterling bangle by Mark. No issues, great bangle.

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sz 8.5 Vintage Southwestern Modernist sterling and turquoise ring. Unmarked, great design that seems like something that could have came out of Frank Patania's Thunderbird shop. 12.6 grams.anderas

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c1940's Theodore Fahrner Art deco 935 silver pin. Extremely high quality with no<br>issues. 2.25" x 3/8" x 8.9 grams.<br><br>Theodor Fahrner (4 August 1859 – 22 July 1919) was a trained steel engraver and<br>jewelry designer from Pforzheim, Germany. He was known for his Art Nouveau and<br>Jugendstil pieces, produced at affordable prices. After his death, his firm<br>became one of the best known Art Deco designers.<br><br>Biography<br>Theodor Fahrner was born to Theodor Fahrner, Sr., and Pauline Fahrner (née<br>Schweikert). He had six sisters: Emma, Julie, Lina, Paulina Emilie, Luise Emilie<br>and Bertha. Little is known about his school days; he learned to be a steel<br>engraver and received his artistic training at the Pforzheim Kunstgewerbeschule.<br><br>Theodor Fahrner, Sr., owned a ring factory, and on his death in 1883, the<br>younger Theodor Fahrner took the reins. By 1895, he was the sole proprietor. In<br>the time of the upheaval before the turn of the century, Fahrner registered<br>numerous patents and utility models. The breakthrough finally succeeded with the<br>presentation of the jewelry designed by Max J. Gradl at the Paris World<br>Exposition in 1900, where he was awarded a silver medal.<br>Fahrner did most of his own design work from 1899 to 1906. Fahrner's later<br>designers included Maria Obrich, Patriz Huber, and Ludwig Knupper. The firm came<br>to specialize in affordable Art Deco jewelry and achieved an international<br>reputation.<br><br>Fahrner died in Pforzheim on July 22, 1919, leaving behind two daughters, Vera<br>and Yella. He was buried at Pforzheim's main cemetery. The jewelry maker Theodor<br>Fahrner was bought by the jeweler Gustav Braendle from Essling and passed on<br>under the name Bijouteriewarenfabrik Gustav Braendle. The brand name<br>"Fahrnerschmuck" was also used.<br><br>BRIEF HISTORY OF THEODOR FAHRNER JEWELRY<br>Theodor Fahrner was born in 1859 in Pforzheim, Germany. His father, Theodor,<br>Sr., manufactured and sold rings that memorialized historical events. Young<br>Theodor trained as a metal engraver at the Pforzheim Art Academy where he honed<br>his natural artistic talent and developed a lifelong love of art.<br><br>When his father died in 1883, Theodor took control of the company and expanded<br>its production beyond rings to necklaces, bracelets, brooches and earrings. He<br>also pioneered designer jewelry and the use of well-known and respected artists<br>of various disciplines to design jewelry made partly or entirely by machine.<br>Each artist had a distinctive style, and the little ring factory became was one<br>of the most prosperous jewelry houses in Europe and remained so until the 1950s.<br>Theodor Fahrner jewelry gained international attention when designer Max J.<br>Gradl received a silver medal at the 1900 Paris World Exhibition. Soon Theodor<br>was exporting large quantities of his jewelry around the world, most notably to<br>London and New York City.

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Sz 7 Modernist Sterling Agate Ring by M Hukulak Polish Designer. Nice retro ring<br>from the last quarter of the 20th century with no damage or significant wear.<br>15/16" x 1 3/8" face 11.7 grams.

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c1920's Art deco sterling enamel pin. Slight wear to enamel on rim, overall clean 22.3 grams 1.5" wide.anderas

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Adjustable Modernist Sterling/Obsidian Ring. Great looking ring, the design<br>looks Scandinavian, the mark looks native American. I didn't realize it was<br>adjustable until I put it on the sizer. It'll fit most all sizes within reason.<br>7.7 Grams, Marked R Sterling.

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c1940's Mexican Modernist sterling silver pin with amethyst. 1.25" x 2 7/8" x 32.7 grams, very substantial with no issues.

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2 Modernist Mexican sterling pins cat and sunburst. Both great with no issues, Sunburst mid century, cat about 1980's. Largest 1 7/8" 22 grams total.

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Vintage Modernist sterling/art glass ring by Faust of Taxco. No issues 7.7<br>grams.<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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c1920's Art Deco Sterling Sugar tongs by Rogers Lunt & Bowlen. 4.75" long 28.2 grams.Lunt Silversmiths began its activity and was incorporated in Greenfield, MA in 1902 as Rogers, Lunt & Bowlen Company.The firm succeeded to A. F. Towle & Son Co purchasing its tools, machinery, trademarks and good-will.The business was managed by George E. Rogers (1849-1915, President and major investor), George Colby Lunt (Treasurer and General Manager) and William Caldwell Bowlen (1868-1934, Vice President and supervisor of manufacturing until his retirement in 1929).George C. Lunt and William C. Bowlen were both qualified members of the staff of the defunct Towle's factory.The company would become a celebrated domestic designer and producer of flatware, hollowware, and giftware for generations to come remaining in Lunt family hands for more than 100 years, making it the oldest continuously operating family-owned silver company in the United States.On April 4, 1912 the RLB trademark obtained the U.S. federal registration under the serial number of 71062653.In 1935 Rogers, Lunt & Bowlen Company's name was shortened to Lunt Silversmiths.

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sz8 Retro Modernist Sterling Israel Ring. Illegible to me artisan's signature.<br>Clean ring with no issues, unsure of stone or if it even is a stone.

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Vintage Delfino Modernist Mexican sterling cat pin. Clean with no damage or<br>significant wear.

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sz 7.5 Modernist Sterling light blue gemstone ring. 6.4 grams with no damage, stone untested.

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7" Vintage Modernist Sterling Bangle. Marked and tested sterling with no damage or issues. 12 grams

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Mid century modernist sterling pin 2 1/16" x .75" with no issues.

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sz8 Retro MWS Modernist sterling ring. no issues 8.2 grams

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