1950s Margot de Taxco Sterling Silver Spiral Necklace, Model 5357

A striking mixed-metal modernist necklace designed and handcrafted in Mexico in the 1960s by the renowned jewelry studio Taller Maya. This bold and sculptural piece showcases the studio’s signature use of hammered brass, copper, and patinated detailing, arranged in an interconnected geometric chain supporting a large circular pendant with richly textured, multi-tonal hammered surfaces. The necklace features alternating hammered links, copper accent rings, and round decorative medallions, all connected with Taller Maya’s characteristic hand-forged techniques. The large pendant—layered with concentric hammered textures—creates a dramatic focal point that embodies the expressive and culturally rooted aesthetic for which the studio is celebrated. The piece retains its original hallmark: “Maya” and “Mexico” Measurement: Length: 16.50 in (41.9 cm) This necklace is an excellent example of mid-20th-century Mexican modernist jewelry...

Rare and collectible multi-bead ceramic necklace by celebrated African-American ceramicist Doyle Lane (1925–2002). This striking piece, unworn and from the artist’s estate, features ...

A striking and highly collectible Pre-Hispanic–style necklace designed and manufactured in Mexico in the 1950s by the renowned workshop Metales Casados. Crafted in a sophisticated blend of copper, brass, and silver accents, the pendant features a dynamic figural motif inspired by ancient Mesoamerican iconography, enriched with shimmering crushed emerald inlay. The handcrafted chain showcases bold geometric links characteristic of mid-century Mexican design, while the large pendant combines layered metals and stone inlay with remarkable precision. The piece embodies the signature style of Metales Casados, known for their fusion of contrasting metals (“metals married together”) and their deep appreciation for Indigenous aesthetics. The necklace retains its full hallmark: “Metales Casados, Hecho en México.” A superb addition for collectors of Mexican modernist jewelry...

Exceptional pair of Agave Collection serving utensils by Emilia Castillo, one of Mexico’s most celebrated contemporary silversmiths. Each piece is masterfully handcrafted in solid br...

An impressive traditional Miao silver pectoral necklace, hand-forged from coiled silver wire with a large central spiral medallion. The rigid collar form is composed of thick, tightl...

Miao Tribe Silver Torque Necklace Mounted on Custom Metal Stand An exceptional Miao Tribe silver torque necklace, composed of eight crescent-sh...

Mary Ann Scherr designed this modernist neckpiece as part of the Signature V Collection in 1975 for Reed and Barton. In addition to Mary Ann Scherr's works, the collection included pieces by Arline Fisch, Glenda Arentzen...

A bespoken sterling silver necklace with five roundel bell shape of gradual sizes linked by joint chains, designed and made by Graziella Laffi (1923-2009), Lima, Peru, circa 1965. The subtly hammered roundels evoke a sense of history with the form found in pre-Columbian culture, yet the necklace appears beyond ethnic, it exuberates a confident and bold modernism. The necklace with Peruvian Cultural Ministry label to verso. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...