Fine jewelry is not only found in major cultural centers such as New York and Paris. It has been produced by artisans and designers around the globe, using techniques steeped in local traditions and materials that are often as indigenous as the craftspeople sitting at their jeweler’s workbenches.

The earliest examples of Native American jewelry are usually called "old pawn," a phrase taken from the days when Native Americans would hock personal pieces of jewelry to make ends meet. Lots of Native American silver and turquoise pieces are routinely sold as old pawn, but only examples from the 1800s deserve that label. Silver was the base metal for most of these pieces, and one of the first styles seized upon by Navajo artists was the squash-blossom necklace.

Navajo artisans were also the first Native Americans to work with turquoise, which was common to the Southwest before it was mined out. The best Navajo necklaces and bracelets were labeled with the name of their source mine, just like a fine wine is labeled with the vineyard that has supplied its grapes. Due to the scarcity of local stone, it wasn’t long before high-quality turquoise was being imported, while softer, poorer-quality turquoise was often treated with resin to make it hard.

Other tribes worked with different materials to develop their own signature styles. The Pueblo, especially members of the Santa Domingo tribe, were highly skilled when it came to shell necklaces and mosaics. The Zuni added turquoise to the Navajo squash blossoms, and they also pioneered the use of red coral. As for the Hopi, their specialty has long been pins and other objects with patterns and treatments that suggest a textile heritage.

Farther south, in Mexico, silversmithing had been practiced for centuries. Indeed, Mexican silversmiths were the ones who taught the Navajo their trade. An American named William Spratling saw an opportunity to build on this legacy when, in 1931, he established a retail outlet for Mexican jewelry near the silver-mining center of Taxco.

Spratling’s designs borrowed liberally from pre-Columbian motifs, so it shouldn’t be too surprising that as his shop succeeded and imitators sprang up nearby, his designs themselves appropriated. Some competitors were actively encouraged. In fact, the Taxco School, as it is known today, was formed largely from former Spratling employees such as the Castillo brothers, Héctor Aguilar, and Antonio Pineda. Naturally, these artisans and their shops became incubators for still more generations of silversmiths.

The other great region for fine jewelry is Scandinavia. Copenhagen’s Georg Jensen is probably the best-known practitioner there. Founded in 1904, his firm built upon his fondness for the organic embellishment of Art Nouveau to create stunning pieces that heralded a new tradition of silver craftsmanship. His jewelry featured flowers, bunches of grapes, birds, and other animals. Though he briefly flirted with gold and silvers of varying fineness, in 1933 sterling silver became the rule at Jensen, which gives collectors of his early work an easy way to date a vintage piece...

Jensen was not the only producer of the Scandinavian Modern style. The Hans Hansen silversmithy produced jewelry by the likes of Karl Gustav Hansen, Bent Gabrielsen, and Anni and Bent Knudsen. N.E. From specialized in organic-geometric pieces, while Jørgen Jensen (no relation to Georg) staked his reputation on pewter.

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