Vintage Zuni Sterling Turquoise Channel inlay bolo. Very cool bolo, both the<br>bolo and the tips are tested unmarked sterling. Bolo measures 1 1/8" x 1 3/8"<br>and total weight is 22.8 grams.

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Vintage Zuni Sterling turquoise, and coral clip-on earrings. Strong springs on<br>clips, no issues.. Weight and measurements in pics.<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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Vintage Zuni sunface channel inlay ring. It's had a sizer added to it which<br>makes it an approximate size 4, but if removed it would likely be a size 7 or<br>so. Or the sizer could be squised to make it something inbetween. 15/16" face<br>5.2 grams.<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. 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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Vintage Zuni Sunface/thunderbird sterling channel inlay spinner pendant. No issues, weight and measurements in pics. Solid sterling, appears unmarked. All precious metals are tested and guaranteed,

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Vintage Zuni turquoise/coral double sided cross pendant ve. No issues, weight and measurements in pics. Solid sterling, unmarked. Third quarter of 20th century, Zuni.

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Vintage Zuni/Santo Domingo sterling silver carved turquoise leaf Heishi necklace. Tested and guaranteed solid sterling silver mountings with weight and measurements in pictures. 26.5" long with no significant issues. Circa third quarter of the 20th century. Pendant signed as shown by a silversmith once known. Listed with ExportYourStore.com

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Vintage40‘s-50‘s Navajo sterling silver bolo tie with green turquoise. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 37" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Tips and cord are not as old as the bolo.

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Virgil Thomas Hopi Overlay 2 rams belt buckle sterling silver. Fits up to a 1.5" belt. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional, with no damage.. All items will likely have some expected wear, the older they are the more wear they should have. Circa last quarter of the 20th century.

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Virgil Yazzie Navajo sterling and turquoise feather pendant necklace. No issues, measurements in pics.   Choker, 14.5" long.   All precious metals are tested and guaranteed,

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VITTORIA MAZZOTTI (1907-1985) Mid Century Modern Abstract Vase Artist Signed.<br>Really nice piece in flawless conditon. No cracks, chips, restorations,<br>scraches, or crazing. 9" tall x 5" wide. If you recognize the name of the artist<br>please fill me in. The piece was designed by Mazzotti and decorated by the<br>artist that signed it circa 1960's.<br>B26

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Vivian Love(1908-1982) Floral Still Life Listed Texas Artist. No issues or damage. Vivian Rogers Love began exhibiting in San Antonio, Texas in the 1940s. She was a member of the San Antonio Art League, River Art Group, Coppini Academy of Fine Arts and the Highland Art Group. She had a lengthy exhibition career with numerous solo exhibitions that spanned four decades.

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VJD Navajo cast sterling silver turquoise vintage belt buckle. Tested and guaranteed solid sterling silver weight and measurements in pictures, Circa last quarter of the 20th century. Fits a 1.5" belt. Functional with age appropriate wear, no significant issues. Listed with ExportYourStore.com

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Volmer Bahner Danish Sterling Guilloche Leaf pin. No damage or significant wear. 2.5" wide x 1 5/8" tall x 14.7 grams.

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W Chee Vintage Navajo sterling silver turquoise cluster bolo tie Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 39" long. Circa last quarter of the 20th century.

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W Dodson Navajo Sterling and turquoise belt buckle. No issues, weight and measurements in pics. Solid sterling with marks shown.

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W Martin vintage Navajo sterling silver belt buckle with nice turquoise. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt.

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W. T. Johnson Esquire c1850 English Barrister's Wig in Toleware case by J.K.<br>Metherell Maker. Wig in original case with both the Makers and owners name<br>matching inside the wig and the tin case. Padlock shown with key was already<br>with it and is included. This came to me in a very wonderful yet cumbersome<br>large locked plexiglass display in which it and a few others were on display at<br>the University of Texas Law Library before Elton Hyder's estate was disbursed in<br>around 2012 when several of these were sold at Heritage Auction in Dallas, TX.<br>Wear to tin, no significant issues.<br><br>Provenance, from the Elton M. Hyder, Jr. Charitable and Educational Fund<br>Collection: Formerly at the University of Texas Law Library.

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Wakely & Wheeler 1910 London British Sterling Serving spoon. Large incredible and heavy 8 3/8" long 77 grams, top quality marked and tested sterling with no issues. tw255

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Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Blue Red Drip Pitcher and Goblet Set. The pitcher is signed, the goblets aren't. All made by Walt Glass, all from same estate. One very small nick on footrim of one goblet shown in the back right of the last pic. No other cracks, chips, or restorations. The goblet vary a little as they're handmade. Pitcher is 7.5" tall, goblets average about 7.25" tall. TW14, Tw17 Walt grew up in San Antonio and, after serving in the Army, graduated from The University of the Incarnate Word where he later received an Outstanding Alumnus Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed 40 years together. After finding his artistic passion in creating beautiful, handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village Gallery, in San Antonio's historic La Villita and a production studio in McQueeney, Texas. He and Cynthia loved participating in craft fairs around the country with a special fondness for the "Starving Artists Show" along the San Antonio River Walk and La Villita. They enjoyed a successful artistic venture for over forty years and their pottery has been appreciated across the globe. His unique pottery was collected by dignitaries from around the world, including the Queen of England, Ronald Reagan, and other notables, as well as being featured by San Antonio's sister city in Japan. As a master potter, Walt enjoyed mentoring professional potters from around the world, sharing his technique and skill. Later in his career, he loved teaching Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both in and out of the classroom. With the help of TLU students and faculty, he introduced the "Empty Bowls Project" to the Seguin area, raising funds to help feed the hungry.

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Nice estate item from about a 2 million dollar house. All hand decorated and hand thrown. Teapot is 6.25" handle to spout x 3.25" tall. No damage, all pieces are in unused condition and have been in a China cabinet for the past 20 years.

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Warren Cullar "Arm Chair Dreams" Acrylic on Canvas Austin Texas Listed Artist<br>12" x 16" with no issues or damage.<br><br>Warren Cullar opened his first art gallery as a senior in college. After<br>receiving a BFA in 1965, he joined a staff of six artists in a commercial ad<br>agency and as he says: “I learned more in that one year than I did in 5 years in<br>college." A bigger job was offered to him and he spent a brief career as an<br>advertising director in a large department store. A move to Mexico to study art<br>at the Instituto Allende in San Miguel de Allende was a major influence. The<br>color of Mexico is evident throughout the art he has produced during his career.<br>With an MFA degree under his belt, he received a teaching contract from Hardin<br>Simmons University in Abilene, Texas and later opened the art department at<br>Western Texas College, completing 8 years of experience as a college art<br>instructor.<br><br><br>After spending the summer of 1976 in Egypt on a study grant that he had received<br>from the college, he made the decision to become a full-time professional<br>artist. He came to the Austin area and opened an art gallery and 5 years later<br>moved into the Austin home he has now occupied for over 30 years.<br><br>Warren started his art career by selling his hand pulled stone lithographs and<br>watercolors. In the December 1978 issue of Southwest Art Magazine, he was<br>featured in an 11-page article about his art. He continued to produce<br>watercolors and enjoyed selling his work in art fairs in Texas, Colorado, and<br>California.<br><br>In 1982 he read a magazine article about the need for an adventure artist and<br>began traveling the world using his skills as an artist on scientific<br>expeditions in Peru, Brazil, Venezuela, Spain, and Easter Island, to name a few<br>of the 49 countries stamped in his passport. Warren travels the world with a<br>sketchbook and watercolors to record his impressions of the various cultures and<br>peoples he encounters.<br><br>In the early 90’s he built an 840 sq. ft. painting studio on the back of his<br>wooded property and took up acrylic painting; then he produced hand-pulled<br>serigraphs and soft ground etchings. One of his collectors asked him to create a<br>sculpture for women who had survived breast cancer. The sculpture was completed<br>and he was captivated by working with clay. That was the first bronze he had<br>created since his student days in Mexico. A large bronze commission was awarded<br>to him and a new direction emerged. Today Warren laughs at the thought that for<br>20 years painting in watercolor was all he ever wanted to do. In 2004 he built a<br>second studio dedicated to sculpture.<br><br>Today, Warren and his wife, Kitty Biel, who has a dual career as an independent<br>CPA , Cruise Planner, and Travel Agent, live and work from their spacious home,<br>two studios and sculpture garden in Austin, Texas. You can find Kitty working in<br>her treetop office on the second floor of their home and Warren creating in the<br>sculpture or painting studio.<br>alt<br><br><br>Warren is an accomplished sculptor and painter, and he extends the opportunity<br>for you to visit, explore his galleries/studios and gardens. You will quickly<br>discover that he simply loves to create and recognizes opportunities to do so in<br>all areas of their space, from the kitchen mosaic on the breakfast room floor to<br>the backsplash in the kitchen made from fish fossils he dug in Wyoming. Warren’s<br>passion for creativity and his seemingly boundless energy keep him constantly<br>moving forward in new directions. In addition to creating new paintings and<br>sculpture, Warren’s goals for the immediate future include finding new<br>opportunities for young artists and he has already coordinated an apprentice<br>program with the local high schools. Warren says “I collect friends who in turn<br>collect my art."<br>tw106

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Waseta Zuni Sterling inlay necklace and earrings set 18" long necklace with 2 1/8" tall girls, earrings 2" long.All precious metals are tested and guaranteed,

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Waterford Christmas Suite 32 oz Pitcher 1999 6 3/8" tall. This pattern was only produced for christmas 1999, it's all scarce but the pitcher is rare. No cracks, chips, restorations, scratches, or hard water.

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Waterford Crystal Perfume Bottle with Dobber. 4.75" tall. The mark had shown in last pic. It takes holding to the light just right. No chips, scratches, cracks, or other issues.

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Waterford Doug Sanders Celebrity Classic 1986 Golf Trophy. I thought the tournament started in 1988 but it clearly says 1986. Top quality trophy vase. 8" tall cut crystal. A few small nicks on the base edge and two on the rim, very small only noticeable when looking for them and could be easily polished out.

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Waterford Evolution vase. 7" tall x 5" wide with no cracks, chips, or restorations.

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Waterford Glandore 8" Round bowl in like new condition with no cracks, chips, scratches, excellent clarity, never been in a dishwasher, likely never used. Marked on side with Waterford acid stamp as shown in last pic. 8" wide x 3.5" tall. isshelf

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Waterford Kylemore Cut Crystal Claret Wines (5). Each is 6" tall x 3" wide at<br>rim, selling 5 claret goblets for one price. They are all free from cracks,<br>chips, dings, none are ground down, no cloudiness, or scratches. This beautiful<br>pattern was retired in 2017. They are marked as shown, the acid stamps are on<br>the base of the glasses visible on the top of the bases of the second pic if you<br>look closely.<br><br>Blk Crate

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Waterford Kylemore Cut Crystal Water goblets (4). Each is 6.75" tall x 3 9/16" wide at rim, selling Four water goblets for one price with multiple lots available if you change the quantity, selecting two will get you 8 goblets, 3 will get you 12, etc. They are all free from cracks, chips, dings, none are ground down, no cloudiness, or scratches. This beautiful pattern was retired in 2017.Blk Crate

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Waterford Kylemore Cut Crystal Water goblets (6). Each is 6.75" tall x 3 9/16"<br>wide at rim, selling Six water goblets for one price with multiple lots<br>available if you change the quantity, selecting two will get you 12 goblets, 3<br>will get you 18, etc. They are all free from cracks, chips, dings, none are<br>ground down, no cloudiness, or scratches. This beautiful pattern was retired in<br>2017.Blk Crate

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Watson Honanie Hopi 14k gold overlay on sterling silver 3pc belt buckle set. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. No apparent damage, some expected wear. Much better in person, we have a hard time photographing these types of items properly. Watson Honanie created jewelry of gold and silver overlay portraying Hopi culture and ceremonial life. Encouraged by two uncles, Porter Timecheand and the late Fred Kabotie, both of whom were associated with the Hopi Silvercraft Guild, he began making jewelry at an early age. "They gave me scraps of silver so I could make small pieces, mostly earrings," Honanie said. He learned the overlay technique from his brother Phillip, and worked at the Silvercraft Guild for about two years before venturing out on his own. "In 1979, when the cost of silver got so high - $48 to $50 an ounce, I went back to using scraps, but not for making jewelry. I made small Kachinas, about four inches tall, using the lost wax process and the melted silver scraps. I made these miniature Kachinas for about a year, then returned to jewelry." Although he made jewelry since 1972, it was not until 1985 that he started to work with gold. But today, he is noted for his gold work.

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Watson Honanie Hopi 14k gold overlay on sterling silver necklace Eagle Dancers. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 20" long necklace, other measurements in pictures. Watson Honanie created jewelry of gold and silver overlay portraying Hopi culture and ceremonial life. Encouraged by two uncles, Porter Timecheand and the late Fred Kabotie, both of whom were associated with the Hopi Silvercraft Guild, he began making jewelry at an early age. "They gave me scraps of silver so I could make small pieces, mostly earrings," Honanie said. He learned the overlay technique from his brother Phillip, and worked at the Silvercraft Guild for about two years before venturing out on his own. "In 1979, when the cost of silver got so high - $48 to $50 an ounce, I went back to using scraps, but not for making jewelry. I made small Kachinas, about four inches tall, using the lost wax process and the melted silver scraps. I made these miniature Kachinas for about a year, then returned to jewelry." Although he made jewelry since 1972, it was not until 1985 that he started to work with gold. But today, he is noted for his gold work. Some of his designs are adaptations from Pueblo pottery and Hopi Kachinas. His gorgeous concho belt of coral and gold and silver overlay was awarded First Place and Best of Division at the prestigious 1992 Sante Fe Indian Market. Watson was a world renowned jeweler and prominent leader in the Hopi tribe, up until his death in November 2023.

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Watson Honanie Hopi 14k/Sterling belt buckle overlay style. Weight and measurements in pics. Unworn buckle with only the slightest wear. Watson Honanie Hopi Winner of Best of Class and Best of Division at the world famous Santa Fe Indian Market, Watson Honanie is the acclaimed innovator of gold overlay jewelry. His jewelry depicts tribal clans, Hopi villages, ceremonial dancers, and petroglyph images. He often incorporates gold, diamonds and gem grade turquoise in his pieces. Watsons mentor was his uncle, Fred Kabotie, manager of the Hopi Art and Crafts Guild. Watsons work is in the finest galleries in the country.

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It's unmarked, measures 4" wide x 1.5" tall. No cracks, chips, or scratches on<br>glass.

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Wayne & Carla Johnson Zuni Petit Point 청록색 목걸이. 목걸이 길이는 약 18", 높이는 3.25", 무게는 29.5g입니다. 문제 없습니다. 사진에 표시된 대로 표시되거나 표시되지 않으며, 사진의 무게 및 기타 측정값입니다. 죄송합니다. 제 보석은 안전한 장소에 보관되어 있으며 판매될 때까지 더 많은 사진,동영상 또는 치수 측정을 위해 접근할 수 없습니다. 사진/설명을 보면질문에 대한 답이 나올 것입니다. 귀하의 시간과 배려에 진심으로 감사드립니다!모든 귀금속은 테스트를 거쳐 보증됩니다. "은" 또는 "주괴"라고 불리는 아메리카 원주민 보석 제품은 90% 이상의 은이 보장됩니다. 팔찌는 6인치 여성 손목에 착용되어 촬영되었습니다.

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WB Vintage Native American Sterling/turquoise bolo tie. Bolo and tips are sterling, cord is really cool with no issues. Bolo 1.75" tall x 1.5" wide, 38.7 grams total weight.

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WD Vintage Navajo sterling silver nicely stamped belt buckle with turquoise. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt.

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Webster American MCM Sterling individual Ashtrays/salts. Selling the set shown with no issues or significant wear. 2.5" long each. They are whatever you want them to be of course, great design. 52.3 grams total tw120

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Webster Sterling Silver Overlay Trivet. Antique early 20th century item with no significant issues, no cracks, no deep scratches or loss. TW80

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Wedgwood Black Basalt President Eisenhower Bust 8.5" tall with no cracks, chips, or restorations, paperwork included as shown. Tw53

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No cracks, chips, or restorations guaranteed. A few discolored areas that may or may not clean. Measures 2" tall without Silverplate lid x 5.25" wide.

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No cracks, chips, or restorations guaranteed. Small worn glaze area on rim of<br>sugar. Sugar Measures 3.75" tall with lid x 5.25" wide. Creamer is 3" tall x<br>5.25" handle to spout.<br>B7

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Wedgwood Gold Florentine Gravy Boat and underplate. This pattern was retired in 1986, these two pieces have no damage or detectable wear, no crazing, no wear to gilding. 6" x 8" underplate. Selling the exact pieces shown. isshelf

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Wedwood Tri Color Heart Shaped Jasperware Box. No cracks, chips, or<br>restorations. 5.5" wide x 2" tall

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1970‘s Eleanor Weeka (1928-2012) Zuni needlepoint turquoise squash blossom necklace/ screw back earrings sterling silver. Solid sterling silver tested and guaranteed with no detectable markings, weight and measurements in the pictures. No issues, circa 1970‘s. 24" long, nice pieces with no issues.

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Weller Hudson Cherry Blossom Vase. 7.25" tall with no cracks, chips. or restorations. Some crazing with a few light stains. tw212

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West Texas Native American Prehistoric Water Bottle Possibly Caddo Quapaw. Extremely early piece likely 1000+ years old. I know it came with some stuff that was definately found in west Texas. Bunch of arrowheads and pieces, etc. Though it has more of a Incan/Mayan feel to it especially with the effigy on the spout. I'm sure it's not 20th century and it is what it's supposed to be. No restorations or cracks, small chip on rim. just shy of 12" tall x 7.5" wide.TW154

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Western mountain Landscape watercolor Painting Complex and Colorful signed<br>-Hare- 18.25" x 14.25" framed. 7.5" x 12" sight. Clean frame painting, and<br>matting.

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Wilbert Secatero Navajo sterling silver stamped belt buckle. Solid sterling silver with weight and other measurements in the pictures. Fully functional vintage condition with minimal wear.

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Wilbert Secatero Navajo Sterling turquoise and coral bolo tie Sterling slide and tips, 3" x 2 3/8" slide, 40" long, 79.6 grams. <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, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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Wilbert Verhelst (1923 - 2012) American Bronze freeform figure.<br><br>Measurements<br>height 7 3/4 inches<br>width: 10 1/2 inches<br>depth 2 5/8 inches<br><br>WILBERT VERHELST OBITUARY<br>Verhelst, Wilbert (Bill) Dallas Texas artist established the sculpture program<br>for the Art Department at SMU and headed that program until his retirement,<br>after 20 years of teaching, in 1986 becoming an Emeritus Professor. He was<br>warmly known to his students as "Ver". He is the author of the textbook<br>"Sculpture Tools, Materials and Techniques". He initiated in 1978 the first<br>Texas Sculpture Symposium which was held every two years for many years. His<br>commissioned large scale sculptures can be seen around the country and he has<br>shown many other sculptures in countless exhibitions. He is survived by his<br>wife, artist Susan Lecky, stepdaughter Peggy Savage, stepson John Savage,<br>daughter Bobbi Jo Miller and his sister Wilma Potter.

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Wilbur Anderson Navajo butterfly form spiderweb turquoise/spiny oyster bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 45" long. Circa last quarter of the 20th century.

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William Lawrence deMatteo (1923-1988) Hand Hammered Sterling silver leaf dish<br>6.5" x 4.5" x 114.5 grams with no issues.<br><br>William Lawrence deMatteo (12 October 1923–14 May 1988), silversmith and master<br>craftsman, was born in New York City and was the son of Elizabeth Rommelman<br>deMatteo and William Gaitano deMatteo, an accomplished silversmith who<br>immigrated to the United States from Acciaroli, Salerno, Italy, with his family<br>when he was a boy. William Lawrence deMatteo grew up in suburban Bergenfield,<br>New Jersey, and attended schools in nearby Tenafly, all the while observing and<br>absorbing his father's skillful work. DeMatteo began studying sculpture and fine<br>arts at Columbia University in 1941, but after the United States entered World<br>War II he joined the navy in November 1942 and served in the Pacific theater as<br>a torpedo er pilot. On 14 November 1946, in Asbury Park, he married Jayne<br>Walpole, a painter who later cofounded an art gallery. They had three daughters<br>and one son. DeMatteo resumed his apprenticeship with his father and may have<br>continued his studies at Columbia before being recalled to active duty with the<br>navy during the Korean War. He was discharged in 1953.<br><br>Bill deMatteo, as he was usually known, visited the restored capital of colonial<br>Virginia while he was still in the service and asked to see the silversmith's<br>shop. Told that Colonial Williamsburg had none, he saw an opportunity for<br>himself. Soon after deMatteo left the navy, he returned to Williamsburg and in<br>July 1953 joined the staff as a silversmith. He created the entire silversmith<br>program and was responsible for the James Geddy Silversmith's Shop, where he<br>trained shopkeepers in interpreting craftsmanship to visitors, instructed and<br>supervised apprentices in all kinds of metalworking, and handcrafted<br>reproductions of eighteenth-century silver items for sale in the shop. DeMatteo<br>also revived colonial silversmith James Craig's Williamsburg shop, "At the Sign<br>of the Golden Ball." In January 1963 deMatteo was promoted to Staff Master<br>Craftsman and Master Silversmith.<br><br>In accord with Colonial Williamsburg's motto—that the future may learn from the<br>past—deMatteo spent much of his time in educational and advertising efforts.<br>Working from a research report that Colonial Williamsburg staff member Thomas K.<br>Bullock had prepared, in 1956 deMatteo published The Silversmith in<br>Eighteenth-Century Williamsburg–An Account of his Life & Times, & of his Craft,<br>a short history of silversmithing and techniques used in colonial days. DeMatteo<br>also provided much of the information for a 1971 video program, Silversmith of<br>Williamsburg, and the accompanying manual. In the film he demonstrated every<br>stage of making an eighteenth-century silver coffeepot, beginning with receiving<br>silver coins or scraps to be melted, discussing details of the commission with a<br>customer, methods and design, and shaping the piece with his hammer and<br>burnishing the completed coffeepot. In 1971 and 1972, deMatteo studied design,<br>silversmithing, and methods at Sir John Cass Department of Art of the City<br>London Polytechnic, and with professional London silversmiths; in 1975 he became<br>the first American craftsman to be elected an honorary foreign associate of the<br>Worshipful Company of Goldsmiths, in London.<br><br>As his skill became apparent to staff and visitors, deMatteo received many<br>requests to design and craft commemorative gifts. A town-crier's bell that he<br>made for Colonial Williamsburg to present to Sir Winston Churchill in 1955<br>appeared in a picture of Churchill on the cover of Life magazine the following<br>year. DeMatteo designed presentation pieces for the White House Correspondents'<br>Association annual presentations to Presidents John F. Kennedy, Lyndon B.<br>Johnson, Richard M. Nixon, Gerald R. Ford, and Jimmy Carter. He designed<br>numerous handcrafted gifts for visiting presidents, queens, kings, and prime<br>ministers, and the Department of State commissioned deMatteo to craft silver<br>trays for presentation to Egyptian president Anwar Sadat and Israeli prime<br>minister Menachem Begin at the Camp David Accords in 1978.<br><br>For a commission from the American Telephone and Telegraph Company in 1976 in<br>recognition of the centennial of Alexander Graham Bell's invention of the<br>telephone, deMatteo produced an abstract silver piece, a departure from his<br>colonial-style masterpieces, inscribed with Bell's first words transmitted over<br>his telephone. Despite his finesse, he was a modest man who insisted that he was<br>a craftsman, not an artist. DeMatteo was content to make beautiful utilitarian<br>objects that he believed did not rise to the level of imagination and required<br>of an artist. His devotion to excellence was acknowledged by the American<br>Institute of Architects, which in 1960 gave him its craftsmanship medal for high<br>achievement in industrial arts.<br><br>After twenty-six years with Colonial Williamsburg, in 1979 deMatteo left and<br>moved with his family to Alexandria. Together with his son, Chip deMatteo, and<br>Philip Thorp, a colleague at Colonial Williamsburg, he opened Hand & Hammer<br>Silversmiths. DeMatteo continued to explore and extend his range beyond<br>eighteenth-century forms. He was an affable man, noted for his disarming smile.<br>He was an intense perfectionist who was deaf to his surroundings while sitting<br>at his bench shaping precious metals with his hammer. He was also a resourceful<br>artisan who was known to make his own hammers when he failed to find suitable<br>ones in the market. DeMatteo once remarked that "being a silversmith is just a<br>delightful, lovely way to go through life" and that while he was not fully<br>satisfied with his silver work he was "very satisfied with the life I lead."<br>William Lawrence deMatteo died of leukemia at an Alexandria hospital on 14 May<br>1988. His son, who continued to work at the Hand & Hammer Silversmiths,<br>preserved his ashes.

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

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

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William Spratling sterling Aztec style pin 1.5" wide with no issues.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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

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William Spratling sterling Feather fur clip with amethyst 22.5 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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William Spratling sterling fur clip 14 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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William Spratling Sterling Pan American buttons (4) c1940's .75" x 1" each. I think these go in open button holes, maybe on a shirt pocket back in the days. I think they were to celebrate a special Pan American 50 year thing in the 1940's. Selling all 4 shown for one price. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling 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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William Spratling(1900-1967) Taxco Modernist sterling Amethyst cufflinks 18mm<br>wide 12.9 grams. William Spratling(1900-1967) Spratling, an architect and artist<br>who taught at Tulane University in New Orleans, came to Mexico in the late 1920s<br>and settled in the city of Taxco. Having developed an interest in Mesoamerican<br>archaeology and culture from his colleagues at Tulane, he traveled to Mexico for<br>several summers lecturing and exploring. He sought out remote villages in the<br>state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the<br>Aztec language, was spoken. Spratling collected artifacts and contemporary<br>indigenous crafts. Spratling made a fortune manufacturing and designing silver,<br>but his true life's work was to conserve, redeem, and interpret the ancient<br>culture of his adopted country. He explained for North American audiences the<br>paintings of Mexico's modern masters and earned distinction as a learned and<br>early collector of pre-Columbian art. Spratling and his workshop gradually<br>became a visible and culturally attractive link between a steady stream of<br>notable American visitors and the country they wanted to see and experience.<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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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 22mm square, 12.7 grams. William Spratling(1900-1967)<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. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 20mm wide, 14.7 gramsWilliam Spratling(1900-1967)<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. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling Frog in pool cufflinks,<br>fully functional with no issues. 16mm x 12mm x 16.5 grams. William<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<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. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling cufflinks 30mm both ways,<br>10.8 grams. Fully functional with no issuesWilliam Spratling(1900-1967)<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. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling mixed metal cufflinks.<br>Each side 18mm x 14mm, 15.3 grams. William Spratling(1900-1967) Spratling, an<br>architect and artist who taught at Tulane University in New Orleans, came to<br>Mexico in the late 1920s and settled in the city of Taxco. Having developed an<br>interest in Mesoamerican archaeology and culture from his colleagues at Tulane,<br>he traveled to Mexico for several summers lecturing and exploring. He sought out<br>remote villages in the state of Guerrero, 110 miles from Mexico City, where in<br>some places Nahuatl, the Aztec language, was spoken. Spratling collected<br>artifacts and contemporary indigenous crafts. Spratling made a fortune<br>manufacturing and designing silver, but his true life's work was to conserve,<br>redeem, and interpret the ancient culture of his adopted country. He explained<br>for North American audiences the paintings of Mexico's modern masters and earned<br>distinction as a learned and early collector of pre-Columbian art. Spratling and<br>his workshop gradually became a visible and culturally attractive link between a<br>steady stream of notable American visitors and the country they wanted to see<br>and experience. Spratling had the rare good fortune to witness his own<br>reputation -- as one of the most admired Americans in Mexico -- assume legendary<br>status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Waldo Dodge Westport Yacht Club hammered sterling silver creamer trophy. Weight and measurements in pictures, a zillion times nicer than the pictures suggest. Amazing work of art with no damage or significant wear. William Waldo Dodge, Jr. (1895-1971), architect and craftsman, was one of the leading figures in Ashevilles architectural scene as well as an illustrious and well-known silversmith. He was part of an important larger movement in Asheville that expressed the influences of the romantic and Arts and Crafts movements in a variety of media from architecture to silver, pottery, weaving, and other arts. His personalized work attracted liberal patronage, even during the Great Depression, from clients who could still afford to build, and his buildings remain treasured expressions of his craftsmanly approach to architecture. Dodge was born in Washington, D. C. in 1895, the son of William W. and Margaret Parker Dodge. His father was a patent attorney who headed a successful family legal practice in the nations capital. William, Jr., attended the Friends School in Washington and then Philips-Exeter Academy in New Hampshire. He was sent to Princeton University to prepare for a career in law, but after a year decided that he did not want to be an attorney and enrolled at the Massachusetts Institute of Technology to study architecture. He was graduated from MIT with a Bachelor of Architecture in 1916. From Cambridge, with World War I looming, he went to Plattsburg, New York, and enrolled in officers training school. He was commissioned as a second lieutenant and sent to France as a member of the American Expeditionary Force. Wounded in battle, he was awarded a Silver Star and Purple Heart. Exposure to chlorine gas during the war aggravated Dodges tubercular condition, and after the war, he was treated at the veterans hospital at Oteen near Asheville, North Carolina, a community long regarded as having a climate and surroundings beneficial to patients afflicted with lung diseases. This assignment brought Dodge to the Asheville area, where he spent most of the rest of his life. At Oteen he taught crafts to fellow patients and developed an interest in silver and copper smithing. After he was released from the hospital, Dodge moved to Connecticut and married Margaret Robinson, but a relapse forced him to enter Gaylord Tuberculosis Sanitorium. While he was convalescing there, the Dodges studied silversmithing. After his discharge, the couple moved to Asheville, where Dodge briefly taught physics and mechanical drawing at the Asheville Boys School. He opened a silversmith shop on Charlotte Street in Asheville and created over the years a unique and widely admired body of artistic silver work. Early in the 1920s, a prominent Asheville citizen asked Dodge to design a residence for him, and Dodge planned for him the lavish Tudor Revival style Hammond-Knowlton House (1925). Drawing upon his training at MIT, Dodd added architectural practice to his silversmiths craft. With Asheville in the midst of a boom period, he found abundant opportunities and in 1927 moved to a shop he designed and built in the new suburban community of Biltmore Forest, developed on a portion of the Biltmore Estate. An account of Dodges practice was published in the American Architect in November, 1928, illustrating his silverware, workshop, and studio, and describing him as “an architect by profession and a craftsman by avocation. In 1929 Dodge obtained a license to practice architecture in North Carolina, and he continued to attract or find commissions during the Great Depression. Blending English, French, and rustic elements already favored in the mountain city, where the mountain setting and the romantic (and French) aura of Biltmore exerted strong influences, Dodge rendered these themes in picturesque compositions enriched with handcrafted detailing that appealed to the wealthy residents of Asheville and Biltmore Forest. His own shop and other small buildingsincluding repurposed log cabins from the regiondisplay his intricately crafted details and rustic motifs on a modest scale, while larger houses such as the William A. Knight House II in Biltmore Forest combine brick, stucco, stone, and wood, and individually designed details of wood carvings, hinges, sculptures, and more to evoke the spirit of a French chateau. In 1942, facing the wartime hiatus in private construction, he and five other western North Carolina architects banded together to form the architectural firm of Six Associates to enable them to compete for defense contracts and other large projects. Although the firm continued and expanded after the war, in 1947 Dodge withdrew to resume his own practice, which he pursued until his retirement in 1956. His son William Waldo Dodge, III, followed him in the profession with a large practice in Raleigh. Note: A large collection entitled the William Waldo Dodge Architectural Drawings, 1916-1989 (MC 00372) was donated in 2010 to the Special Collections Research Center at NCSU Libraries. Although most of the drawings are from the firm of Dodge III, there are several by Dodge, Jr., especially from the post-World War II period. When processing is complete and further field checking can be done, additional entries will be inserted in the building list. In the meantime readers may consult the preliminary inventory at http://library.ncsu.edu/findingaids/mc00372.

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William Zunie (Zuni, 1938-1983) Channel inlay bolo tie 38" long with 2.25" tall x 2" wide slide. 32.1 grams.All precious metals are tested and guaranteed,

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Willie Yazzie Sr, Navajo vintage sterling silver bear paw belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. After the success of the overlay designs made at the Hopi Guild many other silversmiths and shops incorporated overlay in their designs (see Overlay is Not Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941. The silver work made in Dean’s shop was typically Navajo tourist type designs and hallmarked UITA22 (under the auspices of the United Indian Traders Association) until about 1951. That’s when Kirk designed a series of overlay pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres designs. These designs proved to be very popular, as a 1958 newspaper advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.However, one of the Navajo silversmiths who worked for Dean Kirk was Willie Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.Much of the following information was relayed to Alan Ferg (archivist and archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in February 2018. Ferg’s investigation of an overlay belt buckle in his possession, lacking a hallmark, has led to previously unrecorded information about Willie Yazzie, as well as the identification of an additional hallmark used by the artist.Willie Yazzie made the overlay bolo at Dean Kirk’s shop, it includes a deer and stylized Hopi designs; a small piece of turquoise is inlaid flush in the deer’s body. His Navajo wedding basket pin incorporates a small piece of copper to symbolize the red band in traditional wedding baskets. Willie Yazzie made the overlay bolo at Dean Kirk’s shop, it includes a deer and stylized Hopi designs; a small piece of turquoise is inlaid flush in the deer’s body. His Navajo wedding basket pin incorporates a small piece of copper to symbolize the red band in traditional wedding baskets.According to Social Security records, Willie A. Yazzie was born at Chinle, Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post in Manuelito in the early 1950s, and created his touchmark (or hallmark) no later than 1960, and after that time his pieces made at Dean Kirk’s would have included his gourd dipper hallmark. His designs often incorporated animal figures such as roadrunners or Navajo designs including Yeis and Father Sky. He never added “tamp work,” or a textured pattern to the background designs.In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for a silversmith to demonstrate at the park during the summers months, Dean Kirk recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie created a special hallmark to denote pieces he made at Mesa Verde. The mark depicts Square Tower House, a ruin within the park, and was included with his gourd dipper mark during the summers of 1960-1964 and 1966-1983.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver pins (2) Largest 2", 18.9 grams total weight. <br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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Wilson Jim Navajo silver and turquoise pendant. Measurements in pics.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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Wilson Padilla Navajo sterling silver turquoise vintage belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa fourth quarter of the 20th century. Fits a 1.5" belt.

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