Sam Patania 18k gold, Platinum-high grade Bisbee turquoise necklace/earrings set. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold and platinum. No apparent issues. 23" long necklace, other measurements in pictures. A set like this would retail for around 30k directly from Sam Patania or another high end gallery that represents him.Sam Patania - Third Generation Artisan in JewelrySam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

读 更多的 较少的

Sam Patania modernist 18k gold, high grade Bisbee turquoise necklace. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold. No apparent issues. 18.5" long necklace, other measurements in pictures. A set like this would retail for around 15k directly from Sam Patania or another high end gallery that represents him. Sam Patania - Third Generation Artisan in Jewelry Sam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

读 更多的 较少的

Arno Malinowski (1899-1976) Georg Jensen 纯银项链。 15 英寸长 1 1/8 英寸或 28 毫米宽 93.6 克。没有凹痕、弯曲或其他问题。出售 Arno Malinowski 在 1960 年代为 Georg Jensen 设计的一模一样的项链。于 1960 年代中期手工制作和设计，是真正的中世纪现代作品，在设计和执行方面均具有最高品质。 银匠。阿尔诺·马林诺夫斯基 (Arno Malinowski) 于 1922 年至 1935 年间在哥本哈根丹麦皇家美术学院接受培训，并于 1921 年至 1935 年间为丹麦皇家瓷器制造厂设计了一系列描绘神话人物的小雕像。 1936 年至 1944 年，他为 Georg Jensen 工作，1949 年至 1965 年再次为珠宝和空心器皿进行设计。他 1937 年设计的珠宝作品包括跪着的鹿、灯芯草中的海豚和花朵上的蝴蝶，这些设计一直持续生产多年。 1940年，他设计了“Kingmark”来纪念克里斯蒂安国王七十岁生日。它被大量生产并被丹麦人佩戴，以表达他们对丹麦的忠诚和对德国占领的抵抗。马林诺夫斯基还研究了日本的剑卫风格的铁镶金或银技术。在战争年代，白银供应有限，这使他能够用铁而不是银设计珠宝。还担任雕塑家、陶艺家、雕刻师和奖牌获得者。 乔治·詹森（Georg Jensen，1866 年 8 月 31 日出生于丹麦拉德瓦德 — 1935 年 10 月 2 日卒于哥本哈根），丹麦银匠和设计师，因其现代金属设计的商业应用而享誉国际。他的作品简洁优雅，注重精湛的工艺，这是 Jensen 产品的标志，受到世界各地的认可。詹森 (Jensen) 14 岁时向一位金匠当学徒。他的艺术才华曾短暂集中在雕塑上，但后来他又回到了金属制品领域，主要是珠宝和银器，这些作品是在他于 1904 年在哥本哈根开设的工作室中生产的。詹森 (Jensen) 在几个主要的国外展览中展出了他的作品。展览（在 1910 年布鲁塞尔博览会上获得金奖），并迅速建立了作为杰出和高度原创银匠的声誉。 1912 年，他搬到了一个更大的车间，并于 1919 年购买了他的第一座厂房。 詹森的银器立即受到欢迎并获得商业上的成功。事实上，他是第一个从现代白银制造中获利的白银制造商。在詹森时代之前，几乎所有成功的银器生产商都依赖于流行传统设计的标准库。然而，詹森发现他的时尚简约作品的市场比任何人预期的都要大。他的公司发展迅速，业务遍及整个欧洲，并在伦敦和纽约开设了分支机构。 Jensen 的作品在两大洲引领了当代餐具的潮流。他是最早将钢材——以前被认为只适合制作低质、廉价的餐具——转变为美观、耐用的餐具的设计师之一。

读 更多的 较少的

14.25" Georg Jensen Art Deco Sterling and moonstone Choker necklace. 14.25" long<br>closed x 5/8" wide x 48.4 grams. No issues whatsoever, pictured on a 12" neck.<br><br>Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

读 更多的 较少的

6.5" Frank Patania Sr Modernist sterling silver turquoise cuff bracelet. Solid sterling silver, mid 20th century made by Frank Patania Sr in his Thunderbird Studio, c1950‘s. Weight and measurements in pics, all solid sterling. NO issues. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

读 更多的 较少的

16" Georg Jensen 1 Art Deco Sterling Choker necklace 5/8" wide x 56 grams. No issues whatsoever.Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

读 更多的 较少的

Vintage Bisbee Turquoise sterling Modernist Choker and earrings set. Choker is approximately 15.5" inside circumference. Earrings 1 1/8" long. Extremely high quality work and natural Bisbee turquoise, I don't recognize the hallmark but put little time into it so far. 86 grams total weight. 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.

读 更多的 较少的

1950 年代威廉·斯普拉特林现代主义墨西哥银项链。 16 英寸，链条本身为 12 英寸。吊坠部分宽 4 英寸，最宽处宽 1 3/16 英寸。没有发现任何问题，保证正品。斯普拉特林是一位建筑师和艺术家，曾在新奥尔良杜兰大学任教，他于 20 年代末来到墨西哥并定居在塔斯科市。杜兰大学的同事对中美洲考古学和文化产生了兴趣，他在几个夏天前往墨西哥进行演讲和探索。他找到了格雷罗州的偏远村庄，距离墨西哥城 110 英里，那里的一些地方讲纳瓦特尔语（阿兹特克语）。斯普拉特林收集了文物和当代本土工艺品。

读 更多的 较少的

33" Vintage Navajo Modernist sterling silver turquoise cluster concho belt. Fits up to a 33" waist, but can be hooked shorter or put on longer leather. Weight and measurements in pictures. No damage or issues, tested and guaranteed solid sterling silver. 1 buckle and 8 conchos, 9 total. Mid 20th century, very nice high quality turquoise. Unmarked, will follow up with weight.

读 更多的 较少的

Vintage southwestern modernist sterling silver turquoise cleopatra necklace/earrings set. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 13.5" long, amazing necklace and earrings. Matching cuff bracelet listed separately. Circa third quarter of the 20th century with age appropriate wear.. No apparent markings. There were a few shops doing similar work in the third quarter of the 20th century, Patania, Les Baker, Alberto Contreras, Rivera‘s to name a few. Very well made and totally over the top as shown with high grade natural American turquoise.

读 更多的 较少的

铰接手链采用凸起的旁路螺旋银色设计，末端饰有两颗梨形凸圆面紫水晶，配有针扣；安装在纯银中；内周长 6 3/8 英寸；签署 WS 斯普拉特林 墨西哥制造，英镑斯普拉特林是一位建筑师和艺术家，曾在新奥尔良杜兰大学任教，他于 20 年代末来到墨西哥并定居在塔斯科市。杜兰大学的同事对中美洲考古学和文化产生了兴趣，他在几个夏天前往墨西哥进行演讲和探索。他找到了格雷罗州的偏远村庄，距离墨西哥城 110 英里，那里的一些地方讲纳瓦特尔语（阿兹特克语）。斯普拉特林收集了文物和当代本土工艺品。 斯普拉特林靠制造和设计银器赚了一大笔钱，但他一生的真正工作是保护、拯救和诠释他的祖国的古代文化。他向北美观众解释了墨西哥现代大师的画作，并作为一位博学的早期前哥伦布艺术收藏家而赢得了声誉。斯普拉特林和他的工作室逐渐成为源源不断的著名美国游客和他们想要参观和体验的国家之间的可见且具有文化吸引力的纽带。斯普拉特林有幸见证了自己的声誉——作为墨西哥最受尊敬的美国人之一——在去世前获得了传奇般的地位。威廉·斯普拉特林的《他的生活与艺术》生动地重建了这种丰富多样的生活，其独特的美学遗产只是其更大的文化成就的一部分，深刻地影响了美国人对不同于自己的文明的态度。

读 更多的 较少的

6 3/8" William Spratling Sterling Aztec style cuff bracelet 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. 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.

读 更多的 较少的

6.4" Frank Patania Sr Bisbee Turquoise Modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Fits up to a 6.4" wrist. It is very simple to adjust most cuff bracelets at least .25", sometimes more depending on the gap size and and gap size required by you. Please see pictures for gap size and other measurements. Frank Patania (1899-1964) was an Italian-born jeweler who became a significant figure in Southwestern jewelry design. His work is highly sought after by collectors. Style: Patania‘s jewelry often features sterling silver and turquoise stones, reflecting a fusion of traditional Southwestern and modernist design. The Thunderbird Shop: Patania opened his studio, The Thunderbird Shop, in Santa Fe, where he not only created his own pieces but also mentored and employed Native American artisans.

读 更多的 较少的

30" c1950‘s Allen Kee (1916-1972) Navajo for White Hogan Shop Modernist sterling concho belt. 30" long where it hooks, appears to have been shortened hence the solder on the end loop. 1.5" wide buckle, 1 1/6" wide conchos. 150.7 grams. Navajo Allen Kee created during his time as a benchsmith at the White Hogan Shop in Scottsdale, Arizona from 1946 to 1962, working beside Kenneth Begay. White Hogan Shops silver jewelry. Lead by mentors, such as Kenneth Begay and the Kee brothers, jewelers working at the White Hogan produced an amazing array of modern designs in jewelry and flatware. Allen Kee worked at the White Hogan during the early years. He was a experienced silversmith that created the desired designs of the White Hogans style of jewelry. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

读 更多的 较少的

6.5" vintage southwestern modernist sterling silver turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century with age appropriate wear.. No apparent markings. There were a few shops doing similar work in the third quarter of the 20th century, Patania, Les Baker, Alberto Contreras, Rivera‘s to name a few. Very well made and totally over the top as shown with high grade natural American turquoise. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change.

读 更多的 较少的

c1940 年的威廉·斯普拉特林 (William Spradling，1900-1967) 塔斯科纯银面具手链。适合 6.5 英寸的手腕，1 英寸间隙重 126.8 克，没有任何问题。 斯普拉特林是一位建筑师和艺术家，曾在新奥尔良杜兰大学任教，他于 20 年代末来到墨西哥并定居在塔斯科市。杜兰大学的同事对中美洲考古学和文化产生了兴趣，他在几个夏天前往墨西哥进行演讲和探索。他找到了格雷罗州的偏远村庄，距离墨西哥城 110 英里，那里的一些地方讲纳瓦特尔语（阿兹特克语）。斯普拉特林收集了文物和当代本土工艺品。 斯普拉特林靠制造和设计银器赚了一大笔钱，但他一生的真正工作是保护、拯救和诠释他的祖国的古代文化。他向北美观众解释了墨西哥现代大师的画作，并作为一位博学的早期前哥伦布艺术收藏家而赢得了声誉。斯普拉特林和他的工作室逐渐成为源源不断的著名美国游客和他们想要参观和体验的国家之间的可见且具有文化吸引力的纽带。斯普拉特林有幸见证了自己的声誉——作为墨西哥最受尊敬的美国人之一——在去世前获得了传奇般的地位。威廉·斯普拉特林的《他的生活与艺术》生动地重建了这种丰富多样的生活，其独特的美学遗产只是其更大的文化成就的一部分，深刻地影响了美国人对不同于自己的文明的态度。

读 更多的 较少的

Vintage Navajo Modernist sterling silver coral squash blossom necklace , circa third quarter of the 20th century. Selling the squash blossom necklace shown in good condition with measurements in pictures. Apparently unmarked, 23" long. Extremely high quality with handmade beads. Listed with ExportYourStore.com

读 更多的 较少的

1930‘s Georg Jensen Art Deco Period 173 Sterling silver/Lapis pin/brooch. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa second quarter of the 20th century. Georg Jensen (1866-1935) was a Danish silversmith and designer who founded the renowned Georg Jensen company, known for its exceptional craftsmanship and Scandinavian design. He began as a goldsmith‘s apprentice, later studied sculpture at the Royal Danish Academy of Fine Arts, and eventually combined his skills to create distinctive silver pieces. His work, particularly his jewelry and hollowware, is celebrated for its naturalistic style and innovative use of materials and techniques.

读 更多的 较少的

14" Antonio Pineda Mid Century Modernist 970 silver choker necklace, from the 3rd quarter of the 20th century with no issues. 14" inside measurement when closed, would be longer but doesn't stretch all the way long due to it's construction. 82.3 grams, 14mm wide.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

读 更多的 较少的

Carmen Beckmann mid century Modernist sterling silver necklace, bracelet, ring. Solid sterling silver, extremely high quality as shown 17" necklace, Size 7 ring, 6.5" bracelet. Selling the set shown from the third quarter of the 20th century with no issues. Untouched estate fresh condition, I would be happy to clean up a little upon request before shipping. 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. anderas

读 更多的 较少的

Oversized Retro Patricia Von Muslin sterling silver modernist bib necklace. Solid sterling silver tested and guaranteed Marked as shown in one of the pics.. No issues, circa last quarter of the 20th century. Weight and measurements in pictures. About Patricia Von Musulin Dedicated to experimentation and exploration, Patricia von Musulin has worked extensively to redefine the notion of “accessories. Bold, her work has been featured in international advertising campaigns, countless magazines as well as "on the runway" with both American and International fashion designers. Estee Lauder, Revlon, Elizabeth Arden, Lancôme, Victoria‘s Secret, Absolute Vodka, Cover Girl, Gap, Kohler, and Goldenpoint have used her accessories in their advertising. A partial listing of fashion designers who have featured her work in both their advertising campaigns as well as in their runway shows include: Michael Kors, Ralph Lauren, Adrienne Vittadini, Bill Blass, Geoffrey Beene, Carolina Herrera, Chado, Ralph Rucci, Bally, Cole Haan, and Bogner. Her first working relationships were with Donna Karan and Louis Dellolio for Anne Klein, Pauline Trigere, Giorgio Sant‘Angelo and Perry Ellis. Perry Ellis personally nominated her to the "Council of Fashion Designer of America" when he was the President. Her work has appeared editorially in both national and international magazines: Vogue, German Vogue, Italian Vogue, French Vogue, Vogue Taiwan, Harpers Bazaar, Harpers Bazaar en Espanol, Trace, Numero, Flair, Cosmopolitan, Cosmopolitan en Espanol,Town and Country, Vibe, Latina, Essence, “W Magazine, Visionaire, Zink, Architectural Digest, House Beautiful, Elle, Elle Décor, Forbes Magazine, American Express Departure Magazine, Conde Nast Traveler, to name just a few. Feature articles have appeared in "The New York Times", "Corriere Della Serra", "The International Herald Tribune", "Dallas Daily News" and "Womens Wear Daily" Her early career, prior to her current involvement with fashion, was in the field of industrial design. Clients ranged from "The Metropolitan Museum of Art", for whom she created many of the reproductions of objects for the "King Tut" show, to Pierre Cardin for whom she helped design his automobile. She also had the privilege to work closely with the famous scientist and art restorer, Gustav Berger. Creating a body of work known as much for its powerful originality and signature style as for its unique aesthetic ambition, Patricia von Musulin seeks to use her work to re-imagine the very idea of jewelry itself. Her collections employ a wide array of materials to evoke deep symbolism and psychological associations. Crystal-like transparency evoke the undulating currents of water, the source of all life. In contrast, the deep black tones of her "Ebony Collection" reflect our cultural fascination with "The Primitive" and the multiracial nature of contemporary urban life. Her work is in the permanent collections of "The Metropolitan Museum of Art", "The Boston Museum of Fine Arts", "The National Museum of American History of the Smithsonian Institution" as well as "The Museum at the Fashion institute of Technology". Although Patricia von Musulin lives a very international lifestyle, at home in Istanbul or Prague as much as New York, all of her designs are manufactured in New York City.

读 更多的 较少的

Carolyn Morris Bach 2007 Retro 18k gold/Sterling silver modernist earrings. Great earrings with no issues, tested and guaranteed solid sterling silver and solid 18k gold, any marks detected, weight, and measurements will be shown in the pictures. Carolyn Morris Bach lives in Southern Rhode Island. Her studio is surrounded by pastures and forests and impacted directly by the cycles of seasons which connect her to the natural environment and its visual expression in figurative imagery. For 30 years, her work has developed along with themes which are keyed to visual metaphors often found in older iconographies representing the powers of sun, moon, wind, rain, stones, plants, and a selection of animals residents that determine the rural, non-industrial landscape. EDUCATION & RECOGNITION Carolyn Morris Bach is a graduate of the prestigious Rhode Island School of Design. Her work is in numerous museum collections including: Boston Museum of Fine Arts, Boston, Massachusetts Museum of Arts and Design, New York, New York Fuller Craft Museum, Brockton, Massachusetts Racine Art Museum, Racine, Wisconsin Her work is widely collected both in America and abroad, and recognized by several organizations with awards of merit from Smithsonian Institution, American Craft Museum, Philadelphia Museum of Art (Women‘s Committee), and a National Endowment for The Arts grant. Most recently, a Carolyn Morris Bach brooch was included in the book by Madeline Albright, Read My Pins. Brooches from her personal collection.

读 更多的 较少的

15" Antonio Pineda Mid Century Modernist silver choker necklace, from the 3rd quarter of the 20th century with no issues. 15" inside measurement when closed, would be longer but doesn't stretch all the way long due to it's construction. 79 grams, 14mm wide. 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

读 更多的 较少的

15.75" c1950‘s Los Castillo 481 sterling silver modernist Mexican necklace. No damage or issues. 15.75" long necklace, well made necklace with weight and measurements in pictures. No damage. Necklace is of course 100% symetrical, photographer didn‘t spread it out correctly in the second pic...didn‘t understand the importance I guess.. It‘s perfect with no issues. In 1939, Los Castillo was established in Taxco, Mexico by four brothers including Antonio Castillo. The brothers trained at William Spratlings world-renowned studio. The Castillos developed exceptional talent in every aspect of silver design and production and eventually opened Los Castillo. Over its history, Los Castillo employed exceptional designers, including Antonio Castillos then-wife Margot van Voorhies Carr (Margo de Taxco), Miguel Melendez, and Sigi Pineda. The Castillo family is still in the silver business today.

读 更多的 较少的

26" Marie/Julian Lovato Santo Domingo modernist sterling silver link necklace. Made by Julian Lovato‘s wife Marie, I have seen these with Julian Lovato pendants on them. She made the necklaces and he made the pendants. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

读 更多的 较少的

Johan Rohde for Georg Jensen Acorn sterling salt cellars 62 w/ 110 spoons. Selling the 8 pieces shown with minor tarnish, two have slight wear to enamel on top rim upon close inspection, the one turned up in the last pic has a spot of enamel as wide as the handle just inside the handle, it was difficult to show in the pics and doesn‘t stand out in person. Spoons 2.2" long, salts 2 3/8" wide with handles. The spoons are Jensen also but a different pattern. I could probably sell either the salts or spoons separately for a reasonable offer. silverdrawer

读 更多的 较少的

6.25" William & Shellie New York Modernist sterling/22k Amethyst and Garnet cuff bracelet. They were high end New York designers/artisan's in the 80's and 90's, this is in my opinion a top example of their work.

读 更多的 较少的

Margot de Taxco Los Castillo 纯银阿兹特克鹰战士毛皮夹。我相信这是 40 年代末的作品，由 Margot 设计。这是一件令人惊叹的作品，高 3 英寸 x 宽 4 英寸，带有铰接式耳环，在运动时会旋转，所有三件作品都会自行移动。它重 50 克，可轻松作为吊坠/胸针佩戴，甚至挂在墙上。非常坚固的厚规格纯银，是一种罕见且重要的设计。玛格特·范·沃里斯 (Margot Van Voorhies) 1896 年出生于加利福尼亚州旧金山。当她永远离开祖国时，她已经经历了 1903 年父亲的去世、1906 年旧金山地震、1931 年母亲死于残忍的凶手之手以及她第一次婚姻的结束。 1936年。 幸运的是，一次墨西哥假期以她从未想象过的方式改变了玛格特·范沃里斯的生活。 1937 年，41 岁的离婚者玛格特·范·沃里斯 (Margot Van Voorhies) 离开旧金山前往墨西哥城。命运将她推向了唐·安东尼奥·卡斯蒂略 (Don Antonio Castillo) 的道路，后者将她带到了塔斯科 (Taxco)，这里是墨西哥设计、制作和生产银制品（尤其是珠宝和家居用品）的温床。很快，卡斯蒂略将成为玛戈特的第二任丈夫。当时，卡斯蒂略正在为墨西哥银匠先驱威廉·斯普拉特林工作。他让玛戈特以设计师的身份进入这个行业，帮助她将纸质作品转变成银色的三维形式。 1939 年，两人与 Castillo 家族的其他成员一起开了一家名为 Los Castillo Taller 的商店（Taller 在西班牙语中是“工作室”的意思），由 Margot 担任首席设计师。 十年后，卡斯蒂略和范沃里斯之间的婚姻解散了，他们的职业协会也解散了。 Margot 于 1948 年开设了自己的商店，并取名为 Margot de Taxco，至今她最为人所知。七年后，她的许多作品中都添加了珐琅，这就是玛戈特找到她遗产的地方。在她职业生涯的巅峰时期，玛戈特亲自设计了每件作品，并雇佣了两打银匠和十几名珐琅师来实现她的愿景。这些人履行银匠的职责。女人们负责珐琅工作，用小刷子让水彩画栩栩如生。为了确保准确呈现她的珠宝设计，她编写了一本说明书和图纸书，详细介绍了每件作品的构造和精加工。玛戈特吸引了后来巩固自己声誉的才华横溢的工匠，如西吉·皮内达 (Sigi Pineda)、米格尔·梅伦德斯 (Miguel Melendez) 和梅莱西奥·罗德里格斯 (Melecio Rodriguez)。 许多当代好莱坞名人都是玛戈特的顾客，包括约翰·韦恩和拉娜·特纳，他们每年都会光顾她的店。 1960 年，悲剧以一场火灾的形式发生。她被迫搬迁工作室，再也没有恢复之前的成功，公司于 1974 年倒闭。玛戈特允许她雇用的几位银匠使用她的模具在他们自己的，以换取债务减免。结果，玛戈特的许多作品都被 Jaimie Quiroz 和 Geronimo Fuentes 等银匠重新制作，带有他们的标志，而不是她的标志。 Margot 于 1985 年去世。但自她去世以来，她作为设计师的才华和作为艺术家的影响力不断获得认可。 玛戈特的商店生产了一些凸纹银（一种从银饰背面锤打出凸起或浮雕图案的技术）。但她最出名的是她的内填珐琅作品。内填珐琅是通过雕刻、蚀刻、敲击或在工件表面铸造凹槽或单元并用釉质填充而制成的。在玛戈特的珠宝中，设计是模压的，这一过程对于最终产品来说非常详细且至关重要。玛戈特制作了许多套装，包括项链、胸针、手链、耳环以及可转换珠宝。 Margot de Taxco 珠宝以其优雅、女性气质和多样性而闻名。 玛戈特的作品在很多方面都有影响。她的鱼和波浪图案表达了她对日本艺术的热爱。华丽的漩涡和花卉图案让人想起新艺术风格。前哥伦布时代淘气的人物是一个反复出现的主题。装饰艺术风格的芭蕾舞演员摆出优雅的姿势。玛戈特还喜欢埃及图案和墨西哥工艺品。 Margot de Taxco 的作品以印有她的名字 Eagle 16（或 Eagle 1，代表她早期作品）以及生产编号的印记为特色。鹰印章由政府发行，是识别身份的一种方式

读 更多的 较少的

c1920 Antique Georg Jensen Salad serving fork/spoon set sterling silver. Weight and measurements in pictures. Tested and guaranteed solid sterling silver with no issues. Dedication/presentation on reverse shown in pics. Mark dates them to 1910-1925.

读 更多的 较少的

Antonio Pineda (1919-2009) Taxco Modernist Onyx sterling bracelet/earrings. Absolutely no issues, 6.75" long bracelet, other weight and measurements in pics. No damage or detectable wear to stones. Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexicos 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 (191020), 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 Pinedas 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 Pinedas 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>orientationsPre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular artsmerging 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 1930s70s, 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 Pinedas hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pinedas 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

读 更多的 较少的

16" Retired James Avery heavy modernist sterling necklace. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

读 更多的 较少的

Samuel LaFountain - Diné, Turtle Mountain Chippewa Modernist silver cuff bracelet Samuel Greatwalker LaFountain was born in 1986 in Santa Fe, New Mexico. He has been making jewelry for over 22 years. He infuses contemporary concepts with his traditional background, creating beautiful pieces of art. Hallmarked with his G and 2 dragonflies. Award winning artist. 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.

读 更多的 较少的

c1940‘s Matl Cross pendant Sterling Turquoise Amethyst and coral Designed by Matilde Poulat (AKA "Matl" (Aztec for "Water") who is & always will be one of my personal favorites that made her fame during the "Mexican Silver Renaissance Days" & later..She was a painter & designer 1st & was born in the Yucatan & later on went to study at the San Carlos Academy in Mexico City at the same time the famous muralist & husband to Frida Kahlo,Diego Rivera was studying there..One of her 1st teachers was a "P.OCHOA",a man whose works you rarely come across & you will find Matl‘s earliest works,emulating Ochoa‘s,which was nothing like the style she ended up owning.She opened shop in 1934 & ended up having her own ‘signature look",which to this day people still pay homage to her designs. She produced some of the most ornate jewelry that was being produced in Mexico back in the day..The inspirations she fell back on were inspired from the Mixtec people of Monte Alban, Oaxaca area. Each designer during the Mexican Silver Renaissance days had their own unique style,but it was Matilde,who brought the beautiful motifs of doves, flowers, and tiny bells that are reminiscent of the whimsical subjects of contemporary Mexican folk art...The beauty of her metal work,was so time consuming & was considered Baroque in style with a undeniably "Mexican"look.. She was known for laying round turquoise or coral cabochons all in one bezel that was then crimped‘ to hold the stones in,rather than setting them individually & you will see the perfect example of this style in this pin,which gives her piece‘s a whole different look,because of this. Another one of her signature styles was her time consuming ‘chasing‘ work in the metal,as well as using ‘pyramidal‘ cuts of amethyst.Every piece made are works of art..She is highly collectible!! She taught her nephew Ricardo Salas the art of jewelry making & taught him her style that was signature to only her & worked side by side her till her death in 1960 & while continuing to stay true & keep her style alive till his death in 2007.

读 更多的 较少的

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

读 更多的 较少的

Large Vintage Navajo/southwestern modernist sterling silver pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No issues, 26" long necklace. Signed Herman Owens, most likely a former owner rather than the silversmith. Very high quality turquoise.

读 更多的 较少的

Large Hector Aguilar modernist Mexican sterling silver Armadillo belt buckle, takes up to a 1.25" belt, Tested and guaranteed solid sterling silver, functional with expected wear. Circa mid 20th century with no damage, fully functional.

读 更多的 较少的

c1960 年 Peter Broome 加州现代主义纯银手镯套装。每个内周长约为 7 5/8"，每个都不同。布鲁姆活跃于 20 世纪 50 年代至 60 年代的加利福尼亚州，并创作了一些最令人惊叹的独特设计。他的作品并不多产，但创造了一些令人惊叹的独特设计，价格也可观。以同一个价格出售所有三个手镯。安德拉斯

读 更多的 较少的

16" & 6.6" Emma Melendez Taxco modernist sterling silver abalone choker/bracelet. No issues, circa third quarter of the 20th century .16" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. 6.6" bracelet 16" necklace. Listed with ExportYourStore.com

读 更多的 较少的

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.

读 更多的 较少的

Antonio Pineda (1919-2009) Taxco articulating silver and amethyst pin/earrings, measurements in pics. Amazing set, the pin is hinged in the center of each rod, so they wiggle all over the place, very sturdy and well made.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

读 更多的 较少的

漂亮的大件，9.5 英寸宽 x 4 英寸高。底缘上有一些非常小的恙螨叮咬薄片。牙釉质无大缺口、裂纹、凹痕或其他损坏。 TW69

读 更多的 较少的

Retro Robert Farrell 18k/sterling post modernist bracelet 6.5" long bracelet, weight and measurements in pics. No issues.   I was fortunate enough to be contacted by the artist and he listed the materials for me.  Precise materials are: sterling silver, shibuichi (a Japanese alloy), 18k gold (wire), 24k gold (chunky, random shapes).Awards and Honors (*Award)*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2024.*Best of Metal, Philadelphia Craft Show, 2023.*Award of Excellence, Ann Arbor Street Art Fair, 2023.*Second Place, Exhibitors Choice Award, Smithsonian Craft Show, 2023.*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2022. *Award of Excellence, Ann Arbor Street Art Fair, 2022.*First Place, St. Louis Art Fair, 2021.*Award of Excellence, Ann Arbor Street Art Fair, 2019.*Award of Distinction, Winter Park Sidewalk Art Festival, Winter Park, FL, 2019.*Director‘s Choice Award, American Craft Exposition, Chicago, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2018.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2017.*Best of Show, Smithsonian Craft Show, 2017.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2017.*Best of Show, Plaza Art Fair, Kansas City, 2016.*First Place, St. Louis Art Fair, 2016.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2016.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2016.*Exhibitor‘s Choice Award, Smithsonian Craft Show, 2016.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2016.*Best of Metal, The Philadelphia Craft Show, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2015.*First Place, St. Louis Art Fair, 2015.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2015.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2015.*Best of Fine Craft, Art on the Square, Belleville, IL, 2015.*Best of Show, Artisphere, Greenville, SC, 2015*Morse Museum Award, Winter Park Sidewalk Art Festival, Winter Park, FL, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2014.*First Place, St. Louis Art Fair, 2014.*Best of Show, The Domes Art Festival, Milwaukee, 2014*Award of Excellence, Ann Arbor Street Art FairThe Original, 2014.*Best of Fine Craft, Art on the Square, Belleville, IL, 2014.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2014.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2013.*Award of Merit, Cherry Creek Art Festival, Denver, 2013.*Best of Fine Craft, Art on the Square, Belleville, IL, 2013.*Second Place, Winter Park Sidewalk Art Festival, Winter Park, FL, 2013.*Best of Show, Uptown Art Fair, Minneapolis, 2012.*Best of Fine Craft, Art on the Square, Belleville, IL, 2012.*Best of Show, Craft Art, St. Petersburg, 2011.*Second Place, St. Louis Art Fair, 2011.*Best of Show, Oconomowoc Arts Festival, Oconomowoc, WI, 2011.*Best of Show, Barrington Art Festival, North Chicago, 2011.*Best of Fine Craft, Art on the Square, Belleville, IL, 2011.*‘Excellence and Originality‘ (One of 10 equal awards), Ann Arbor Street Art Fair--The Original, 2010.*Best of Show, Palm Beach Fine Craft Show, 2009.*Award of Excellence, American Craft Council Show, Atlanta, 2009.*Purchase Award of Excellence, Coconut Grove Arts Festival, Miami, 2009.*Best Booth, American Craft Council Show, Sarasota, 2008.*Award of Excellence (One of 5 First Place awards), Craft Art, St. Petersburg, FL, 2008.*Best of Show, 3-D Exhibition, Venice Art Center, Venice, FL, 2008.*Museum Acquisition--Renwick Gallery, Smithsonian Institution, Awarded at the Smithsonian Craft Show, 2007.*First PlaceMetal, St. Louis Art Fair, 2006.*Best of Show, Washington Craft Show, 2004.*Jurors Award, Michael Monroe, St. Louis Art Fair, 2004.*Best of Metal, Philadelphia Craft Show, 2002.*First PlaceMetal, St. Louis Art Fair, 2002.*First PlaceMetal, Plaza Art Fair, Kansas City, 2002.*“Excellence and Originality (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 2001.*Best of Metal, Philadelphia Craft Show, 2000.*Best Presentation, St. Louis Art Fair, 1999.*Piece purchased for the collection of the St. Louis Art Fair, 1999.*First PlaceMetal, Sausalito Art Festival, 1999.*First PlaceMetal, Plaza Art Fair, 1999.*Excellence and Originality, (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 1999.*First Place--Metal, St. Louis Art Fair, 1998.*First PlaceMetal, Plaza Art Fair, 1998.*First PlaceMetal, Sausalito Art Festival, 1998.Museum Purchase, Mint Museum of Art and Design, Charlotte, NC., 1998.*First PlaceMetal, Winter Park Art Festival, Winter Park, FL, 1997.*Third PlaceMetal, St. Louis Art Fair, 1997.*Award of Excellence, Plaza Art Fair, 1997.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1996.*First PlaceMetal, St. Louis Art Fair, 1995.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1995.*Award of Excellence, Plaza Art Fair, 1995.*First PlaceMetal, St. Louis Art Fair, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1994.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1994.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1993.*Best of Show, Midwest Salute to the Masters, Fairview Heights, IL, 1993.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1993.*Wisconsin Art Board Grant, 1992.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1992.*Second PlaceJewelry, Cherry Creek Arts Festival, Denver, 1992.*Award of Excellence, Midwest Salute to the Masters, Fairview Heights, IL, 1992.*Award of Merit, Coconut Grove Arts Festival, Miami, 1992.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1991.*First PlaceMetal, Midwest Salute to the Masters, Fairview Heights, IL, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1991.*Award of Excellence, Crafts National 25, PA State University, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1990.*Scholarship, Haystack Mountain School of Crafts, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1989.Fellowship, Craft Department, Tyler School of Art, 1988.*Representative of Tyler School of Art, Philadelphia Craft Show, 1988.*Award Designer, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1986.*First Place, Wisconsin Collegiate Showcase, 1986.Lectures, Public Speaking Engagements, Misc. Professional ActivitiesGuest Speaker/Visiting Artist, Cleveland Institute of Art, 2004.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1999.Juror, ACC Craft ShowsMetal, 1998.Guest Speaker, Tyler School of Art, 1997.Guest Speaker, Tyler School of Art, 1996.Demonstrator, Cherry Creek Arts Festival, 1996.Guest Speaker, Parker High School, Janesville, WI, 1996.Juror, 16th Annual Hoard Museum Art Show, Fort Atkinson, WI, 1996.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1995.Guest Speaker, Tyler School of Art, 1994.Gallery Task Force Member, University of Wisconsin-Whitewater, 1992.Guest Speaker, Tyler School of Art, 1991.Guest Speaker, Foster Gallery, University of Wisconsin-Eau Claire, 1991.Guest Speaker, University of Wisconsin-Madison, 1990.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1990.Guest Speaker, University of Wisconsin-Whitewater, 1990.Teaching Assistant, Haystack Mountain School of Crafts, 1990.Part-time Faculty, Tyler School of Art, 1989.Instructor, Saturday Metals Program, Tyler School of Art, 1988.Bibliography (*Reviews)Seymour Rabinovitch and Helen Clifford, Contemporary Silver: Commissioning, Designing, Collecting, Merrell Publishers Limited, 2000. pp. 20, 27, 56, 118-19.Paul J. Smith, General Editor, Objects for Use: Handmade by Design, Harry N. Abrams, Inc., Publishers, 2000. pp. 131, 148.*“The Commemorative Cup, American Craft, Ap/May 96, Vol. 56, No. 2, p. 53.*17th Annual Philadelphia Craft Show, Metalsmith, Spring 94, Vol. 14, No. 2, p. 47.“Portfolio, American Craft, Aug/Sep 92, Vol. 52, No. 4, p. 67.*SilverNew Forms and Expressions II, Metalsmith, Spring 91, Vol. 11, Nol. 2, p. 46.Alice Beamesderfer, Contemporary Philadelphia Artists: A Juried Exhibition catalog, Philadelphia Museum of Art, 1990. pp. 68, 141.*Honoring Something Ordinary, Metalsmith, Summer 89, Vol. 9, No. 3, p. 21.*All That Glitters, Metalsmith, Winter 87, Vol. 7, No. 1, p. 49.*Jewelry Show Sparkles at Art Museum, The Milwaukee Journal, July, 1986.Juried Retail ShowsSmithsonian Craft Show, Washington, D.C. 1995, 99, 00, 02, 03, 04, 06, 07, 08, 10, 15, 16, 17, 18, 19, 22, 23, 24.Philadelphia Museum of Art Craft Show. 1989, 90, 91, 92, 93, 94, 95, 96, 97, 99, 00, 01, 02, 03, 05, 06. 07, 08, 09, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24.Washington Craft Show, Washington, D.C. 1991, 94, 02, 03, 04, 05, 06, 07, 08, 09, 10, 12, 13, 14.Sausalito Art Festival. 1998, 99, 00.St. Louis Art Fair. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 07, 09, 11, 12, 13. 14, 15, 16, 21.Ann Arbor Street Art FairThe Original. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06. 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 21, 23, 24.Plaza Art Fair, Kansas City. 1995, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 10, 11, 12, 13, 14, 15, 16.Palm Beach Fine Craft Show. 2004, 05, 06, 08, 09, 10, 11, 12, 13, 14, 15, 16.Craft Art, St. Petersburg, FL. 2008, 09, 11.ACC Craft ShowBaltimore. 1993, 94, 95, 96, 97, 98, 99.Coconut Grove Art Festival, Miami. 1992, 93, 94, 95, 96, 97, 98, 02, 09, 10.American Craft Exposition, Evanston, IL. 1991, 92, 93, 94, 95, 96, 97, 98, 99, 00, 07, 08, 17, 18, 19, 20, 21.Cherry Creek Arts Festival, Denver. 1991, 92, 93, 94, 95, 96, 97, 98, 12, 13. 14, 16, 19.Lakefront Festival of Arts, Milwaukee. 1987, 90, 91, 92, 93, 94.ACC Craft ShowAtlanta. 1991, 94, 95, 97, 99, 09.ACC Craft ShowSarasota. 1993, 94, 05, 06, 08.Gasparilla Art Festival, Tampa. 1992, 05.EducationMaster of Fine ArtsMetal and Jewelry Emphasis. Temple University, Tyler School of Art, Philadelphia, 1989.Bachelor of ArtsStudio Art. University of WisconsinWhitewater, Summa Cum Laude. 1987.Bachelor of ArtsEnglish. University of WisconsinWhitewater, Summa Cum Laude. 1987.

读 更多的 较少的

Kenneth Begay Navajo White Hogan Modernist Sterling salt spoons/ironwood bowl. Selling the three Kenneth Begay salt spoons and Ironwood salt bowl shown. No issues. Weight and measurements in pics. Kenneth Begay (1913-1977) was called the “Father of Contemporary Navajo jewelry for his clean, bold, modern designs. Begay began as a blacksmith, took his first course in silversmithing from Fred Peshlakai at the Fort Wingate Vocational School for the Native Americans in Fort Wingate, New Mexico in 1938. Fred Peshlakai had been taught by his father, Slender Maker of Silver, who was trained by Atsidi Chon, one of the earliest Navajo silversmiths. Begay in turn taught traditional techniques of silversmithing to his own students from 1968-1973 at Navajo Community College in Many Farms, Arizona. In 1946, Begay started working with John Bonnell at the White Hogan shop in Flagstaff, Arizona, beginning an 18 year relationship. In collaboration with Bonnell, Begay moved Indian jewelry beyond personal adornment and into the arena of pure metalsmithing making, amongst other things, flatware sets, plates, boxes, and vessels of various kinds. Although highly unusual at this time among silversmiths, 1951-1952, he also began signing his jewelry using KB. When working for the White Hogan he additionally stamped his pieces with a small hogan. A master metalsmith, Kenneth Begay was very creative and strongly influenced by his traditional background. In his jewelry this translated to a balance between silver, stone and bold but unpretentious designs. He created clean, elegant designs based on streamlined shapes that were repeated to form balanced and harmonious patterns, a style that has been compared to Navajo weaving. Although he used and taught the old techniques, Begay explained near the end of his life, “I like to create something new and still use the old Navajo design style. All precious metals are tested and guaranteed,

读 更多的 较少的

重型手工纯银工匠手链。极高品质的手链，无标记，但经过测试，保证纯正。 7 英寸长 x 1 1/6 英寸宽 x 75.1 克。背面有一个似乎是 JJC-00 的划痕签名。 所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。任何标记的内容都保证与其标记的一致，大多数手镯都是在 6 英寸的手腕（无毛）上拍摄的，戒指则尽可能在适当尺寸的手指上拍摄。对于手镯，如果描述中未给出尺寸，则显示内周长金属与布卷尺上的数字相符的地方。

读 更多的 较少的

Vintage Enrique Ledesma Taxco Sterling jewelry set. 7" bracelet, 14" choker, selling everything shown with measurements in pics.

读 更多的 较少的

约 1968 年弗兰克·帕塔尼亚 (Frank Patania Jr) 西南现代主义纯银博洛币，饰有绿松石和 100 比索墨西哥硬币。当然，Bolo（不含包装盒）重 94 克。配有原装 Thunderbird 商店盒子（盒子顶部 4 个角中的 3 个角分开。Bolo 幻灯片高 2.5 英寸 x 2 3/8 英寸宽 38 英寸长。我认为这件作品必须是在 1968 年制作的，这一年硬币最多在一两年后发行。 小弗兰克接受的培训为当代美国工艺史上注入了一股新鲜空气。要理解这一指导的重要性，我们必须看看老弗兰克，他带着工业革命后意大利学徒制度的经验来到美国。这对手工制作传统产生了持久的影响。大规模生产成为日常生活的一部分。对受过良好教育的熟练工匠的服务需求下降了，培训他们的学徒计划也减少了。人们普遍认为，大规模生产的产品通常质量比大多数人所能制造的要好。许多工匠被迫关门，加入工厂当设计师。 只要浏览 20 世纪初的任何“Sears and Roebuck”目录，大规模生产对珠宝设计的影响就显而易见。由于这些产品是为大众制造的，因此设计常常“简单化”，反映了反复植根于过去趋势的“安全”主题。繁衍成为民族审美。然而，美国境内也有一些“口袋”是例外。例如，卡洛商店和罗伊克罗夫特正在教授学徒计划，但与大规模生产的压倒性影响相比，它们只是小因素。像许多第一代美国孩子一样，小弗兰克被鼓励接受正规教育。有趣的是，他没有选择应用艺术，而是选择了美国历史，辅修人类学。反思自己的选择，他相信他的父亲会认为应用艺术学位是“浪费时间”，因为没有什么可以与他已经传授给儿子的手工艺教育相比。 当小弗兰克全职加入商店时，人们对工艺品的态度已经发生了重大变化。战后的美国见证了建筑、工业设计和手工艺的爆炸式发展。几十年来，手工艺第一次受到新的重视，这在很大程度上要归功于大学和手工艺学校对手工艺者的大力支持。从 20 世纪 40 年代和 50 年代重要展览的激增可以看出当代珠宝运动的健康发展。 1946 年，纽约现代艺术博物馆迈出了重要的一步，举办了首届大型当代珠宝展览。Design Quarterly 和 Craft Horizo​​n（现为 American Craft）等杂志专门用了完整版块来介绍设计和当代珠宝。 到 20 世纪 50 年代，许多人开始专业规模制作当代珠宝。同年，美国手工艺委员会召开了第一次会议，来自 30 个州的 450 多名手工艺人参加了会议。在为期三天的会议中，他们解决了年轻工匠关心的许多问题，包括：1）工匠与社会在经济和社会美学方面的关系； 2）与技术相关的设计重要性； 3）小企业专业实践中的问题。虽然美国的许多年轻工匠刚刚第一次解决这些问题，但图森和圣达菲的 Thunderbird 商店已经找到了这些问题的解决方案，并将其实施到一个允许商店创造力的系统中在保持财务成功的同时蓬勃发展。 今天，小弗兰克和他的妻子唐娜往返于图森和圣达菲之间。小弗兰克 (Frank, Jr.) 表示，他很感激自己所获得的生活，并承认他很高兴能够以自己喜欢的方式谋生，并最终到达一个可以创作自己选择的作品而不受外界压力的地方。市场。 （图25-27）他希望儿子Sam能够继承家族的姓氏和传统，认识到年轻设计师与家庭的斗争以及支付工资的压力，同时仍保持自己独特的风格。

读 更多的 较少的

Heavy Retro Rancho Alegre Mexican Modernist sterling silver bracelet/necklace . 16" Necklace, 6.75" bracelet. Both solid sterling silver with no issues, weight and measurements in the pictures. Established in 1956, after its founder, Pedro Perez, had worked for many years managing Spratling‘s Las Delicias, Rancho Alegre is responsible for some of the finest designs in Taxco jewelry, the shop closed in the mid 80‘s.

读 更多的 较少的

6.6" c1960 Southwestern Modernist sterling silver coral cluster cuff bracelet Weight and measurements in pictures, solid sterling silver with no issues. Minimal wear circa mid 20th century, unmarked.

读 更多的 较少的

6 3/8" Southwestern modernist sterling multi-stone inlay cuff bracelet. Great looking high quality cuff bracelet with no issues. Various petrified substances, not sure who made it or what it's made of. Likely made by a Native American artist.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.

读 更多的 较少的

复古 28 英寸 Tane 现代主义纯银网状项链 1 英寸宽。非常实用又酷的项链。 125克。股线可以扭曲或笔直佩戴，以赋予其不同的外观，并在扭曲时稍微缩短，不会损坏或明显磨损。 TANE 于 1942 年在墨西哥城成立，今年自豪地庆祝其成立 80 周年。八年来，凭借前卫的设计，TANE已成为国际公认的品牌，也是优雅、精致、精致的金银手工制品的目的地。该公司拥有丰富多样的传统，并实行垂直整合，确保从银提取到铸造、设计和制造的可持续性。该品牌之前和现在的客户包括世界著名名人，如杰基·肯尼迪、碧姬·芭杜、凯瑟琳·德纳芙、玛丽亚·费利斯、伊娃·朗格利亚、希拉里·克林顿、保罗·纽曼、奥斯卡·德拉伦塔、保罗·麦卡特尼，以及国际皇室成员。与 TANE Mexico 1942 一起庆祝您生命中的每一个特殊时刻。

读 更多的 较少的

Henry Steig (1906-1973) 中世纪现代主义纯银别针 (2)。 出售两枚独一无二的别针，均带有签名，是 Henry Steig 珠宝重要收藏的一部分，是在 50 年代至 60 年代直接从他那里购买的，我很幸运能够提供。 紫水晶 2.75 英寸 x .75英寸珍珠2号。75 英寸 x 5/8 英寸 19.总重2克。 Jules Brenner 和 Henry Steig 是纽约中世纪工作室珠宝商中的佼佼者，他们手工制作可佩戴的艺术品，颂扬前卫，拒绝传统珠宝形式，并吸引知识分子和自由派中产阶级 朱尔斯·布伦纳出生于布朗克斯，在华盛顿高地长大，师从斯特拉·阿德勒学习表演，并在格林威治村学习绘画和雕塑。 亨利·斯泰格（Henry Steig，又名亨利·安东）曾就读于城市学院和国家设计学院，并开始了他作为纽约市爵士音乐家、作家、小说家、漫画家和画家的职业生涯。 20 世纪 50 年代，布伦纳和斯泰格在曼哈顿和马萨诸塞州普罗温斯敦（当时是著名艺术家的飞地）经营商店和工作室，在那里出售手工制作的银和金设计，这些设计通常强调生物形态、超现实主义、立体主义和几何形式。每个人都知道电影《七年之痒》中的著名画面，玛丽莲·梦露站在纽约人行道上，她的裙子被下面地铁格栅的上升气流吹起。 然而，并不是所有人都知道，此时她正站在列克星敦大道 590 号亨利·斯泰格 (Henry Steig) 的珠宝店前。亨利·史泰格 (Henry Steig) 是一位多才多艺的人。 在成为珠宝商之前，他是一位爵士音乐家、画家、雕塑家、商业艺术家、漫画家、摄影师、短篇小说作家和小说家。“亨利是一位文艺复兴时期的人，”《纽约客》漫画家米莎·里克特 (Mischa Richter) 说道，他是施泰格的好朋友，也是普罗温斯敦的邻居。Henry Anion Steig 于 1906 年 2 月 19 日出生于纽约市。 他的父母约瑟夫和劳拉在世纪之交从利沃夫（德语称为伦贝格）来到美国，当时利沃夫位于奥匈帝国的波兰港口。 约瑟夫是一名房屋油漆工，劳拉是一名裁缝。他们有四个儿子：欧文、亨利、威廉和亚瑟，他们多才多艺、才华横溢、富有艺术天赋。 威廉·史泰格（William Steig）是著名的《纽约客》漫画家和儿童读物作家兼插画家。 欧文是《纽约客》的短篇小说作家。 亚瑟是一位画家和诗人，他的诗歌发表在《新共和》和《诗歌》杂志上。William Steig 回忆道：“我的父亲和母亲在儿子长大后都开始指点并成为展览艺术家。1945 年 5 月 14 日，《新闻周刊》杂志发表了一篇关于在新艺术圈画廊举办的展览的文章，“可能是艺术街（第 57 街）的第一场家庭展览”。 它被称为“八位表演史泰格，艺术家全部。”其中包括约瑟夫和劳拉·斯泰格的画作；威廉的绘画和雕塑以及他的妻子丽莎的画作；亚瑟和他的妻子奥罗拉的画作；以及亨利的照片和他的妻子咪咪的画作。 唯一没有包括在内的兄弟是欧文，“唯一不墨守成规的施泰格”，当时他在康涅狄格州一家肥皂制造商担任广告经理。在文章中，“兄弟俩将家族中众多优秀艺术家归因于我们都喜欢彼此的作品……对此感到兴奋。 每当有人开始时，他们都会得到很多鼓励。 约瑟夫·斯泰格补充道：“绘画是一种具有感染力的东西。 如果您生活在我们的环境中，您可能会指出。'"Henry Steig 在这种非凡的环境中长大。 这家人住在布朗克斯。 高中毕业后，Henry Steig 进入城市学院 (CCNY)。 三年后，他前往国家设计学院学习绘画和雕塑。 他也是一位多才多艺的音乐家，演奏萨克斯管、小提琴和古典吉他，在大学期间，他开始担任爵士音乐家。 大约从 1922 年（当时年仅 16 岁）开始，直到 1932 年，他与当地舞蹈乐队一起演奏簧片乐器。在国家学院学习四年后，Steig 成为一名商业艺术家和漫画家。 他在自己的漫画上署名“亨利·安东”，因为他的兄弟威廉同时也是一名漫画家，为许多相同的杂志工作。 大约从1932年到1936年，亨利·安东的漫画出现在《生活》、《法官》、《纽约客》等杂志上。Steig 于 1935 年开始写作生涯，一直持续到 1947 年左右。 他作为一名短篇小说作家非常成功并广为人知，他的故事定期出现在《周六晚邮报》、《纽约客》、《时尚先生》、《高力报》等杂志上。 它们通常是关于爵士乐和爵士乐音乐家的幽默故事，他们在蓬勃发展的二十年代音乐世界中占据一席之地。 其他故事是关于他在布朗克斯的童年。 他还撰写非小说类杂志文章，包括《纽约客》对本尼·古德蒙的简介和爵士乐评论。 他的几篇非小说类文章由威廉·史泰格 (William Steig) 绘制插图。1941 年，阿尔弗雷德 A. 克诺夫出版了亨利·斯泰格的小说《送我下来》。 这个故事以绝对现实主义的方式讲述，讲述了两兄弟在二十多岁时成为爵士音乐家的故事。 斯泰格在书封皮上写道：“《送我下来》的大部分材料都是在我作为一名爵士音乐家与当地爵士乐队、歌舞杂耍和舞厅巡演活动中的巡回团体一起演奏时收集的。 虽然我作为一个音乐家只是二流，但我从内部了解我的主题，并且我相信我是第一个根据个人实际经历写爵士乐故事的人。“他的儿子迈克尔回忆说，当时有人有兴趣将这本书拍成电影。 “我父亲告诉我约翰·加菲尔德想扮演主角。“Steig 确实于 1941 年前往好莱坞，签订了编剧合同。 他将与词曲作者约翰尼·默瑟合作。 12月7日珍珠港事件后，他返回纽约。 “无论如何，他无疑会回来，”迈克尔·施泰格说。 “他对经纪人为他谈判的合同并不满意。” 米莎·里克特 (Mischa Richter) 表示，“亨利对好莱坞非常不以为然。”

读 更多的 较少的

Larry Castillo 纳瓦霍多石槽形镶嵌手镯。非常好的实心手链，没有任何问题。 72 克 1 1/8 英寸间隙，适合 6 1/8 英寸的手腕，中心宽 1 英寸。

读 更多的 较少的

6 7/8" William Spratling Sterling Snake Scale link bracelet. Measurements in pics, no significant issues. I believe this version with the open back is less common, not that the other version is common. I have one of each at the time of listing and I'm going to price this one considerably less because it weighs about half as much, not that that's a bad thing for some.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.

读 更多的 较少的

Fidencio Castillo，墨西哥人（1907-1993 年）带有 Rebozo 雕塑的女人，签名为 Fide C.，安装在黑色大理石底座上，石底座上有一些碎片，对青铜没有损坏。整体：约 9.5 英寸高、7 1/8 英寸宽、6 1/8 英寸深、11 磅菲登西奥·卡斯蒂略·圣地亚哥（Fidencio Castillo Santiago，1907年11月16日－1993年7月29日）是一位墨西哥艺术家、教育家，也是墨西哥塑料沙龙的创始成员。墨西哥革命前不久，他出生于墨西哥哈利斯科州的埃察特兰，父母是特立尼达·卡斯蒂略和雷蒙达·圣地亚哥。他的妹妹罗莎·卡斯蒂略·圣地亚哥（Rosa Castillo Santiago，1910-1989）也是一位知名艺术家。 Fidencio Castillo Santiago 曾就读于圣卡洛斯学院，然后在 Escuela Nacional de Pintura、Escultura y Grabado "La Esmeralda" 学习。[1]随后，他在后者任教了三十多年，并与帕斯·卡斯蒂略·阿拉尔孔结婚。 他的作品在墨西哥和国外展出，包括1995年墨西哥艺术展期间的东京和仓敷等城市以及1967年亚利桑那州凤凰城的展览。在墨西哥，主要展览包括1960年的Bienal Mexicana Contenporánea、Salón de Invierno、Galería 1956 年的 Plástica Mexiana、1958 年的 Salón de Arte Mexicano 和 1964 年的第一届 Salón de Pintura y Escultura Contemporánea Jalisciense。1971 年，Salón de la Plástica Mexicana 举办了他的作品回顾展。 2004 年，墨西哥塑料艺术家协会、联合国教科文组织和墨西哥城地铁公司联合举办了另一场活动，以纪念他和他的妹妹罗莎·卡斯蒂略 (Rosa Castillo)。他因多种原因在墨西哥城去世，享年 85 岁。今天，哈利斯科州瓜奇南戈历史博物馆举办了该作者的永久展览

读 更多的 较少的

16 英寸 Los Castillo 现代主义纯银和绿松石项链。16 英寸长 14 毫米宽，没问题，可能是仿制或块状绿松石 53 克，罕见设计。 Los Castillo 珠宝 - 历史Antonio Castillo 和他的兄弟 Jorge、Miguel 和 Justo 于 1939 年创立了 Los Castillo。他们都曾在 William Spradling 的高高店当学徒，然后在墨西哥塔斯科开始自己的生意。安东尼奥·卡斯蒂略在斯普拉特林工作期间晋升为银匠大师。 几十年来，洛斯卡斯蒂略作坊培养并雇用了许多熟练的银匠，其中包括卡斯蒂略兄弟的表弟萨尔瓦多·特兰、西吉·皮内达、安东尼奥·皮内达和安东尼奥·卡斯蒂略的妻子玛戈·范·沃里斯·卡尔。所有这些艺术家都继续开设了自己的成功工作室，其中包括范·沃里斯·卡尔 (van Voorhies Carr)，她在与安东尼奥·卡斯蒂略 (Antonio Castillo) 离婚后创立了玛格特·德塔斯科 (Margot de Taxco)。洛斯卡斯蒂略以其优质银器以及将铜和/或黄铜与纯银混合的混合金属而闻名。其他装饰性家居饰品有镀银和镶嵌石材装饰。 查托 (豪尔赫) 卡斯蒂略 (Chato (Jorge) Castillo) 是卡斯蒂略兄弟之一，曾在 20 世纪 30 年代为威廉·斯普拉特林工作。他以其技术专长和设计才华而闻名。他开发了结合金属、银羽毛、阿兹特克马赛克或石镶嵌、贝壳或鲍鱼镶嵌的技术……（墨西哥银：莫里尔和伯克的现代手工珠宝和金属制品（Schiffer：2007 年，第 4 版），第 86 页。

读 更多的 较少的

Native American Lone Mountain turquoise modernist sterling silver pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. some surface wear to stone, unidentified hallmark.

读 更多的 较少的

Nicholas Gambino White Hogan Modernist sterling silver belt buckle w/turquoise. Tested and guaranteed solid sterling silver, fits a 1.5" wide belt. No issues, some expected wear. Circa third quarter of the 20th century. Weight and measurements in pictures. Nicholas Gambino (Morongo Band of Mission Indians) worked at the White Hogan during the early 1970‘s. He obviously was a experienced silversmith that created the desired designs of the White Hogans style of jewelry. Lead by mentors, such as Kenneth Begay and the Kee brothers, jewelers working at the White Hogan produced an amazing array of modern designs in jewelry and flat ware. This buckle depicts this style of work perfectly.

读 更多的 较少的

6.5" Vintage Jack Woolsey Versions Modernist sterling fossil cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with some expected age appropriate wear. If no maker is mentioned or mark shown in the pictures please assume this piece is unmarked which is to be expected with older Native American silver jewelry. If it‘s hallmarked and I‘m not familiar with the artist most of the time I will just mention the hallmark with no research/attribution as time is everything in our business. Thank you for looking. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. Artist and jeweler Jack Woolsey was born in 1940 in Colorado Springs, CO. He learned his jewelry making techniques from the Navajo silversmiths around Taos, NM, and is renowned for his modernist inlay cuff bracelets, belt buckles, and earrings. Some of his materials were obtained in trade with Eskimos living in the Alaskan tundra. He also created distinctive wrap inlay designs using turquoise, red jasper, black onyx, and other semiprecious stones. Jack Woolsey passed away in 2005, at the age of 64.

读 更多的 较少的

6.5" Retired James Avery 14k/Sterling modernist cuff bracelet. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

读 更多的 较少的

6.25" Benny Armijo Navajo high grade mult-stone inlay modernist sterling cuff bracelet. All high grade natural material with no issues.. No damage or issues. Benny Armijo (1937-2022).   Benny was a renowned master Navajo silversmith who specialized in this complex inlay and "corn row" type cobblestone inlay using high quality stones.  His jewelry was featured on the Oprah Winfrey show and was collected by many high-profile artists from James Taylor, Charlie Daniels, to Hank Williams Jr. His pieces can be seen on many album covers of top music groups and are highly collectable today. His incredible sense of humor was as well-known as his jewelry. He was simply the most generous man that one could ever imagine, always helping complete strangers he encountered along the way. He was active from the early 70's until the late 20th century..   His older mark from the 1970's looks like a tadpole and has been misattributed to "Edward Zuni", but I'm 100% sure this is Benny Armijo's work and hallmark, it's been confirmed by his living relatives.   Benny was born in Santa Fe, New Mexico Benito M Armijo Jr  The older stamp he first used was to represent the letter C and letter M which stood for Chief Marcos. Many years later maybe around 1989 he stamped his jewelry with Benny Armijo. He lived in California for many years and returned to New Mexico and passed away January 2022. He was known for his stone inlay on what he called a Hopi wedding band in which all the stones were inlaid inside the ring or bracelet. Giving the thought that the beauty between the couple is in the eye of the beholder and the couple would choose the different color of stones and their meanings to be inlaid on their wedding bands.

读 更多的 较少的

6.5" 1950's Carmen Beckmann Modernist sterling Frog carved amethyst bracelet. No damage or apparent issues.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.

读 更多的 较少的

50‘s-60‘s George Kee Navajo White Hogan Shop Modernist sterling silver pendant. Solid sterling silver tested and guaranteed with the markings shown, weight and measurements in the pictures. No issues, circa third quarter of the 20th century. In the 1950s and 60s Begay, George Kee and Kees two brothers, Allen and Ivan headlined an all-star team of Navajo silversmiths at Scottsdales famed White Hogan Shop, turning out an extraordinary array of sleek Modernist-style Navajo silver jewelry, flatware and other precious objects.

读 更多的 较少的

vintage Frank Patania Thunderbird Shop "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: : Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party. “The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. “Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

读 更多的 较少的

c1970 Frank Patania jr "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party.“The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

读 更多的 较少的

复古 Rivera Matilde Poulat 风格墨西哥纯银蛇颈链，镶嵌绿松石、紫水晶和珊瑚。项链做工精良，材质坚固，没有任何问题。 16 英寸长，98.7 克。里维拉 (Rivera) 是一位银匠大师，他在墨西哥城创作的作品与马蒂尔德·普拉特 (Matilde Poulat) 和其他墨西哥城银匠的风格相同。安德拉斯巴格

读 更多的 较少的

Jose Maria Puig Doria Modernist sterling silver Belt buckle/pendant combo wood. Solid sterling silver with weight and other measurements in the pictures. circa 1980‘s. Crack in inner wood piece towards top when used as a pendant. This can be worn as a pendant and you will always have an emergency belt buckle on you.

读 更多的 较少的

Georg Jensen Acorn sterling coffee/tea/demitasse spoons/2pr springed sugar tongs. Selling the 12 spoons shown and the 2 pairs of springed sugar tongs all in the acorn pattern. No damage or significant wear, vintage set. Measurements shown in one of the pictures. No monograms or monogram removals. Designed in 1915 by Johan Rohde, the Acorn sterling silver cutlery pattern represents the early foundation of Georg Jensens organic and timeless design language. In contrast to the Art Nouveau style of the early 1900s, Acorns design captures a classic, understated style where decoration is used to emphasise the form and shape. Regarded as both a sumptuous and noble pattern, Acorn at one time had 220 individual pieces. Todays range totals approximately 75 pieces and remains one of Georg Jensens most exclusive silver cutlery patterns. silverdrawer

读 更多的 较少的

13" Bing and Grondahl Snarling Tiger Figure by Lauritz Jensen. Great, realistic, scarce figure with no cracks, chips, crazing, or restorations. TW88

读 更多的 较少的

Emma Melendez Taxco modernist sterling silver onyx choker/bracelet. No issues, circa third quarter of the 20th century. 15" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. 6.25" bracelet 15" necklace. Listed with ExportYourStore.com

读 更多的 较少的

Lewis Lomay (1913-1996) Hopi Modernist sterling belt buckle with turquoise. Weight and measurements in pics. Wear as shown including some to stone and bezel. Lewis Lomay was born in 1913 on the Hopi Reservation and began his fine arts career during the 30‘s in Albuquerque, NM. He studied painting at the Indian School under Florence Prentiss. His skill and love of painting brought him to Santa Fe where he began to innovate the traditional "flat" style. These innovations did not suit his teachers, so from there he moved on to making jewelry. From this point on in his career, Lomay became one of the best jewelers of his time. He worked and studied with Frank Patania in Santa Fe. He worked in both silver and gold, letting his influences range from traditional to European. His work became known for its innovation, and he is noted for being a designer ahead of his time. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn‘t answered in this listing that we put so much effort into already :)<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn‘t an exact thing with handmade jewelry. I‘ve seen thousands of pieces xrf‘d to prove this. Bracelets are photographed on a 6" women‘s wrist.

读 更多的 较少的

大号 Matl 风格纯银绿松石紫水晶凸纹鸟吊坠/别针，马蒂尔德·波拉 (MAT-MAT​​ILDE POULAT) 和里卡多·萨拉斯 (RICARDO SALAS) 珠宝Matl 标记出现在墨西哥一些最美丽、最独特的珠宝上。 Matilde Eugenia Poulat 于 1934 年推出 MATL，自 1960 年去世以来，她的设计和技术一直由她的侄子 Ricardo Salas 继承。对于先生。萨拉斯能够用阿兹特克语（mark matl）背诵诗歌，它在纳瓦特尔语或阿兹特克语中表示水的单词 atl 中具有更大的意义。 作为一名年轻女性，玛蒂尔德·普拉特 (Matilde Poulat) 在墨西哥城著名的圣卡洛斯美术学院学习绘画，后来她在一所艺术学校教授绘画课程，直到她的兴趣完全转向白银。 Matilde Poulat 的珠宝和宗教人物设计是 1920 年代革命后墨西哥知识分子新文化愿景的一部分，艺术家们寻求墨西哥美学，拒绝欧洲主题，转而青睐征服前印第安人和墨西哥人的艺术。墨西哥普韦布洛人。斯拉。 Poulat 从 1932 年在阿尔班山发现的墨西哥黄金首饰中找到了灵感。她选择的鸽子、花朵和小铃铛图案让人想起当代墨西哥民间艺术的异想天开的主题。 1941 年，由于二战期间对 Matl 银的需求不断增加，银匠数量不断增加，Matilde Poulat 因她的珠宝而获得了国际认可。身高增加到三十三。 1950 年，Srta。普拉特和她的侄子在她家的一楼开设了一个陈列室，她也在那里开设了工作室。里卡多·萨拉斯 (Ricardo Salas) 回忆说，他们制作了三千种银首饰和一百种不同的宗教物品。 里卡多·萨拉斯从十一岁起就与他的姨妈密切合作。他说，当她看到他用自己制作的木偶表演时，她认识到了他的艺术天赋。萨拉斯先生被送往圣卡洛斯学院，在那里他获得了迭戈·里维拉奖。年轻时，他学习了银匠的技术，并完善了象牙、珊瑚、绿松石以及其他用于珠宝和雕像的宝石的雕刻。来自 sr。在萨拉看来，他和他的姨妈作为设计师的合作非常密切，他们的作品确实无法比较。 1955 年，威廉·斯普拉特林 (William Spratting) 如此评价 Matilde Poulat：“她继续制作墨西哥一些最迷人的本土珠宝，而且完全属于她自己。她的珠宝与乌鲁阿潘的旧漆器作品具有同样的魅力、令人愉悦的表面和色彩缤纷的品质。斯普拉特林对马特尔银器的钦佩反映了他对他们对墨西哥本土艺术的共同欣赏的认可。这种相互的灵感引导两位艺术家在同一媒介中走向不同的方向。丰富的金属银与普埃布拉教堂的内部相似，比如圣玛丽亚托南钦特拉教堂，印第安人用彩色和镀金的天使覆盖了圆顶的内部。在哑光银中，颜色的引入是通过珊瑚、绿松石和紫水晶石英来完成的。表面饰有金属丝，并饰有极其复杂的压花和凹凸（pl.XXIII-1、XXIII-10）。马蒂尔德·普拉特 (Matilde Poulat) 和里卡多·萨拉斯 (Ricardo Salas) 成功地将米斯特克人的艺术语言融入到珠宝和银制人物中，充满想象力、戏剧性和完全个人化的风格。

读 更多的 较少的

Antonio Pineda (1919-2009) Taxco Mixed metals horse head pin measurements in pics. Buying the exact item shown with no issues.  Sterling and copper.   Antonio Pineda (1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,large-scale mining can be dated to thesixteenth century, and silver is a way of life. In the years following the Mexican Revolution (1910–20), jewelry and other 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 in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a 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 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

读 更多的 较少的

Cel 复古 Matl 风格纯绿松石紫水晶和珊瑚项链/手链/耳环套装。出售所示套装没有任何问题，项链长 18.5 英寸，手链长 7.75 英寸，耳环长 1.5 英寸。70 年代或 80 年代的漂亮旧复古套装。没有明显损坏。总重 85.8 克。

读 更多的 较少的

6 3/8" Vintage Southwestern Modernist sterling cuff bracelet. Hallmarked as shown, I don't know who made this but it wasn't hobby silversmith. This was made by a master silversmith unknown to me, it's amazing. I have a Bisbee turquoisee earring and choker set by the same artisan from the same estate.All precious metals are tested and guaranteed,

读 更多的 较少的

sz6.75 Vintage Matl Sterling Turquoise and Amethyst ring. Weight and measurements in pics. No issues. MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl. As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexicos intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art. Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces. Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work. In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

读 更多的 较少的

c1940 Early Matl 930 silver cross pendant. Late 30‘s-early 40‘s. No issues, weight and measurements in pics. Selling pendant and giving necklace free with it. This isn‘t as big or fancy as some of the later crosses, but I believe it‘s rare if not one of a kind and likely made by Poulat herself. Also known by her jewelry studio name MATL, Matilde Poulat was a Mexican silversmith and jewelry designer. Best known for her exquisite and intricate necklaces, Matilde was an exceptional craftsman, fashioning handset pieces that alternate between opulent and ebullient. Poulats career took off when she launched her studio in 1934. Only a decade later she would set the tone for the rest of the industry, inspiring silversmiths in Mexico, California, and beyond to copy her designs. These pieces have come to be synonymous with the name MATL, even when they arent made by Poulat, often being described as Matl-esque. That said, there is only one Matilde Poulat and her pieces are ultimately un-copyable. Starting as a painter, Matilde brought much of her colorful aesthetic to the jewelry making business, coming up with designs that absolutely pop with fresh colors of the American Southwest and Mexico. Matl pieces were extremely popular during Poulats lifetime, and that demand has only increased as the years have gone by. These pieces of jewelry are considered extremely rare and many dont see the open market, making any upcoming Poulat auctions something to watch out for. Matilde Poulat was a Mexican jeweler and silversmith whose pieces were famed for their ornateness and their color. Best known for the work she did with her own studio, MATL, a Poulat necklace shows two things: perfect knowledge of silversmith craftsmanship and a whimsical, fun side to jewelry that to that point hadnt been explored. That whimsy made MATL an extremely popular brand during her lifetime. It was impossible to get a Poulat piece for many years. Utilizing opal, amethysts, and one-of-a-kind pyramidal designs, Poulat was able to create pieces that had never been thought of, let alone created, before by a jewelry maker. Her practice was continued by her nephew, Ricardo Salas, upon her death in 1960.

读 更多的 较少的

1950's Los Castillo Sterling chrysocolla inlay 14" choker and 7" bracelet, selling the set shown with no issues. Los Castillo Jewelry - HistoryAntonio Ca stillo and his brothers Jorge, Miguel, and Justo began Los Castillo in 1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments. Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

读 更多的 较少的

6.4" Brenna Klassen-Glanzer Machine Age modernist sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa first quarter of the 21st century. Very complex with articulating hinged pieces that can move back and forth. Amazing piece with no issues. Brenna is a second generation silversmith, born and raised in Minneapolis, MN. She‘s an avid traveler, adventurer and outdoor enthusiast. Her love of nature inspires much of her jewelry - drawing elements from interesting natural forms such as seeds, pods, coral and shells. Her work incorporates a variety of textures, combined metals and the use of fold forming and hollow-form construction techniques. It is a mixture of organic natural forms and modern design, which gives the pieces an untamed yet elegant quality. She strives to make voluminous, lightweight and contemporary jewelry. Silver and copper jewelry fabricated by using texture, fold forming and hollow form construction.

读 更多的 较少的

c1950‘s Frank Patania Sr southwestern modernist sterling silver lapis earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures, strong springs on clips. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

读 更多的 较少的

Vintage SG Initial High grade turquoise Elias sterling modernist belt buckle Solid sterling, no issues, circa 1970‘s. Weight and measurements in pics. I feel like this stone is worth more than I‘m asking for the buckle, not sure which mine it‘s from but it‘s a good one. I‘m not certain it‘s not high grade Bisbee. Marked or unmarked as shown in pics, weight and other measurements in pics. Older Native American jewelry is typically unmarked. If I call it Silver or Ingot I‘m guaranteeing it to be 90% or more silver. This isn‘t something I get confused about. 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.

读 更多的 较少的

6.5" 1950's Carmen Beckmann Modernist sterling and amethyst braceletCarmen 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.

读 更多的 较少的

重型 Monteros 现代主义墨西哥纯银和缟玛瑙项链 175.6 克。切开左边的石头，谨慎修复右边第二个石头。内周长约 14.5 英寸。

读 更多的 较少的

Niels Erik From Sterling Denmark MCM Atomoic Jewelry Set. Ring and bracelet sizes in pics. Hand and penny pics for scaleDanish jeweller and silversmith Niels Erik From ( N.E. From) was born in 1908 and opened his first workshop in 1931 when he was still only twenty-three .Over the next forty years Niels Erik went on to become one one of the greats of Danish design, and created many works including floral-inspired designs often set with semi-precious gemstones. These pieces took inspiration from the Skønvirke style. This was a Scandinavian development that formed part of Denmark’s Art Nouveau and Arts and Crafts movement . This movement ususally took inspiration from nature with designs incorporating flowers and floral motifs as well as featuring natural creatures such as fish.N.E. FROM JEWELLRY STYLES - EARLY FLORAL DESIGNS AND LATER ABSTRACT MODERNIST PIECES N.E. From’s output generally displays one of two distinct styles. In the early years of production he produced wiry, thin, foliage and floral pieces .However, beginning in the 1950's the work produced by From (which were often the designs of other designers) had a very different look. No longer does the jewellery feature romantic, detailed designs from nature. The later pieces have modernist, clean lines with geometric and abstract shapes. Occasionally the modern designs show nature as inspiration with abstract blossom and leaf and blossom shapes. In generally though, they follow the trend of the 1950s of , spare, minimalist design.production .

读 更多的 较少的

Large James Martin southwestern modernist sterling silver ranger belt buckle set. Tested and guaranteed solid sterling silver weight and measurements in pictures, circa last quarter of the 20th century. Fits a 1.5" belt.

读 更多的 较少的

Carl Allen Begay (1912-1972)  Navajo sterling and coral buckle on 30" belt. Belt is clean, fits a 29"-32" waist, 1.25" wide, Buckle 3 1/8" x 1.5". The belt is tied on, could obviously be replaced but don't want to mess with it in case it works for you. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn't answered in this listing that we put so much effort into already :)=  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. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

读 更多的 较少的

Frances Holmes Boothby modernist sterling silver abstract belt buckle. Fits up to a 1.25" belt. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional, with no issues. Circa third quarter of the 20th century. Frances Holmes Boothby (19192000) created unique modernist jewelry for nearly four decades, from the mid-1940s to the early 1980s. In addition to traditional modernist geometric and abstract designs, she made unique, whimsical pieces inspired by cartoons, including the Bird and Animal series. Working primarily in sterling silver, Frances sometimes used gold, brass, wood, resin, natural stones, pearls, and glass. She signed her pieces with the capital letters STERLING and the lowercase initials fhb. Undoubtedly, Frances Holmes Boothby made a significant contribution to the American wearable art movement through her exhibitions and teaching of jewelry making. For example, in 1948, she first presented her work at the Walker Art Center in Minneapolis. As early as 1955, she opened a studio in New York where she created her jewelry and taught jewelry making. According to 1958 newspaper ad, Frances Holmes Boothby exhibited her jewelry at New York State Fair. Later, Frances handcrafted jewelry in her Silver Workshop in Weston, Vermont, where she was active until the early 1980s. Frances Holmes Boothby died at the age of 80 in Sedona, Arizona. Made in limited quantities, today the artists works can be found both in the collections of lovers of modernist and vintage jewelry, and in national art galleries.

读 更多的 较少的

Antonio Pineda (1919-2009) Taxco Hammered silver leaf form bracelet, measurements in pics.  7" long with no issues. 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,<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

读 更多的 较少的

Frank Patania Sr Southwestern Modernist Sterling silver/turquoise clip earrings. Solid sterling silver with weight and measurements in pics. No issues. Strong springs on clips. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

读 更多的 较少的

Retro Robert Farrell Sterling sodalite post modernist bracelet 7" long bracelet, weight and measurements in pics. I believe these danglies were added by the last owner, it tooks great with them on but could be easily removed as the jump rings aren‘t soldered. I don‘t think the actual danglies are solid sterling. I don‘t believe the artist that made this bracelet would have used unsoldered jump rings as all of his work I have seen including this bracelet without the danglies is absolute perfection. One of the danglies is missing.I believe Robert made jewelry in the last quarter of the 20th century, I believe now his focus is Architectural sculptures which are fantastic. The quality of workmanship here is way above most studio jewelry in my opinion, I have a feeling it took him quite some time to creat each piece and that‘s why he went on to apply his skills in more lucrative forms.Awards and Honors (*Award)*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2024.*Best of Metal, Philadelphia Craft Show, 2023.*Award of Excellence, Ann Arbor Street Art Fair, 2023.*Second Place, Exhibitors Choice Award, Smithsonian Craft Show, 2023.*First Place, Exhibitors Choice Award, Smithsonian Craft Show, 2022. *Award of Excellence, Ann Arbor Street Art Fair, 2022.*First Place, St. Louis Art Fair, 2021.*Award of Excellence, Ann Arbor Street Art Fair, 2019.*Award of Distinction, Winter Park Sidewalk Art Festival, Winter Park, FL, 2019.*Director‘s Choice Award, American Craft Exposition, Chicago, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2018.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2018.*Award of Excellence, Ann Arbor Street Art Fair, 2017.*Best of Show, Smithsonian Craft Show, 2017.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2017.*Best of Show, Plaza Art Fair, Kansas City, 2016.*First Place, St. Louis Art Fair, 2016.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2016.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2016.*Exhibitor‘s Choice Award, Smithsonian Craft Show, 2016.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2016.*Best of Metal, The Philadelphia Craft Show, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2015.*First Place, St. Louis Art Fair, 2015.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2015.*Award of Excellence, Ann Arbor Street Art FairThe Original, 2015.*Best of Fine Craft, Art on the Square, Belleville, IL, 2015.*Best of Show, Artisphere, Greenville, SC, 2015*Morse Museum Award, Winter Park Sidewalk Art Festival, Winter Park, FL, 2015.*Award of Excellence, Plaza Art Fair, Kansas City, 2014.*First Place, St. Louis Art Fair, 2014.*Best of Show, The Domes Art Festival, Milwaukee, 2014*Award of Excellence, Ann Arbor Street Art FairThe Original, 2014.*Best of Fine Craft, Art on the Square, Belleville, IL, 2014.*Award of Excellence, Winter Park Sidewalk Art Festival, Winter Park, FL, 2014.*Best of 3-D Mixed Media, Uptown Art Fair, Minneapolis, 2013.*Award of Merit, Cherry Creek Art Festival, Denver, 2013.*Best of Fine Craft, Art on the Square, Belleville, IL, 2013.*Second Place, Winter Park Sidewalk Art Festival, Winter Park, FL, 2013.*Best of Show, Uptown Art Fair, Minneapolis, 2012.*Best of Fine Craft, Art on the Square, Belleville, IL, 2012.*Best of Show, Craft Art, St. Petersburg, 2011.*Second Place, St. Louis Art Fair, 2011.*Best of Show, Oconomowoc Arts Festival, Oconomowoc, WI, 2011.*Best of Show, Barrington Art Festival, North Chicago, 2011.*Best of Fine Craft, Art on the Square, Belleville, IL, 2011.*‘Excellence and Originality‘ (One of 10 equal awards), Ann Arbor Street Art Fair--The Original, 2010.*Best of Show, Palm Beach Fine Craft Show, 2009.*Award of Excellence, American Craft Council Show, Atlanta, 2009.*Purchase Award of Excellence, Coconut Grove Arts Festival, Miami, 2009.*Best Booth, American Craft Council Show, Sarasota, 2008.*Award of Excellence (One of 5 First Place awards), Craft Art, St. Petersburg, FL, 2008.*Best of Show, 3-D Exhibition, Venice Art Center, Venice, FL, 2008.*Museum Acquisition--Renwick Gallery, Smithsonian Institution, Awarded at the Smithsonian Craft Show, 2007.*First PlaceMetal, St. Louis Art Fair, 2006.*Best of Show, Washington Craft Show, 2004.*Jurors Award, Michael Monroe, St. Louis Art Fair, 2004.*Best of Metal, Philadelphia Craft Show, 2002.*First PlaceMetal, St. Louis Art Fair, 2002.*First PlaceMetal, Plaza Art Fair, Kansas City, 2002.*“Excellence and Originality (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 2001.*Best of Metal, Philadelphia Craft Show, 2000.*Best Presentation, St. Louis Art Fair, 1999.*Piece purchased for the collection of the St. Louis Art Fair, 1999.*First PlaceMetal, Sausalito Art Festival, 1999.*First PlaceMetal, Plaza Art Fair, 1999.*Excellence and Originality, (One of ten, equal awards), Ann Arbor Street Art FairThe Original, 1999.*First Place--Metal, St. Louis Art Fair, 1998.*First PlaceMetal, Plaza Art Fair, 1998.*First PlaceMetal, Sausalito Art Festival, 1998.Museum Purchase, Mint Museum of Art and Design, Charlotte, NC., 1998.*First PlaceMetal, Winter Park Art Festival, Winter Park, FL, 1997.*Third PlaceMetal, St. Louis Art Fair, 1997.*Award of Excellence, Plaza Art Fair, 1997.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1996.*First PlaceMetal, St. Louis Art Fair, 1995.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1995.*Award of Excellence, Plaza Art Fair, 1995.*First PlaceMetal, St. Louis Art Fair, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1994.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1994.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1994.*Best of Metal, American Craft Exposition, Evanston, IL, 1993.*Best of Show, Midwest Salute to the Masters, Fairview Heights, IL, 1993.*Second PlaceMetal, Cherry Creek Arts Festival, Denver, 1993.*Wisconsin Art Board Grant, 1992.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1992.*Second PlaceJewelry, Cherry Creek Arts Festival, Denver, 1992.*Award of Excellence, Midwest Salute to the Masters, Fairview Heights, IL, 1992.*Award of Merit, Coconut Grove Arts Festival, Miami, 1992.*First PlaceMetal, Cherry Creek Arts Festival, Denver, 1991.*First PlaceMetal, Midwest Salute to the Masters, Fairview Heights, IL, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1991.*Award of Excellence, Crafts National 25, PA State University, 1991.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1990.*Scholarship, Haystack Mountain School of Crafts, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1990.Design chosen for Fortunoff Silver Design Competition, New York, NY, 1989.Fellowship, Craft Department, Tyler School of Art, 1988.*Representative of Tyler School of Art, Philadelphia Craft Show, 1988.*Award Designer, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1987.*Award of Excellence, Lakefront Festival of Arts, Milwaukee, 1986.*First Place, Wisconsin Collegiate Showcase, 1986.Lectures, Public Speaking Engagements, Misc. Professional ActivitiesGuest Speaker/Visiting Artist, Cleveland Institute of Art, 2004.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1999.Juror, ACC Craft ShowsMetal, 1998.Guest Speaker, Tyler School of Art, 1997.Guest Speaker, Tyler School of Art, 1996.Demonstrator, Cherry Creek Arts Festival, 1996.Guest Speaker, Parker High School, Janesville, WI, 1996.Juror, 16th Annual Hoard Museum Art Show, Fort Atkinson, WI, 1996.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1995.Guest Speaker, Tyler School of Art, 1994.Gallery Task Force Member, University of Wisconsin-Whitewater, 1992.Guest Speaker, Tyler School of Art, 1991.Guest Speaker, Foster Gallery, University of Wisconsin-Eau Claire, 1991.Guest Speaker, University of Wisconsin-Madison, 1990.Guest Speaker/Visiting Artist, Cleveland Institute of Art, 1990.Guest Speaker, University of Wisconsin-Whitewater, 1990.Teaching Assistant, Haystack Mountain School of Crafts, 1990.Part-time Faculty, Tyler School of Art, 1989.Instructor, Saturday Metals Program, Tyler School of Art, 1988.Bibliography (*Reviews)Seymour Rabinovitch and Helen Clifford, Contemporary Silver: Commissioning, Designing, Collecting, Merrell Publishers Limited, 2000. pp. 20, 27, 56, 118-19.Paul J. Smith, General Editor, Objects for Use: Handmade by Design, Harry N. Abrams, Inc., Publishers, 2000. pp. 131, 148.*“The Commemorative Cup, American Craft, Ap/May 96, Vol. 56, No. 2, p. 53.*17th Annual Philadelphia Craft Show, Metalsmith, Spring 94, Vol. 14, No. 2, p. 47.“Portfolio, American Craft, Aug/Sep 92, Vol. 52, No. 4, p. 67.*SilverNew Forms and Expressions II, Metalsmith, Spring 91, Vol. 11, Nol. 2, p. 46.Alice Beamesderfer, Contemporary Philadelphia Artists: A Juried Exhibition catalog, Philadelphia Museum of Art, 1990. pp. 68, 141.*Honoring Something Ordinary, Metalsmith, Summer 89, Vol. 9, No. 3, p. 21.*All That Glitters, Metalsmith, Winter 87, Vol. 7, No. 1, p. 49.*Jewelry Show Sparkles at Art Museum, The Milwaukee Journal, July, 1986Juried Retail ShowsSmithsonian Craft Show, Washington, D.C. 1995, 99, 00, 02, 03, 04, 06, 07, 08, 10, 15, 16, 17, 18, 19, 22, 23, 24.Philadelphia Museum of Art Craft Show. 1989, 90, 91, 92, 93, 94, 95, 96, 97, 99, 00, 01, 02, 03, 05, 06. 07, 08, 09, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24.Washington Craft Show, Washington, D.C. 1991, 94, 02, 03, 04, 05, 06, 07, 08, 09, 10, 12, 13, 14.Sausalito Art Festival. 1998, 99, 00.St. Louis Art Fair. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 07, 09, 11, 12, 13. 14, 15, 16, 21.Ann Arbor Street Art FairThe Original. 1994, 95, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06. 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 21, 23, 24.Plaza Art Fair, Kansas City. 1995, 96, 97, 98, 99, 00, 01, 02, 03, 04, 05, 06, 10, 11, 12, 13, 14, 15, 16.Palm Beach Fine Craft Show. 2004, 05, 06, 08, 09, 10, 11, 12, 13, 14, 15, 16.Craft Art, St. Petersburg, FL. 2008, 09, 11.ACC Craft ShowBaltimore. 1993, 94, 95, 96, 97, 98, 99.Coconut Grove Art Festival, Miami. 1992, 93, 94, 95, 96, 97, 98, 02, 09, 10.American Craft Exposition, Evanston, IL. 1991, 92, 93, 94, 95, 96, 97, 98, 99, 00, 07, 08, 17, 18, 19, 20, 21.Cherry Creek Arts Festival, Denver. 1991, 92, 93, 94, 95, 96, 97, 98, 12, 13. 14, 16, 19.Lakefront Festival of Arts, Milwaukee. 1987, 90, 91, 92, 93, 94.ACC Craft ShowAtlanta. 1991, 94, 95, 97, 99, 09.ACC Craft ShowSarasota. 1993, 94, 05, 06, 08.Gasparilla Art Festival, Tampa. 1992, 05.EducationMaster of Fine ArtsMetal and Jewelry Emphasis. Temple University, Tyler School of Art, Philadelphia, 1989.Bachelor of ArtsStudio Art. University of WisconsinWhitewater, Summa Cum Laude. 1987.Bachelor of ArtsEnglish. University of WisconsinWhitewater, Summa Cum Laude. 1987.

读 更多的 较少的

Kee Nez Navajo Modernist sterling feather pin with high grade coral. Solid sterling, weight and measurements in pics. Navajo silversmith, Kee Nez, is a member of the Many-Goats clan and is from an artistic family. His mother is a rug weaver and his grandfather was a silversmith, but he credits his award-winning brother, Al Nez, with influencing his style. Kee uses 14K gold and sterling silver to create his stunning handcrafted surface design on bolas, rings, pendants, and earrings. He often uses sandcasting techniques to produce each item and many times uses the finest American turquoise or richly colored coral as a focal point on the piece. Kee was featured in Arizona Highways in the article “A New Generation of Indian Artists and has several pieces showcased in the books, Enduring Traditions and Navajo Indian Jewelry by Jerry and Lois Jacka. He has garnered numerous awards at Gallup, New Mexicos Annual Intertribal Ceremonial.

读 更多的 较少的

Large Michael Mendoza Native American modernist sterling pendant turquoise. No issues, very well made with high grade natural American turquoise. Weight and measurements in pics. All precious metals are tested and guaranteed,

读 更多的 较少的

Large 1970‘s Brutalist Sterling Modernist pendant with Chrysoberyl Cat‘s eye stone. Dated 1973 with other illegible hallmarks. No issues, weight and measurements in pics. I know nothing about this piece other than it‘s 50 years old, solid sterling, most likely American made and fantastic. 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.

读 更多的 较少的

Fred Davis (1880-1961) Taxco Modernist sterling cufflinks 30mm x 11mm x 20.9<br>grams.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.

读 更多的 较少的

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

读 更多的 较少的

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

读 更多的 较少的

William Spratling(1900-1967) Taxco Modernist sterling Frog in pool cufflinks,<br>fully functional with no issues. 16mm x 12mm x 16.5 grams. William<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

读 更多的 较少的