• Mexican Silver

    BY KARLA KLEIN ALBERTSON

Hector Aguilar designed a group of floral brooches. This silver blossom pin on arched stem signed with initials “HA,” “Taxco,” and “990,” circa 1940. Courtesy Cincinnati Art Galleries.

Beginning in the 1930s, silver workshops clustered in the mining town of Taxco spearheaded a revival in this traditional craft in Mexico.

At the same time, the artists and artisans working there took a new direction in design that mixed age-old motifs from native cultures with 20th-century Modernism. The objects and jewelry they produced have become extremely popular with discerning collectors. Each piece provides a hands-on aesthetic appeal when used or worn. In other words, this silver makes daily life a little more beautiful.

Hector Aguilar designed a group of floral brooches. This silver blossom pin on arched stem signed with initials HA, Taxco, and 990, circa 1940. Courtesy Cincinnati Art Galleries.

Mexican silver dinner bell, circa 1960, marked ‘William Spratling, Taxco Mexico.’ Heritage Auctions image

Cincinnati Art Galleries offered in 2009 a large group of Mexican silver at auction, many of the pieces from a single collection. Karen Singleton, normally the firm’s art glass expert, explained, “This was the first time we had a round of Mexican silver. I accepted the lots because I keep telling them that we could sell more than pottery and glass.” The pieces were signed by many important makers in this field including William Spratling, Frederick Davis, Hector Aguilar, Los Castillo, and Margot de Taxco.

Part of the sale was devoted to hollow ware of silver and mixed metals, including a teapot, coffee pot and chocolate pot by Spratling. There was also a selection of jewelry, some set with Mexican amethyst, malachite, and onyx. Singleton told Style Century Magazine, “I appreciate the jewelry. I put some of the necklaces on and was amazed how comfortable and light they were…They contoured themselves to the body.”

Any story of modern Mexican silver begins with the biography of artist and author William Spratling (1900-1967), who served as a catalyst for the industry’s revival. Born in New York state, he was an associate professor of architecture during the 1920s at Tulane University in New Orleans, where he shared a French Quarter apartment with author William Faulkner. He first traveled to Mexico to study architecture, then became enchanted with Taxco, and moved there in 1929.

Large silver bracelet with malachite stones, marked Spratling Made in Mexico. Courtesy Treadway Gallery.

Large silver bracelet with malachite stones, marked Spratling Made in Mexico. Courtesy Treadway Gallery.

Drawn by the inspirational scenery and post-revolutionary spirit of the country, many artists and writers lived and worked south of the border. Spratling met American writer Hart Crane, who finished one of his last great poems in Taxco, and became friends with Mexican muralist Diego Rivera, for whom he organized an exhibition in New York.

Looking for a way to support himself as an expatriate artist, Spratling noted the city’s silver-mining history (see sidebar) and opened a workshop, the Taller de las Delicias [Factory of Delights]. He would later write: “Nineteen-thirty-one was a notable year in modern Mexican silversmithing. A young silversmith from Iguala named Artemio Navarrete went to Taxco to work for a small silver shop, founded with the germ of an idea, where Artemio, as a nucleus, began to form silversmiths. The present writer, encouraged by his friends Moises Saenz, Dwight Morrow and Diego Rivera, had set up that little shop called ‘Las Delicias.’”

The major authority on Spratling’s work is Penny Chittim Morrill, Ph.D., who co-authored Mexican Silver: 20th Century Hand-wrought Jewelry & Silver with art dealer Carole Berk. Morrill served as Guest Curator for the 2002 traveling exhibition William Spratling and the Mexican Silver Renaissance: Maestros de Plata, organized by the San Diego Museum of Art.

In her catalog essay, Morrill wrote, “In establishing silver as an artistic medium, what Spratling achieved was a delicate balance, a synthesis of abstract tendencies in the existent folk art tradition and in contemporary fine art, resulting in a visualization of concepts and ideas. As importantly, the Taller de las Delicias, became the paradigm for other silver designers to follow. Las Delicias was a community in which imagination and innovation were fostered and encouraged as the men learned the art of silversmithing while producing for profit. In the hierarchy of the workshop, these silversmiths advanced according to their ability, enthusiasm, and technical expertise.”

Not all Mexican silver was marked by the maker. This 4 3/8-inch-wide silver cuff bracelet with a traditional feathered-serpent pattern is stamped 950 for the silver content. Courtesy Cincinnati Art Galleries.

Not all Mexican silver was marked by the maker. This 4 3/8-inch-wide silver cuff bracelet with a traditional feathered-serpent pattern is stamped 950 for the silver content. Courtesy Cincinnati Art Galleries.

Many alumni of Spratling’s workshop eventually “graduated” to set up shop on their own. Antonio Castillo, who became a master silversmith there, left in 1939 with his brothers to establish their own successful taller and shop, Los Castillo, on the Plazuela Bernal. Hector Aguilar, who had managed Spratling’s shop, also left in 1939 taking a number of silversmiths with him to found the Taller Borda.

One of the most important silversmiths from an artistic standpoint, Taxco native Antonio Pineda began his career studying painting at the Open Air School of Taxco, established by Japanese artist Tamichi Kitagawa who lived with his family. After further studies in popular arts and sculpture, he worked as an assistant in Spratling’s workshop and opened his own studio in 1941. A 1944 exhibition in San Francisco led to an early commercial coup, when his entire presentation of 80 objects was purchased by Gump’s, a prestigious northern California store.

Although he was born into the artistic tradition of Mexico, some of his most successful works of hollowware and jewelry are modernist, even futurist in concept. Examine the sculptural shapes of the circa-1960 tea service design, illustrated here as a set which sold in a 2005 Sotheby’s Modernism auction for $39,000. Morrill and Berk commented on this design in Mexican Silver: “Antonio Pineda has molded and manipulated the material to effectively convey an aesthetic idea. The sugar and creamer and tea pot are no longer simply utilitarian vessels, but have taken on the qualities of works of art.”

Any story of modern Mexican silver begins with the biography of artist and author William Spratling (1900-1967), who served as a catalyst for the industry’s revival.

Most of the silver sought by collectors today was produced during the 1940s, 1950s, and 1960s. Spratling continued designing jewelry and serving pieces until his death in a car accident near Taxco in 1967. Books, such as the references mentioned above, are extremely useful because success bred many imitators; popular designs were quickly copied by competitors.

The Taxco output ranges from the dramatic silver necklaces and cuff bracelets of great weight made by Spratling’s workshop to less interesting trinkets made for tourists. Many travelers stopped at the silversmithing town, just off the main road from Mexico City to Acapulco. Pieces they brought back with them turn up at auctions and antique shows throughout the United States. Evaluating the quality and value of vintage Mexican silver takes considerable study. Sterling – 925 parts silver in a thousand – is the standard, but pieces in higher grade silver were made and may be stamped “980” or even “990”.

Mexican silversmiths produced tableware for all aesthetic tastes. This pair of sterling silver candelabra in traditional style (height 20 inches, weight 184 troy ounces). Courtesy Cincinnati Art Galleries.

Mexican silversmiths produced tableware for all aesthetic tastes. This pair of sterling silver candelabra in traditional style (height 20 inches, weight 184 troy ounces). Courtesy Cincinnati Art Galleries.

Penny Morrill said at the time of the Spratling exhibition, “You have to envision this market that was created by Spratling; he created opportunity for thousands. At any one time, there were so many silversmiths working in Taxco itself and a number working in Guadalajara and Mexico City marking their pieces ‘Taxco.’ They were sending their stuff to Taxco because they knew that was where people were buying.”

Morrill noted that even works by unknown makers can have merit: “A lot of the material is in 980 silver, a lot of it is interesting, you put it on, and it makes this incredible statement. I tell people over and over again, if you like it, wear it. If it costs $150, go for it, if it makes you crazy. It may be that one stellar moment when this little silversmith had a wonderful idea.”

Kevin Tierney, head of the silver department at Sotheby’s in New York, has a great admiration for the best Mexican designers and their creations, which have made some memorable appearances in his auctions. In May 2005, for example, the firm sold an example a 1960s Spratling design, a five-piece tea and coffee service ornamented with jaguar finials on a tray for $24,000, and a 1950s set of silver flatware with rosewood handles by Hector Aguilar for $11,400.

In an interview with SCM, Tierney said of Spratling, “He woke them up, he combined American know-how with an appreciation of their cultural history. They had the silver, and he provided employment for artisans who needed it. I love the mix – a bit of European style with the motifs of Mexico enhanced by their superb ability to handcraft the silver.”

karlakleinalbertsonAbout Karla Klein Albertson

Karla Klein Albertson focuses on the decorative arts, from excavated antiquities to contemporary pop-culture icons. She currently writes the Ceramics Collector column and exhibition features for Auction Central News, covers shows and auctions for the Maine Antique Digest, and authors the Antiques column in The Philadelphia Inquirer. She holds a master’s degree in classical archaeology from Bryn Mawr College.