帽針和胸針

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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.

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

Sadie & Morris Laahte Zuni Silver Multi-Stone Channel inlay pendant/pin 1 5/8" wide x 14.6 grams with no issues. grams with no issues.Zuni Pueblo artists Sadie and Morris Laahte are a husband-wife team that are well known for their precise channel and mosaic inlay work in jewelry making. They started making jewelry together in the 1970s.One of their favorite designs is the well-known and respected Zuni Sunface. The Sunface is an ancient symbol in Zuni culture. It represents the sacred Sun Father. The Zuni people honor the Sun's vital role in changing seasons and successful crops, recognizing that the warmth of the sun sustains life, enables growth, and brings joy and prosperity. The round motif of the symbol depicts the Sun with a forehead split down the middle to reflect the infinite balance between sunrise and sunset. Rectangular eyes and a round mouth complete the face, and the whole is encircled by feathers that radiate outward like sunlight. Source: Indian Pueblo Cultural CenterMarked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration!All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

讀 更多的 較少的

Sajen Sterling multi-stone pendant/pin 1 7/8" with no issues. anderas

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

Felicita Eustace Cochiti (1927-2016) Silver and carved turquoise pin. Gorgeous<br>with no issues, extremely high grade natural American turquoise. Marked or<br>unmarked as shown in pics, weight and other measurements in pics. Sorry but my<br>jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>Felicita was born in 1927 and raised at Cochiti Pueblo. She learned to make<br>traditional pottery and storytellers from her parents. After her marriage during<br>the World War II years, she moved to her husband Ben’s home in Zuni. Ben taught<br>her some basics of jewelry-making. She sold her first ring to legendary Zuni<br>trader C.G. Wallace. Over the years she become and accomplished jeweler in her<br>own right, while developing a large following for her pottery and storytellers.<br>“There are always more orders for my claywork than there’s time to do them,” she<br>said.<br><br>The Eustaces show strong respect for the materials and time-honored processes of<br>their art. Felicita still makes her storytellers the traditional way. Her<br>jewelry features an old family design copyrighted in the early 1960s: a domed,<br>natural leave motif in sterling silver alongside a carved, bezeled and polished<br>turquoise stone. Felicita and Ben have passed their respect for quality on to<br>their 13 children, many of whom create their own pottery and jewelry.<br><br>Daughter Bernadette Eustace says, “My parents told us that if we were going to<br>do jewelry at all, we would have to do it their way, the right way. It wasn’t<br>the designs they were talking about, it was the technical aspects of our work:<br>setting stones, welds, engravings and so on. They were the ones who would be<br>selling these items for us, so they would make sure that a certain standard of<br>quality was being met.”<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

讀 更多的 較少的

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

讀 更多的 較少的

Henry Steig (1906-1973) 中世紀現代主義純銀別針 (2)。 出售兩枚獨一無二的別針，均帶有簽名，是 Henry Steig 珠寶重要收藏的一部分，是在 50 年代至 60 年代直接從他那裡購買的，我很幸運能夠提供。 紫水晶 2.75 英吋 x .75吋珍珠2號。75 英吋 x 5/8 英吋 19.總重2克。 Jules Brenner 和 Henry Steig 是紐約中世紀工作室珠寶商中的佼佼者，他們手工製作可佩戴的藝術品，頌揚前衛，拒絕傳統珠寶形式，並吸引知識分子和自由派中產階級 朱爾斯·布倫納出生於布朗克斯，在華盛頓高地長大，師從斯特拉·阿德勒學習表演，並在格林威治村學習繪畫和雕塑。 亨利·斯泰格（Henry Steig，又名亨利·安東）曾就讀於城市學院和國家設計學院，並開始了他作為紐約市爵士音樂家、作家、小說家、漫畫家和畫家的職業生涯。 1950 年代，布倫納和斯泰格在曼哈頓和馬薩諸塞州普羅溫斯敦（當時是著名藝術家的飛地）經營商店和工作室，在那裡出售手工製作的銀和金設計，這些設計通常強調生物形態、超現實主義、立體主義和幾何形式。大家都知道電影《七年之癢》中的著名畫面，瑪麗蓮夢露站在紐約人行道上，她的裙子被下面地鐵格柵的上升氣流吹起。 然而，並不是所有人都知道，此時她正站在列剋星敦大道 590 號亨利·斯泰格 (Henry Steig) 的珠寶店前。亨利‧史泰格 (Henry Steig) 是一位多才多藝的人。 在成為珠寶商之前，他是一位爵士音樂家、畫家、雕塑家、商業藝術家、漫畫家、攝影師、短篇小說作家和小說家。「亨利是一位文藝復興時期的人，」《紐約客》漫畫家米莎·里克特(Mischa Richter) 說道，他是施泰格的好朋友，也是普羅溫斯敦的鄰居。Henry Anion Steig 於 1906 年 2 月 19 日出生於紐約市。 他的父母約瑟夫和勞拉在世紀之交從利沃夫（德語稱為倫貝格）來到美國，當時利沃夫位於奧匈帝國的波蘭港口。 約瑟夫是一名房屋油漆工，勞拉是一名裁縫師。他們有四個兒子：歐文、亨利、威廉和亞瑟，他們多才多藝、才華橫溢、富有藝術天賦。 威廉史泰格（William Steig）是著名的《紐約客》漫畫家和兒童讀物作家兼插畫家。 歐文是《紐約客》的短篇小說作家。 亞瑟是一位畫家和詩人，他的詩作發表在《新共和》和《詩歌》雜誌。William Steig 回憶道：「我的父親和母親在兒子長大後都開始指點並成為展覽藝術家。1945 年 5 月 14 日，《新聞周刊》雜誌發表了一篇關於在新藝術圈畫廊舉辦的展覽的文章，「可能是藝術街（第 57 街）的第一場家庭展覽」。 它被稱為“八位表演史泰格，藝術家全部。”其中包括約瑟夫和勞拉·斯泰格的畫作；威廉的繪畫和雕塑以及他的妻子麗莎的畫作；亞瑟和他的妻子奧羅拉的畫作；以及亨利的照片和他的妻子咪咪的畫作。 唯一沒有包括在內的兄弟是歐文，“唯一不墨守成規的施泰格”，當時他在康涅狄格州一家肥皂製造商擔任廣告經理。在文章中，「兄弟倆將家族中眾多優秀藝術家歸因於我們都喜歡彼此的作品…對此感到興奮。 每當有人開始時，他們都會得到很多鼓勵。 約瑟夫‧斯泰格補充說：「繪畫是一種具有感染力的東西。 如果您生活在我們的環境中，您可能會指出。'"Henry Steig 在這種非凡的環境中長大。 這家人住在布朗克斯。 高中畢業後，Henry Steig 進入城市學院 (CCNY)。 三年後，他前往國家設計學院學習繪畫和雕塑。 他也是一位多才多藝的音樂家，演奏薩克斯風、小提琴和古典吉他，在大學期間，他開始擔任爵士音樂家。 大約從 1922 年（當時年僅 16 歲）開始，直到 1932 年，他與當地舞蹈樂隊一起演奏簧片樂器。在國家學院學習四年後，Steig 成為商業藝術家和漫畫家。 他在自己的漫畫上署名“亨利·安東”，因為他的兄弟威廉同時也是一名漫畫家，為許多相同的雜誌工作。 大約從1932年到1936年，亨利·安東的漫畫出現在《生活》、《法官》、《紐約客》等雜誌上。Steig 於 1935 年開始寫作生涯，一直持續到 1947 年左右。 他作為短篇小說作家非常成功且廣為人知，他的故事定期出現在《週六晚郵報》、《紐約客》、《時尚先生》、《高力報》等雜誌上。 它們通常是關於爵士樂和爵士樂音樂家的幽默故事，他們在蓬勃發展的二十年代音樂世界中佔據一席之地。 其他故事是關於他在布朗克斯的童年。 他也撰寫非小說類雜誌文章，包括《紐約客》對班尼古德蒙的簡介和爵士樂評論。 他的幾篇非小說類文章由威廉史泰格 (William Steig) 繪製插圖。1941 年，阿爾弗雷德 A. 克諾夫出版了亨利‧史泰格的小說《送我下來》。 這個故事以絕對現實主義的方式講述，講述了兩兄弟在二十多歲時成為爵士音樂家的故事。 史泰格在書封皮上寫道：「《送我下來》的大部分材料都是在我作為爵士音樂家與當地爵士樂隊、歌舞雜耍和舞廳巡演活動中的巡迴團體一起演奏時收集的。 雖然我作為一個音樂家只是二流，但我從內部了解我的主題，我相信我是第一個根據個人實際經歷寫爵士樂故事的人。「他的兒子麥可回憶說，當時有人有興趣將這本書拍成電影。 「我父親告訴我約翰·加菲爾德想扮演主角。「Steig 確實於 1941 年前往好萊塢，簽訂了編劇合約。 他將與詞曲作者約翰尼·默瑟合作。 12月7日珍珠港事件後，他返回紐約。 「無論如何，他無疑會回來，」邁克爾·施泰格說。 「他對經紀人為他談判的合約並不滿意。」 米莎·里克特 (Mischa Richter) 表示，「亨利對好萊塢非常不以為然。」

讀 更多的 較少的

復古暹羅純銀琺瑯龍舟和舞者別針。兩件都賣了，沒有明顯損壞。舞者高 2 3/8 英寸，船長 2.5 英寸，總重 15.6 克。

讀 更多的 較少的

2 個復古純銀輪廓吊墜/別針，均為 1.5 英寸高，一個吊墜，一個別針。一個英國的，另一個可能是斯堪的納維亞的。總重 18.3 克。

讀 更多的 較少的

Gary 和 Paulinus Vacit Zuni 彩虹舞者吊墜/別針 1 5/8 英吋 x 1 英吋 x 6.5 克。 所有貴金屬均經過測試和保證，任何被稱為銀或純銀的美洲原住民珠寶均保證至少含有 90%（硬幣）銀，甚至可能更高。任何標記的內容都保證與其標記的一致，大多數手鐲都是在6 英寸的手腕（無毛）上拍攝的，戒指則盡可能在適當尺寸的手指上拍攝。對於手鐲，如果描述中未給出尺寸，則顯示內週長金屬與布捲尺上的數字相符的地方。

讀 更多的 較少的

大號古董 14k 硬石浮雕瑪瑙吊墜/胸針高 43 毫米，不含旋轉吊墜環 x 35 毫米寬 x 21.6 克。沒有可偵測到的標記，經過測試（多個點）並保證為純 14k 金。大約 1870 年的完全手工雕刻瑪瑙浮雕。

讀 更多的 較少的

1930 年代至 1940 年代塔斯科墨西哥銀雕刻縝瑪瑙阿茲特克武士別針 2 1/8 英寸 x 1 3/8 英寸 x 30.2 克，無損壞，輕微磨損。

讀 更多的 較少的

1960 年Orb 世紀中葉現代胸針奧托·羅伯特·巴德3 英寸寬，無彎曲或凹痕。奧托·R.巴德自學成才的銀匠，其根源源於內布拉斯加州的一個農場。奧托，曾訪問過1940年，他的祖父參觀世界博覽會，意識到自己不想再追求農民的生活，於是，1941年，他前往紐約尋找自己的未來，他只回答了一則招聘廣告，就參加了面試。弗蘭克(Francisco) Rebajes 解釋說，他正在尋找人來拿走他工作室的藝術品並提高生產能力。他對奧托說“看看你能做什麼” ，並將他最喜歡的一件作品“Ubangi Face”交給了奧托。一天結束時，弗蘭克感到很驚訝。奧托創造了一些夾具和批量生產弗蘭克藝術的流程。奧托僅用一天時間就製作了一百個完美的烏班吉臉雕刻別針。弗蘭克當時就知道，他的夢想是為人們提供可穿戴藝術弗蘭克·雷巴耶斯(Frank Rebajes) 被認為是銅首飾和工藝品藝術的第一位大師，而奧托(Otto) 則是確保設計巧妙、精湛製作的工頭。更重要的是，Frank 和Otto 建立了終生的友誼。Rebajes Wearable Art 是20 世紀40 年代和50 年代的頂級珠寶生產商之一，在全國數百家頂級商店銷售該系列產品。擁有數十年銀匠技藝的奧托 (Otto) 離開了公司，並於 1958 年創辦了自己的企業“Orb Originals”，並取得了巨大成功。 1960 年，弗蘭克將Rebajes 的名稱和業務賣給了奧托，並搬到了西班牙，在那裡他回到了小工作室工作和“莫比烏斯”的科學研究。隨著奧託業務的成長，他增加了車間、機械，以及 Rebajes 的目錄設計。生意一直持續成長，進展順利，直到 1981 年，奧托被劫持並遭到手槍猛烈鞭打，生命垂危。經過長時間的傷勢恢復後，Otto 和他的妻子 Dae 搬到了賓夕法尼亞州紐霍普。Orb Silvermiths 至今仍是賓夕法尼亞州紐霍普社區的重要組成部分。奧托現在已經九十多歲了，他仍然在確保 Rebajes 標誌繼承傳統和工藝方面發揮了重要作用，這些傳統和工藝使 Rebajes 的名字如此著名並在八十多年來受到追捧。

讀 更多的 較少的

復古納瓦霍銀和綠松石簇別針` 1 5/8" 寬，11.9 克，沒有問題。 保證至少含90%（硬幣）銀，含量可能更高。任何標記的東西都保證是根據其標記，大多數手鐲都是在 6 英寸的手腕（無毛）上拍攝的，戒指則盡可能在適當尺寸的手指上拍攝。對於手鐲，如果描述中未給出尺寸，則顯示金屬與布捲尺上數字相符的內週長。

讀 更多的 較少的

大號 c1930 納瓦霍銀和綠松石簇別針 2.5 英寸寬 x 2.25 英寸高，天然綠松石，橢圓形別針.. 21.3 克，沒有問題。 保證至少含有 90%（硬幣）銀，且含量可能更高。任何標記的內容都保證與其標記的一致，大多數手鐲都是在6 英寸的手腕（無毛）上拍攝的，戒指則盡可能在適當尺寸的手指上拍攝。對於手鐲，如果描述中未給出尺寸，則顯示內週長金屬與布捲尺上的數字相符的地方。

讀 更多的 較少的

大號古董 14k 硬石浮雕褐紅瑪瑙胸針。非常高的浮雕，非常精美的浮雕，背面有簽名。 2.25 英吋高 x 1 5/8 英吋寬 33.5 克。經過標記和測試的 14k 金。

讀 更多的 較少的

4 個有趣的復古純銀和石頭別針。都是20世紀中後期的，都是英鎊的。最大的 3.5 英寸 x 1 5/8 英寸，總重 56.8 克。

讀 更多的 較少的

復古美洲原住民純銀帽針系列。出售所示的 5 個，全部為高含量純銀，帶有各種寶石/貝殼。佐姆祖尼（Zome Zuni），一些納瓦霍人。時間可以追溯到20世紀中後期。最大 2.25 英寸 x 1 1/8 英寸，真人大小的手秤。總重41.4公克。

讀 更多的 較少的

Valerie & Benny Aldrich 純銀嵌花鑲嵌帽子別針2.75" x 1 3/8" x 20.4 克。Benny 和Valerie Aldrich 和他們的四名員工坐落在科羅拉多州杜蘭戈的山區，他們保持著一個共同的目標：和諧與平衡地運作，為自己和他人創造完美和愛的表達。利用大地和海洋的元素，他們的藝術作品代代相傳，創造出具有無與倫比美麗的獨特傳家寶的珠寶。Aldrich 的嵌花鑲嵌風格將舊世界風格與新世界風格相結合。鮮豔的色彩和工藝。從大地色調到極致的微光和閃光，這款珠寶讓您想起大自然的蝴蝶和蜂鳥。Valerie 將鮮豔的色彩與Benny 的金銀鍛造專業知識相結合，巧妙地結合在一起； Aldrich 家族是 1970 年代初將刻面寶石融入西南風格珠寶的先驅。他們是第一批將刺牡蠣和紫驢殼重新引入蓬勃發展的產業的人之一。他們與世界各地的礦工和進口商的關係對於獲得他們聞名的絢麗色彩至關重要。這是超過 45 年尋找寶石和礦物展覽的結果。所有貴金屬都經過測試並保證，任何被稱為銀或純銀的美洲原住民珠寶保證至少 90%（硬幣） ）銀，含量可能更高。大多數袖口手鐲都是在 6 英寸的女性手腕上拍攝的，並附有一張照片，顯示金屬尖端與捲尺上的數字相交處的內週長。

讀 更多的 較少的

復古Zuni 雕刻綠松石串帽針40 毫米寬，12.2 克。所有貴金屬均經過測試並保證，任何稱為銀或純銀的美洲原住民珠寶保證至少含有90%（硬幣）銀，並且可能含量更高。大多數袖口手鐲都是在 6 英寸的女性手腕上拍攝的，並附有一張照片，顯示金屬尖端與捲尺上的數字相交處的內週長。

讀 更多的 較少的

大型復古現代主義純銀別針系列。這三個都是高品質的，但左上角確實是高品質的，是最好的。尺寸為 3 5/8 英寸 x 2 1/8 英寸，總重 91.9 克（3 件在一起），均為三英鎊。

讀 更多的 較少的

c1910 古董鑽石 10k 琺瑯花別針 1 5/8" x 1" x 5.5 克，沒有明顯問題，花瓣尖端的琺瑯略有磨損。未標記，經過酸測試，在 10k 時保持牢固，在 14k 時稍微褪色，因此可能在中間的某個位置。

讀 更多的 較少的