Mexican Mid-Century Modern Victoria De Taxco Copper and Silver Plate Coffee Set

A 1970's Mexican Mid-Century Modern valet stand. The lineal design features an upper deposit for watch and cufflinks. The brass and silver plate combination resembles works by Arturo...

A nice Mexican Mid-Century Modern copper sheet jewel box in shape of a chest. The embossed designs show acanthus leaves and a rosette. The jewel box's interior and removable tray ...

A 1950's Sterling silver choker with prehispanic design by American designer Frederick "Fred" Davis. Manufactured in Taxco, Guerrero. The choker's links show a prehispanic Mayan glyp...

Interesting 1970s Mexican Mid-Century Modern steel screen. The organic design can be used as the frame for a stained glass window.

Pair of Mexican Mid-Century Modern iron obelisks. The obelisks show green patina.

Mexican Mid-Century Modern table lamp by French designer Félix Tissot. The ceramic structure is placed on a brass plinth. The shade is made of parchment paper.

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

"Observador de Pajaros" 1950 By. Rufino Tamayo (Mexican, 1899-1991) Edition 83/210 Lower Right Signed Lower Left Unframed: 15.5" x 22.5" Framed: 21.75" x 28.25" Rufino Tamayo (August 26, 1899- June 24, 1991) A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria...

Made in solid mahogany We offer this Pair of Mexican Mid-Century Modern armchairs made in the 1950s. Featuring simple but elegant modern frames. ...

This pool-side scene with its beautiful deep blue tones falls between landscape and interior. It is part of Michael Stuetz's "California" series of photographs scenes of seemingly ba...

Peter & Denise Orlando, Mid-Century Modern ceramic tea set 1960s, Era Capron Free form Ceramic cups and under cups by Peter and Denise Orlando, France 1960s. Glazed in grey with ...

Victoria ceramic flower vase by Marco Zannini (Italy.) Rare. Zanini had the notion (correctly, in actuality) that most artistic flower vases a...

Large Eye catching bowl hand crafted in silver plate on copper with a dramatic art deco inspired form and featuring two stone clad toucans as handles. Stamped made in Mexico on the b...

An authentic English cylindrical martini or cocktail shaker of fine plate silver featuring stylish Art Deco design, with removable cap and strainer and three decorative rings on the ...

A fine quality early 19th century Regency, George IV period open armchair, attributed to Gillows of Lancaster and London. English, circa 1825. Why we like it: This magnificent armchair of broad proportions is exquisitely embellished with profuse carving and gilding throughout, but it evokes the architecturally perfect creations of William Kent from a hundred years earlier. It certainly commands presence in a room, as probably did its owners. An extraordinary example of the late Regency craftsmanship, certainly one of the best ever made by the celebrated Gillows firm. Attribution: The design and exceptional craftsmanship of this chair closely relates to a pair of solid rosewood bergeres supplied by the Gillows firm in 1824 to Thomas John Wynn, 2nd Baron Newborough for Glynliffon, Caernarvonshire, Wales. Richly carved with florid Roman foliage in the George IV antique manner popularised  by Thomas King’s, ‘The Modern Style of Cabinet Work Exemplified’, 1829, its general form is in common with the furniture at both Glynliffon and at Hackwod, Hampshire, supplied by Gillows to William, 2nd Baron Bolton in 1813. This design also relates to the suite of drawing room furniture made for a 'G. Bamford', the plan for which was prepared by Gillows of Oxford Street, between 1815-1835. A drawing from the plan survives in the Lancaster City Museums, showing a sofa and stool with the same bold design as the chairs.  Only one pair of side chairs en-suite with the present armchair is known, stamped 'H.LEE'. Henry Lee of Ogle Mews, London, (active circa 1827 - see G.Beard, Dictionary of English furniture makers 1660 - 1840, 1986, p.534), who was a journeyman chair maker for Gillows and was probably commissioned to make the whole suite. His stamp has been recorded on several related sets of chairs all of which owe a debt to the designs of Gillows, including a set of six sold Christie's, London, 27 November, 2007, lot 189.   Between 1813-1840 the main focus of Gillows business became the Oxford Street, London premises, where designs for very richly carved seat furniture with extravagant neo-rococo decoration became the fashion and it was at this time that Oxford Street received such prestigious commissions as the magnificent twelve armchairs for Lord Fitzwilliam's Whistlejacket Room at Wentworth Woodhouse in Yorkshire and the giltwood suite...

An enticing pottery design by Victoria Littlejohn, hand thrown Dish with a wonderful neutral oatmeal color glaze with a central red orange crystalline thick glaze surrounded by a cri...

The renowned silversmiths of the Taxco atelier Los Castillo are unmatched at creating useful silver items. This Los Castillo silver plate coffee ...

Coffee pot set From Taxco 1950s Peggy Page Mexico stylish coffee pot solid copper includes 2 copper cups. Coffee Pot is maker stamped Peggy Page Mexico...

Set of eight fine Mid Century Modern biomorphic enamel on copper salts. Very distinct set of crimped and crinkled enameled salts. Circa 1965. Enameling became a huge crafts movement ...

Vintage clear glass jar of cylindrical form with a silver plate rim and lid. The lid with a model of a Boar's head with glass eyes. Attribut...

Sexy Mid-Century Modern cocktail mixer and matching rocks glasses set with 22k gold plating produced by Culver in the late 1960s. This set is in g...

Silver plate cocktail pitcher (with associated stir spoon) designed in 1959 by Donald H. Colflesh for Gorham. This design was included in the 2006 Smithsonian Institute exhibit "Mode...