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Milson Taylor Hopi Sterling/14k/peach agate pin. 1 7/8" x 1.5", Solid 14k gold bezelMarked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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

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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 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 1/7/8" 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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Antonio Pineda (1919-2009) Taxco Modernist sterling clips. Selling the three, clip what you want to clip. Measurements in pics. Two likely tie clips, third maybe money clip or bookmark, not sure.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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

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Antique 800 Silver Demon pin. No issues, measurements and hallmark in pics.

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Antique 14k gold Enamel carved Jade pin. Amazing piece, late 19th to early 20th century, likely made from older jade plaque. Jade plaque secure in bezel with what appears to be old natural fissures and possible fractures. It is backlit in the pics so they are more apparent when no apparent in person. 1 7/8" x 1 1/8" x 12.84 grams.

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Vintage Zuni Hummingbird sterling and turquoise channel inlay pendant/pin 14.3 grams, has a clip type bail to clip on a beaded necklace.

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Vintage Navajo Heavy stamped silver butterfly pin with turquoise 2" x 1 7/8" x 15.7 grams with no issues.

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

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

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Los Castillo Mid Century Mosaic Sterling Leo Lion Pendant 20.6 grams,Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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Antonio Pineda (1919-2009) Taxco 970 silver modernist botanical pin, measurements in pics.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Los Castillo Mid Century Mosaic Sterling Leo Lion Pendant 19.4 grams. Measurements in pics.Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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Los Castillo Mid Century Mosaic Sterling Gemini Pendandt/pin 19.9 grams. Measurements in pics.Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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

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

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

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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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Los Castillo Mid Century Mosaic Sterling Pisces Pendandt/pin 20.8 grams. Measurements in pics.Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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

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

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

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

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

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

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

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

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

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

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

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

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Carmen Beckmann Modernist sterling carved Amethyst frog on leaf pin 25.2 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Sadie & Morris Laahte Zuni Silver Multi-Stone Channel inlay pendant/pin 1 5/8" wide x 14.6 grams with no issues. grams with no issues.Zuni Pueblo artists Sadie and Morris Laahte are a husband-wife team that are well known for their precise channel and mosaic inlay work in jewelry making. They started making jewelry together in the 1970s.One of their favorite designs is the well-known and respected Zuni Sunface. The Sunface is an ancient symbol in Zuni culture. It represents the sacred Sun Father. The Zuni people honor the Sun's vital role in changing seasons and successful crops, recognizing that the warmth of the sun sustains life, enables growth, and brings joy and prosperity. The round motif of the symbol depicts the Sun with a forehead split down the middle to reflect the infinite balance between sunrise and sunset. Rectangular eyes and a round mouth complete the face, and the whole is encircled by feathers that radiate outward like sunlight. Source: Indian Pueblo Cultural CenterMarked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration!All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. 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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Sajen Sterling multi-stone pendant/pin 1 7/8" with no issues. anderas

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1950's Jeronimo Fuentes Taxco Enamel Donkey pin 1.75" x 1.5" x 5 grams. No damage.<br><br>This is a fantastic vintage Mexican pin by Jeronimo Fuentes, who worked as a head enamelist at Margot de Taxco taller. The artwork of this artist is fabulous! His pieces feature mastery in brilliant enamel and silver work techniques , designs are both whimsical and classic.

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1950's Jeronimo Fuentes Taxco Enamel Bull pin 2" x 1.5" x 6.7 grams. No damage.<br><br>This is a fantastic vintage Mexican pin by Jeronimo Fuentes, who worked as a head enamelist at Margot de Taxco taller. The artwork of this artist is fabulous! His pieces feature mastery in brilliant enamel and silver work techniques , designs are both whimsical and classic.

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40's-50's Navajo cast silver pin 2.25" x 1.25" 13.7 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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

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c1940's Bakelite Duck brooch . Has a hole in the front, possibly had a dangle at one point.. Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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

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

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c1940's Early plastic Fish hook brooch. Not 100% sure of the technical name of this type of plastic and I beg you not to inform me of it as I won't have time to change the listing. Very well preserved authentic item from an extensive long time collection put together in the last quarter of the 20th century. Measurements shown in pics, it will not be available for extra measurements/pics until sold. Thank you so much for your time and consideration.

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

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Vintage Zuni Channel inlay sterling Rainbow Man pendant/pin, very slight loss to right side of hat. <br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Vintage Modernist sterling cat pin. Really great, I feel like I recognize the hallmark/work but just no time to puzzle over it.<br><br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Mark Chee (1914-1981) Silver Pin with turquoise 1 5/8" wide x 1.25" tall x 13.1 grams. 100% guaranteed authentic with no issues. Very few Mark Chee pins have made it to the secondary market. <br><br>Mark Chee (1914-1981) Biography<br>Navajo artist, Mark Chee is among the earliest southwest silversmiths. Mark Chee is known for traditional stamp work and high quality stone settings in unusually heavy silver. He was born in Lukachukai, Arizona around 1900 and was sent to government school at Fort Defiance (a United States government practice during that time) from the age of 10 to the 11thgrade. He is the elder brother of Joe Chee. <br><br>He was active during the 1930s through ‘60s. He specialized in heavy silver in old style designs. He began polishing silver in Julius Gans’ Southwest Art and Crafts shop in Santa Fe for $5.00 a week. He then bought a few tools and used them all his life. He quickly became an accomplished silversmith and was hired as a bench smith at Frank Patania’s Thunderbird Shop and later at Al Packard’s shop on the Santa Fe Plaza. He was also a bench-smith for the Wooden Indian at Embudo, New Mexico. <br><br>His hallmark is a stamp of a bird with his last name in the body in Gothic print. There are several versions of this mark but rather than being a separate stamp they may be due to the angle of his strike.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Large Vintage Hand stamped Navajo silver and variscite pin 2 5/8" x 2.25" x 41.1 grams. Amazing workmanship/stampwork/Repousse work. Only markings are a traders code.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Sheils Tso Navajo heavy stamped silver and turquoise pin 2.5" x 1 3/8" x 27.6 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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

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Retired James Avery sunflower brooch in sterling.. No issues, weight and<br>measurements in pics. I cannot provide any additional measurements, videos, or<br>pictures that aren't provided as my jewelry is stored at a separate secure<br>location until it ships. Thank you so much for taking the time to look and your<br>consideration.<br><br>anderascoll<br>James Avery founded his company in 1954, initially crafting jewelry in a two-car<br>garage in Kerrville, Texas, with just $250 and a desire to create lasting value<br>for others. Mr. Avery believed that meaning is what makes life more beautiful<br>and this concept continues to drive how we design jewelry to this day. In 2007,<br>53 years after he first founded the company, James Avery officially stepped down<br>as CEO and passed the reins on to his sons, Chris and Paul.<br>Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself<br>and others. With a focus on creating straightforward designs and a core belief<br>of integrity in all things, his jewelry became more than precious metals and<br>gemstones. Guests came to him with their stories—their special moments—so he<br>could craft them into pieces they would wear with pride for a lifetime. From<br>writing letters to greeting Customers, Mr. Avery prioritized developing lasting<br>relationships with each person who connected with his designs.

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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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40's-50's Navajo Curio silver and turquoise pin 3.5" x 1 1/8" 16.7 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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large c1950's Navajo Curio silver and turquoise pin 2.25" x 1.75", 36.5 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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c1940's Navajo repousse silver butterfly pin 2 5/8" x 2.25", 20.2 grams.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Bobby Lujan Taos Pueblo (1922-2012) silver Branch coral and turquoise pendant/pin. 1 7/8" x 1 5/8".<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Vintage Native American Silver vase pin 2.25" wide x 2 1/8" tall x 21.5 grams with no issues. <br><br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Large Harvey Mace Navajo feather pin 3" x 1.75" with dangle feather, 10.6 grams. <br><br>Born in 1957 Farmington. He learned to silversmith from his brother, Ted Mace. His feather work is made by stamping one line at a time. The pieces are made with lots of patience and time. His wife and daughter help, but most of the work he does himself.<br><br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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Alonzo Hustito Zuni (1910-1990) Silver Kachina Bolo and pendant/pin set Bolo hand signed, penant/pin stamped. Selling both.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Carol Wylie Navajo silver and high grade turquoise pin, also has mark from Adam & Rita Teller<br>Navajo (De Chelly shop). 2 3/8" x 1 3/8" x 15.2 grams.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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Vera Halusewa Zuni Petit point turquoise silver cross pendant/pin 2" tall x 1 5/8" wide, no issues. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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30's-40's Navajo silver and turquoise repousse concho pin. Functional with damage to the catch on the back.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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

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

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

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

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

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Sterling Zealandia Sorcerer pin. The cape is made of black mussel shell and decorated with stars, moons, and planets. Selling the pin shown. Measurements and weight in pics. Pin appears black, but when light shines through the back it's brown as shown in the pics. It's photographed on a lighted table.<br><br>anderas

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1980's Judith Roberts Collecion Mixed metals reliquary pendant/pin/ornament. Mixed untested metals, mesurements shown in pics, great high quality piece estate fresh with no issues.<br><br>anderas

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Felicita Eustace Cochiti (1927-2016) Silver and carved turquoise pin. Gorgeous<br>with no issues, extremely high grade natural American turquoise. Marked or<br>unmarked as shown in pics, weight and other measurements in pics. Sorry but my<br>jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>Felicita was born in 1927 and raised at Cochiti Pueblo. She learned to make<br>traditional pottery and storytellers from her parents. After her marriage during<br>the World War II years, she moved to her husband Ben’s home in Zuni. Ben taught<br>her some basics of jewelry-making. She sold her first ring to legendary Zuni<br>trader C.G. Wallace. Over the years she become and accomplished jeweler in her<br>own right, while developing a large following for her pottery and storytellers.<br>“There are always more orders for my claywork than there’s time to do them,” she<br>said.<br><br>The Eustaces show strong respect for the materials and time-honored processes of<br>their art. Felicita still makes her storytellers the traditional way. Her<br>jewelry features an old family design copyrighted in the early 1960s: a domed,<br>natural leave motif in sterling silver alongside a carved, bezeled and polished<br>turquoise stone. Felicita and Ben have passed their respect for quality on to<br>their 13 children, many of whom create their own pottery and jewelry.<br><br>Daughter Bernadette Eustace says, “My parents told us that if we were going to<br>do jewelry at all, we would have to do it their way, the right way. It wasn’t<br>the designs they were talking about, it was the technical aspects of our work:<br>setting stones, welds, engravings and so on. They were the ones who would be<br>selling these items for us, so they would make sure that a certain standard of<br>quality was being met.”<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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Henry Steig (1906-1973) sterling pins (2). Selling both one of a kind pins, both<br>signed, one stamped, one by hand. Part of a significant collection of Henry<br>Steig Jewelry purchased directly from him in the 50's-60's that I'm lucky enough<br>to be able to offer. Largest 3" x 1 1/8", other 2" x 1.25"...Both seem to<br>possibly represent human forms. 38.6 grams total.<br><br>Jules Brenner and Henry Steig were among group of prominent of New York<br>mid-century studio jewelers who hand-crafted pieces of wearable art that<br>celebrated the avant-garde, rejected traditional jewelry forms, and appealed to<br>an intellectual and liberal middle class. Jules Brenner was born in the Bronx,<br>grew up in Washington Heights, and studied acting with Stella Adler and painting<br>and sculpture in Greenwich Village. Henry Steig (also known as Henry Anton)<br>studied at City College and the National Academy of Design, and began his career<br>as a New York City jazz musician, writer, novelist, cartoonist, and painter.<br>During the 1950s, both Brenner and Steig operated shops and studios in Manhattan<br>and in Provincetown, Massachusetts—then a prominent artists’ enclave—where they<br>sold hand-wrought silver and gold designs which often emphasized biomorphic,<br>surrealist, cubist, and geometric forms.<br><br>Everyone knows the famous picture from the film The Seven Year Itch, of Marilyn<br>Monroe standing on a New York sidewalk, her skirt blown up by on updraft from<br>the subway grate below. However, not everyone knows that at that moment she was<br>standing in front of Henry Steig's jewelry shop at 590 Lexington Avenue.<br>Henry Steig was a man of many talents. Before he became a jeweler, he was a jazz<br>musician, painter, sculptor, commercial artist, cartoonist, photographer, short<br>story writer and novelist.<br><br>"Henry was a Renaissance man," says New Yorker cartoonist Mischa Richter, who<br>was Steig's good friend and Provincetown neighbor.<br><br>Henry Anion Steig was born on February 19, 1906, in New York City. His parents,<br>Joseph and Laura, had come to America at the turn of the century, from Lvov<br>(called Lemberg in German), which was then in the Polish port of the<br>Austro-Hungarian Empire. Joseph was a housepainter and Laura, a seamstress.<br><br>They had four sons, Irwin, Henry, William and Arthur, all of them versatile,<br>talented and artistic. William Steig is the well-known New Yorker cartoonist and<br>author-illustrator of children's books. lrwin was a writer of short stories for<br>the New Yorker. Arthur was a painter and poet whose poems were published in the<br>New Republic and Poetry magazines.<br><br>William Steig recalls, "My father and mother both began pointing and become<br>exhibiting artists after their sons grew up." In the May 14, 1945, issue of<br>Newsweek magazine, an article was published about an exhibition, "possibly the<br>first one family show on Art Row (57th Street)" at the New Art Circle Gallery.<br>It was called "The Eight Performing Steigs, Artists All." Included were<br>paintings By Joseph and Laura Steig; drawings and sculpture by William and<br>paintings by his wife, Liza; paintings by Arthur and his wife, Aurora; and<br>photographs by Henry and paintings by his wife, Mimi. The only brother not<br>included was Irwin, "the only non-conformist Steig," who was working at that<br>time as advertising manager of a Connecticut soap manufacturer.<br><br>In the article "the brothers attribute the family's abundance of good artists to<br>the fact that we all like each other's work…get excited about it. Whenever<br>anyone starts they get lots of encouragement. Joseph Steig adds, 'Painting is a<br>contagious thing. If you lived in our environment, you would probably point.'"<br><br>Henry Steig grew up in this extraordinary environment. The family lived in the<br>Bronx. After graduating from high school, Henry Steig went to City College<br>(CCNY). After three years he left to study painting and sculpture at the<br>National Academy of Design. He was also an accomplished musician, playing<br>saxophone, violin and classical guitar, and while he was in college, he began<br>working as a jazz musician. From about 1922, when only sixteen years old, until<br>1932 he played reed instruments with local dance bands.<br><br>After four years at the National Academy, Steig worked as a commercial artist<br>and cartoonist. He signed his cartoons "Henry Anton" because his brother William<br>was working as a cartoonist at the same time, for many of the same magazines.<br>From about 1932 to 1936, Henry Anton cartoons appeared in Life, Judge, New<br>Yorker and other magazines.<br><br>Steig began a writing career in 1935 that lasted until about 1947. He became<br>very successful and well known as a short story writer, with stories appearing<br>regularly in Saturday Evening Post, New Yorker, Esquire, Colliers and others.<br>They were often humorous tales about jazz and the jazz musicians who populated<br>the world of music in the roaring twenties. Other stories were about his Bronx<br>childhood. He also wrote nonfiction magazine pieces, including a New Yorker<br>profile of Benny Goodmon and jazz criticism. Several of his nonfiction articles<br>were illustrated by William Steig.<br><br>In 1941 , Alfred A. Knopf published Henry Steig's novel, Send Me Down. The<br>story, told with absolute realism, is about two brothers who become jazz<br>musicians in the twenties. On the book jacket, Steig wrote, "Much of the<br>material for Send Me Down was gathered during my years as a jazz musician<br>playing with local jazz bands and with itinerant groups in vaudeville and on<br>dance hall tour engagements. Although I was only second-rate as a musician, I<br>know my subject from the inside, and I believe I was the first to write stories<br>about jazz musicians, based on actual personal experience." His son, Michael,<br>recalls that there was some interest in making a movie of the book. "My father<br>told me that John Garfield wanted to play the lead character."<br><br>Steig did go to Hollywood in 1941, under contract to write screenplays. He was<br>going to work with Johnny Mercer, the songwriter. After the ing of Pearl Harbor<br>on December 7, he returned to New York. "He undoubtedly would have returned<br>anyway," says Michael Steig. "He was not happy with the contract his agent had<br>negotiated for him." Mischa Richter odds, "Henry was very unimpressed with<br>Hollywood."

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

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วินเทจสยามสเตอร์ลิงลงยาเรือมังกรและเข็มกลัดนักเต้น ขายทั้งคู่ไม่มีความเสียหายที่ชัดเจน นักเต้นสูง 2 3/8" เรือยาว 2.5" รวม 15.6 กรัม

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จี้/หมุดทรงวินเทจสเตอร์ลิง 2 อัน สูง 1.5 นิ้วทั้งคู่ จี้ 1 อัน พิน 1 อัน ภาษาอังกฤษ 1 อัน อื่นๆ อาจเป็นสแกนดิเนเวีย น้ำหนักรวม 18.3 กรัม

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Gary และ Paulinus Vacit Zuni จี้/หมุดนักเต้นระบำสีรุ้ง 1 5/8" x 1" x 6.5 กรัม โลหะมีค่าทั้งหมดได้รับการทดสอบและรับประกัน เครื่องประดับชาวอเมริกันพื้นเมืองใดๆ ที่เรียกว่าเงินหรือสเตอร์ลิง รับประกันว่าจะมีแร่เงินอย่างน้อย 90% (เหรียญ) และอาจมีปริมาณที่สูงกว่า สิ่งใดก็ตามที่ทำเครื่องหมายไว้จะรับประกันว่าเป็นสิ่งที่ทำเครื่องหมายไว้ กำไลส่วนใหญ่จะถ่ายรูปบนข้อมือขนาด 6 นิ้ว (ไม่มีขน) แหวนจะถ่ายรูปด้วยนิ้วที่มีขนาดเหมาะสมเมื่อเป็นไปได้ สำหรับกำไลหากไม่ได้ระบุการวัดไว้ในคำอธิบาย เส้นรอบวงด้านในจะแสดงขึ้น โดยที่โลหะตรงกับหมายเลขบนสายวัดผ้า

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จี้/เข็มกลัดหินแข็ง Cameo Onyx โบราณขนาดใหญ่ 14k สูง 43 มม. ไม่รวมแหวนจี้แบบหมุนได้ x กว้าง 35 มม. x 21.6 กรัม ไม่มีเครื่องหมายที่ตรวจพบได้ ผ่านการทดสอบ (ในหลายจุด) และรับประกันทองคำ 14k ที่เป็นของแข็ง จี้โอนิกซ์แกะสลักด้วยมือทั้งหมดประมาณปี 1870

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Taxco เงินเม็กซิกัน ยุค 30-40 สลักนักรบ Onyx Aztec สลักนักรบ 2 1/8" x 1 3/8" x 30.2 กรัม ไม่มีความเสียหาย มีริ้วรอยเล็กน้อย

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เข็มกลัด Orb Mid Century Modern ในยุค 1960 Otto Robert Bade กว้าง 3 นิ้วโดยไม่มีการโค้งงอหรือรอยบุบOtto R. Badeช่างเงินที่สอนด้วยตนเองซึ่งมีต้นกำเนิดมาจากฟาร์มในเนแบรสกา Otto ซึ่งเคยไปเยี่ยมชม ปู่ของเขาไปเยี่ยมชมงาน World's Fair เมื่อปี 1940 โดยตระหนักว่าเขาไม่ต้องการใช้ชีวิตแบบชาวนา ดังนั้นในปี 1941 เขาจึงไปนิวยอร์กเพื่อค้นหาอนาคตของเขา เขาตอบโฆษณาจ้างงานเพียงฉบับเดียวและไปสัมภาษณ์งาน Frank (Francisco) Rebajes อธิบายว่าเขากำลังมองหาใครสักคนที่จะนำผลงานศิลปะในสตูดิโอของเขาและเพิ่มความสามารถในการผลิต เขาพูดกับ Otto "ดูว่าคุณทำอะไรได้บ้าง" และมอบผลงานชิ้นโปรดของเขาชิ้นหนึ่งให้กับ Otto นั่นคือ "Ubangi Face" ที่ ในตอนท้ายของวัน Frank รู้สึกประหลาดใจ Otto ได้สร้างจิ๊กและกระบวนการในการผลิตงานศิลปะของ Franks เป็นจำนวนมาก Otto สร้างขึ้นภายในวันเดียวด้วยหมุดแกะสลัก Ubangi Face ที่สมบูรณ์แบบหนึ่งร้อยอัน Frank รู้แล้วว่าเขาใฝ่ฝันที่จะมอบงานศิลปะที่สวมใส่ได้ให้กับ ตอนนี้คนจำนวนมากได้ตระหนักรู้แล้วFrank Rebajes ถือเป็นปรมาจารย์คนแรกในด้านศิลปะเครื่องประดับและงานฝีมือจากทองแดง และ Otto เป็นหัวหน้าคนงานที่รับประกันว่าการออกแบบนั้นผลิตอย่างมีศิลปะและเชี่ยวชาญ ที่สำคัญกว่านั้น แฟรงก์และออตโตมีมิตรภาพที่จะคงอยู่ตลอดไปRebajes Wearable Art เป็นหนึ่งในผู้ผลิตจิวเวลรี่ชั้นนำในช่วงทศวรรษที่ 1940 และ 50 โดยมีร้านค้าชั้นนำหลายร้อยแห่งทั่วประเทศที่ดำเนินธุรกิจ Otto ซึ่งปัจจุบันมีทักษะด้านช่างเงินมาหลายทศวรรษได้ลาออกจากบริษัทและเริ่มต้นธุรกิจของตัวเอง "Orb Originals" ในปี 1958 และประสบความสำเร็จอย่างมาก Frank ขายชื่อและธุรกิจของ Rebajes ให้กับ Otto ในปี 1960 และย้ายไปสเปนที่ซึ่งเขากลับมาทำงานในสตูดิโอขนาดเล็กและการวิจัยทางวิทยาศาสตร์เกี่ยวกับ "Mobius"เมื่อธุรกิจของ Otto เติบโตขึ้น เขาได้เพิ่มเวิร์กช็อป เครื่องจักร และการออกแบบแคตตาล็อกจาก Rebajes ธุรกิจเติบโตอย่างต่อเนื่องและดำเนินไปด้วยดี จนกระทั่งในปี 1981 เมื่อออตโตถูกควบคุมตัวและถูกเฆี่ยนด้วยปืนพกอย่างรุนแรง ทำให้เขาอยู่ในสภาพสาหัส หลังจากหายจากอาการบาดเจ็บมาเป็นเวลานาน Otto และ Dae ภรรยาของเขาก็ย้ายไปที่ New Hope, PAOrb Silvermiths ยังคงเป็นวัตถุดิบหลักของชุมชน New Hope, PA จนถึงทุกวันนี้ Otto ซึ่งขณะนี้เข้าสู่วัย 90 ปีแล้ว ยังคงมีบทบาทสำคัญในการรับรองว่าตราสัญลักษณ์ Rebajes จะสืบสานประเพณีและงานฝีมือที่ทำให้ชื่อ Rebajes มีชื่อเสียงและเป็นที่ต้องการมากว่าแปดสิบปี

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เข็มกลัดคลัสเตอร์เงินนาวาโฮวินเทจและเทอร์ควอยซ์ กว้าง ` 1 5/8" หนัก 11.9 กรัมโดยไม่มีปัญหา รับประกันเป็นเงินขั้นต่ำ 90% (เหรียญ) และอาจมีปริมาณสูงกว่านั้น สิ่งใดก็ตามที่มีเครื่องหมายรับประกันว่า สิ่งที่ทำเครื่องหมายไว้ กำไลส่วนใหญ่จะถ่ายรูปบนข้อมือขนาด 6 นิ้ว (ไม่มีขน) และจะถ่ายรูปแหวนด้วยขนาดนิ้วที่เหมาะสมเมื่อเป็นไปได้ สำหรับกำไลข้อมือ หากไม่ได้ระบุขนาดไว้ในคำอธิบาย เส้นรอบวงด้านในจะแสดงตรงจุดที่โลหะตรงกับหมายเลขบนสายวัดผ้า

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เข็มกลัดคลัสเตอร์นาวาโฮสีเงินและเทอร์ควอยซ์ขนาดใหญ่ในยุค ค.ศ. 1930 กว้าง 2.5" x 2.25" สูง เทอร์ควอยซ์ธรรมชาติ เข็มกลัดทรงรี.. 21.3 กรัม ไม่มีปัญหา รับประกันว่าจะมีแร่เงินอย่างน้อย 90% (เหรียญ) และอาจมีเนื้อหาที่สูงกว่า สิ่งใดก็ตามที่ทำเครื่องหมายไว้จะรับประกันว่าเป็นสิ่งที่ทำเครื่องหมายไว้ กำไลส่วนใหญ่จะถ่ายรูปบนข้อมือขนาด 6 นิ้ว (ไม่มีขน) แหวนจะถ่ายรูปด้วยนิ้วที่มีขนาดเหมาะสมเมื่อเป็นไปได้ สำหรับกำไลหากไม่ได้ระบุการวัดไว้ในคำอธิบาย เส้นรอบวงด้านในจะแสดงขึ้น โดยที่โลหะตรงกับหมายเลขบนสายวัดผ้า

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เข็มกลัดหินแข็ง 14k โบราณขนาดใหญ่ Cameo Sardonyx Carnelian นูนสูงมาก จี้สวยมาก มีลายเซ็นที่ด้านหลัง สูง 2.25" x กว้าง 1 5/8" 33.5 กรัม ทำเครื่องหมายและทดสอบทอง 14k

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4 Fun Vintage Sterling และหมุดหิน ทั้งหมดในช่วงกลางถึงปลายศตวรรษที่ 20 เป็นเงินสเตอร์ลิงทั้งหมด ใหญ่ที่สุด 3.5" x 1 5/8", รวม 56.8 กรัม

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คอลเลกชันวินเทจพื้นเมืองอเมริกันสเตอร์ลิงแฮตปิน ขายที่ 5 ครับ เนื้อสเตอร์ลิงสูงทั้งหมด มีหิน/เปลือกหอยต่างๆ โซเม ซูนิ นาวาโฮบ้าง มีอายุตั้งแต่กลางถึงปลายศตวรรษที่ 20 ใหญ่ที่สุด 2.25" x 1 1/8", มือขนาดเท่าจริงสำหรับการวัดขนาด น้ำหนักรวม 41.4 กรัม.

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หมุดปักหมวก Valerie & Benny Aldrich Sterling Intarsia 2.75" x 1 3/8" x 20.4 กรัมBenny และ Valerie Aldrich ตั้งอยู่บนภูเขาในเมืองดูรังโก รัฐโคโลราโด และเจ้าหน้าที่ทั้ง 4 คน โดยมีจุดมุ่งหมายของกลุ่ม: ดำเนินงานอย่างกลมกลืนและสมดุล สร้างสรรค์การแสดงออกถึงความสมบูรณ์แบบและความรักต่อตนเองและผู้อื่น ผลงานศิลปะของพวกเขาถ่ายทอดจากมือสู่มือโดยใช้องค์ประกอบของดินและทะเลเพื่อสร้างเครื่องประดับที่สืบทอดมรดกอันเป็นเอกลักษณ์และความงามอันไร้ที่ติสไตล์การฝังอินทาร์เซียของ Aldrich ผสมผสานสไตล์ของโลกเก่าเข้ากับโลกใหม่ของ สีสันสดใสและงานฝีมือ ตั้งแต่สีเอิร์ธโทนไปจนถึงแวววาวและแวววาว เครื่องประดับนี้จะทำให้คุณนึกถึงผีเสื้อและนกฮัมมิงในธรรมชาติการใช้สีสันสดใสของ Valerie เข้ากับความเชี่ยวชาญด้านการตีทองและเงินของ Benny ได้รับการปฏิบัติอย่างเชี่ยวชาญ วางกรอบให้เป็นงานศิลปะที่สวมใส่ได้ซึ่งไม่มีใครเทียบได้The Aldrich’s เป็นผู้บุกเบิกในการนำอัญมณีเหลี่ยมเพชรพลอยมาใส่ในเครื่องประดับสไตล์ตะวันตกเฉียงใต้ในช่วงต้นทศวรรษ 1970 พวกเขาเป็นหนึ่งในคนกลุ่มแรกๆ ที่แนะนำหอยนางรมหนามและเปลือกหอยสีม่วงให้กับอุตสาหกรรมที่กำลังเติบโตอีกครั้ง ความสัมพันธ์ของพวกเขากับคนงานเหมืองและผู้นำเข้าทั่วโลกมีความสำคัญอย่างยิ่งต่อการได้รับสีสันอันงดงามที่พวกเขามีชื่อเสียง เป็นผลจากการค้นหารายการแสดงอัญมณีและแร่ธาตุมากว่า 45 ปีโลหะมีค่าทั้งหมดได้รับการทดสอบและรับประกัน เครื่องประดับของชนพื้นเมืองอเมริกันใด ๆ ที่เรียกว่าเงินหรือสเตอร์ลิงรับประกันขั้นต่ำ 90% (เหรียญ ) เงินและอาจมีเนื้อหาที่สูงกว่า กำไลข้อมือส่วนใหญ่จะถ่ายรูปไว้บนข้อมือของผู้หญิงขนาด 6 นิ้ว และจะมีรูปถ่ายที่แสดงเส้นรอบวงด้านในซึ่งปลายโลหะตรงกับตัวเลขบนสายวัด

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Vintage Zuni Carved Turquoise คลัสเตอร์ Hatpin กว้าง 40 มม. 12.2 กรัมโลหะมีค่าทั้งหมดได้รับการทดสอบและรับประกัน เครื่องประดับของชนพื้นเมืองอเมริกันใด ๆ ที่เรียกว่าเงินหรือสเตอร์ลิงรับประกันว่าจะมีเงินขั้นต่ำ 90% และ อาจมีเนื้อหาที่สูงกว่า กำไลข้อมือส่วนใหญ่จะถ่ายรูปไว้บนข้อมือของผู้หญิงขนาด 6 นิ้ว และจะมีรูปถ่ายที่แสดงเส้นรอบวงด้านในซึ่งปลายโลหะตรงกับตัวเลขบนสายวัด

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คอลเลกชันหมุดสเตอร์ลิง Retro Modernist ขนาดใหญ่ ทั้งสามมีคุณภาพสูง แต่ด้านบนซ้ายมีคุณภาพสูงจริงๆ ดีที่สุด ขนาด 3 5/8" x 2 1/8" น้ำหนักรวม 91.9 กรัม (รวม 3 อัน) ทั้งสามสเตอร์ลิง

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c1910 เข็มกลัดดอกไม้ลงยา 10k เพชรโบราณ 10k 1 5/8" x 1" x 5.5 กรัม ไม่มีปัญหาที่สำคัญ มีการสึกหรอเล็กน้อยที่ปลายกลีบเคลือบ ไม่มีเครื่องหมาย ทดสอบด้วยกรด ทนได้ที่ 10k และจางลงเล็กน้อยที่ 14k ดังนั้นจึงน่าจะอยู่ตรงกลาง

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