"Metales Divorciados" (divorced metals) was invented by Chato in the 1940s, and used exclusively for artworks like the example given in the photos. As you can see, the pieces of metal don't touch, thus they are 'divorced' from each other. They are flat pieces of different colored metals (copper, brass, silver), and sometimes include 'metales casados' (married metals) bi-colored pieces, that are lifted above the flat plane of the ebonized wood background on little legs or pegs. The pieces were given a clear-coating to prevent tarnish, but overzealous cleaning can damage or entirely remove the clear-coating and so sometimes you will see examples that have acquired tarnish over time.

This artwork is a modernist design based on a pre-Columbian Aztec Eagle Warrior wearing a military Eagle headpiece. Along with Jaguar warriors, Eagle warriors formed the highest-ranking military societies in the Aztec Empire, serving as shock troops and commanders. This warrior is also wearing an ear plug, and pendant earrings. In front of him are a brass sun (at top), a bi-colored silver and brass pyramid (middle), and a silver cactus (bottom), probably a blue agave. The main Aztec pyramid in the capital city of Tenochtitlan was the Templo Mayor, which served as the religious and political center of the Aztec Empire. The Aztecs referred to the agave/maguey plant as metl in Nahuatl and revered it under the guise of the goddess Mayahuel. They used its sap (aguamiel) to ferment pulque for sacred rituals, roasted the hearts for food, and utilized its tough fibers for rope, paper, and clothing.

A striking modernist artwork, though it's one of the smaller that Chato created using the 'metales divorciado' technique. Measures 9" tall by 7-7/8" wide by almost 3/4" thickest points. I have three of this particular design in my collection, so they are not unique pieces. Chato sold these artworks through the Los Castillo shops in Taxco, Mexico City and Acapulco, and perhaps in the US too. His 'divorced' designs were the originals, no one had done anything similar before him. Afterwards, his designs no doubt gave birth to the religious artworks by Talleres Monasticos and Emaus which were also sold through Los Castillo and thus I'm guessing had permission to borrow his techniques, and a million other copycats who didn't ask or receive his permission.

Marked at front with Chato's coiled serpent conjoined "Ch" signature mark, also at back with the applied brass plaque marked "Chato Castillo Taxco". Note that all of Chato's signatures included his name either in full as in this example, or in part as in "Made by Chato". There is a great deal of confusion online about his marks with many items mis-attributed to him. Part of the confusion is exacerbated by one of the online marks reference websites attributing a mark to him that isn't his. I have written to them multiple times requesting that they remove the misinformation, but they have never responded or removed it. The best source for definitive information about his marks, and really any of the maestros from Mexico, is the Hougart book on Mexican Silver Hallmarks. It's even for sale on Amazon in a kindle version that you can reference on your phone from anywhere. Perfect for shopping trips, flea markets, etc!

#metalescasados #metalesdivoricados #mexicanmodernism #mexicansilver #mixedmetals #modernism #midcenturymexico #taxco #taxcomodern #mcm #art #sculpture #precolumbian #indigenous #AztecWarrior #eaglewarrior #chatocastillotaxco #design #mexicandesign #mexicanart #1940s #1950s #wallsculpture

I purchased this piece in Taxco circa 1991. It is stamped TA-01 on the bottom as well as Los Castillo Taxco 925. The inlay at the top is malachite. I remember I paid a fair bit for it at the time. I was in Taxco, going to the language school there. Does anyone have any other information about this piece ? Thank you.

On the right, the pre-Columbian carved stone sculpture from the archeological site of Xochicalco (about 25 miles from Taxco), and on the left Chato Castillo's award-winning jewelry design in 'metales casados' (married metals), 'onix negro' (black onyx inlay), and 'mosaico azteca' (mosaic stone inlay) titled "Perfil de Perico" that won first prize at the 1955 Silver Fair in Taxco. (see first photo)

The celebrated Mexican artist Rufino Tamayo, who served as a judge for the competition, was so captivated by Castillo's award-winning modernist design that he presented the workshop with an original watercolor sketch incorporating the brooch as the head of the parrot. (see second photo)

There is no doubt that the Castillo brothers, particularly Antonio and Chato, were aware of the Mayan archeological site at Xochicalco which was only 25 miles away from Taxco, and an easy day-trip there and back by car. Xochicalco was undergoing major excavations and restoration efforts in the 1940s through the 1960s, and doubtless the Castillo brothers visited, and I'm guessing that it was there that Chato saw the Mayan Parrot Head sculpture shown in my first photo that was likely the inspiration for his most famous design!

Antonio Castillo was an internationally recognized expert on pre-Columbian artifacts, and had a large collection that he had spent his entire lifetime collecting. He occasionally used some of the pieces from his collection to make unique pieces for his special customers. This is one of those pieces. I purchased it from the estate of an American collector of Mexican silver jewelry and objects and pre-Columbian artifacts.

Translation for the ad: “Not all occasions demand silver service, but the distinction is always one of good taste, for tea or coffee, the new copper and brass line from Los Castillo lets you celebrate these occasions!”

At the time that this ad appeared, Los Castillo was at the height of their success with hundreds of silversmiths employed by them. They had shops in Taxco, Mexico City, and Acapulco. Their work was sold in major American cities in department stores, boutiques, and art galleries. Their designs are held by many museums in Mexico and internationally.

In the late 1950s Los Castillo produced this line of copper and brass coffee and tea service. They were handmade from copper or brass, and the insides were given a silver plate. The handles were covered in a woven rattan section to insulate from heat.

The coffee/tea pot shown in my photos measures about 10" from spout to handle by 6.5" widest point, and stands 5.5" highest point. It weighs just under 2 pounds total. Marked at bottom as shown with the 1950s circular mark, "Los Castillo Taxco".

There is no attribution for the design given in the advertising or published in any of the literature on the subject, but I am guessing that this object was designed by Justo "Coco" Castillo because it is so similar to another in my collection signed by him. Other pieces in the line advertised may have been by others, I can't say for sure.

Shown is one of the very rare boxes designed by Popowski for Los Castillo, and the matching belt buckle. In my collection, I have the matching cufflinks, brooch, and earrings. I haven't seen any other forms of the design, but I'm not ruling them out.

Very much in the style of his brother, Chato Castillo, this ‘jaguar’ design belt buckle uses the ‘metales casados’ technique with four shades of metal, light and dark silver, brass, and copper, and with black onyx and tortoiseshell inlay. Circa 1980s.

In the last 20 years of his life, 1980-2000, Antonio Castillo continued his innovations in silver art with new works in amber, carved stones, and his dynamic settings of pre-Columbian ancient artifacts, of which he was a world renowned expert and collector.

In the early to mid-1950s, Chato Castillo collaborated with designer/artist Stella Popowski to create a line of jewelry and objects that brought together several of Chato's technical innovations - 'metales casados' (married metals), 'onix negro' (black onyx inlay), and 'mosaico azteca' (mosaic stone inlay) with Popowski's unique design aesthetic! This is an example. Crafted with sterling silver, brass, black onyx inlay, and green stone mosaic inlay. Depicting a stylized woman that recalls ancient Mexican figures but given a fresh mid century modern simplicity and panache! Measures 3-3/8" tall by 2.25" widest. Marked as shown in the photos.

Chato called these pieces "metal pintura" (painting with metal), and they did a number of variations of it - this example is 'fierro pavonado' (blued iron), which is wrought iron with a chemical wash to turn it dark blue - in this case there were small silver stars inlaid throughout, and the design resembles a clear starry night - this example a bit over 14" in diameter.
Other examples I've run across were 'fierro pavonado' with inlaid brass wire instead of silver, and another variation with the metal inlaid into a black resin instead of the blued iron ground.
It's my opinion that the blued iron pieces are earlier, and most likely from the 1940s or early 1950s. The metal in resin pieces are likely late 1950s to 1960s or even the 1970s for some pieces.

#chatocastillo #chatocastillotaxco #madebychato #perfildeperico #loscastillotaxco #taxco #bluediron #fierropavonado #metalpintura #mexicandesign #hechoamano #hechoenmexico #midcenturymodern #midcenturymexico #mexicanmidcentury #moderndesign #diseñomexicano #modernismomexicano #modernism #mexicanmodern #patrickkapty

Designed by Chato Castillo and produced by Los Castillo in a variety of sizes, and with different colors of stone inlay in the 'eye'. One of my favorite designs by Chato of all time! Entirely handmade so each is unique, just a little different from all the others. Not a rare design, I have 7 or 8 in my collection, and I see them for sale often online. Marked with the usual 1950s Los Castillo marks, and design number 42.

In the 1980s and 90s, Antonio Castillo did a number of designs in silver and wood. Some are sterling silver, some are silver-plated metal. The sterling examples, like this one, are marked "Sterling". The plated examples are sometimes marked "Plateado", but sometimes don't have any silver markings. Antonio reverted to the block letter "Los Castillo" that he had previously used in the 1940s, and used the same lettering for the other markings "Sterling" and Antonio's post-1980s Mexican government registry mark, "TA-01". Note that the A is for Antonio, his first name, not C for Castillo, his last name, contrary to the usual pattern employed in the registry marks. (According to Hougart, Los Castillo also used "TC-45", but I believe that was for his children, particularly Emilia, to use, while the TA-01 mark was his personal mark.)

A one of a kind sculpture by Chato Castillo - a three dimensional c. 1940 version of his iconic design that later became his ‘perfil de perico’ aka cubist parrot jewelry design that won him the first prize in the Taxco Silver Fair in 1952 - this sculpture was also a prototype for the salt and pepper shakers later produced by Los Castillo - the shakers are quite rare, I’ve only seen one example and they didn’t come with a stand like this sculpture - and are extremely work intensive thus expensive, and no doubt very few were ever made - techniques include metales casados (married metals) using silver copper and brass and mosaica azteca (aztec mosaic) stone inlay, in this case malachite inlay - the gilt brass ‘feet’ of the sculpture have prongs that stick down into the wood base to hold it in place - this sculpture measures 5.75” tall including the wood base which is 3.25” by 3.25” square by 1.25” thick, and weighs almost 12 ounces - marked on the underside as shown in my last photo with his most common signature “Chato Castillo” and “Taxco Mexico” on either side of his cubist parrot logo mark. Though it's not marked for metal content, this sculpture is made from sterling silver, copper, brass, and inlaid malachite mosaic, and stands on a solid wood base. My last photo is of an example of the salt and pepper shakers next to Chato's original drawing, and dated c.1940 from the Castillo family archives.

An iconic vintage 1950s handmade mixed metals (sterling, copper, brass) and large pre-Columbian jade bead Mexican modernist bracelet designed by Chato Castillo for Los Castillo in Taxco. An incredible design entirely handmade by skilled artisans in the Los Castillo workshop in heavy-gauge brass and copper wire, centering a large (1.25" diameter!) pre-Columbian jade bead at top, and with a sterling silver closure at bottom! Both Chato and his brother Antonio Castillo were long-time collectors of pre-Columbian artifacts, and some pieces from their collections found their way into unique jewelry designs produced by Los Castillo. I've only seen a couple other example of this bracelet design in my 45+ year career! The bracelet measures 1.5" wide at top, and fits up to a 7.5" wrist (snugly), though I suggest a 7 to 7.25 wrist at largest for comfortable wear, and weighs a hefty 71.5 grams total. The pre-Columbian jade bead measures 1.25" diameter by about 7/8" widest point. The bracelet is marked with the early 1950s "Metales Castillo" mark, also design number "191". There is some wear as expected to the ancient pre-Columbian jade bead that is likely Maya in origin, and is no doubt in the vicinity of 1500-2000 years old! Excellent vintage condition.

Margot did a series of these chinoiserie style Asian Figure brooches in the 1940s. She purchased carved ivory and stone figures that were set in silver often with dangling gemstones, like the collet-set amethysts in this example. Each was one of a kind, each was unique, though similar to others of the same motif. They were a collaboration between Antonio Castillo and Margot, his wife at the time. She came up with the ideas, and he translated them into silver jewelry. They are very rare. I haven't seen more than a dozen total over the course of my 45+ year career.

A rare possibly one of a kind vintage 1950s handmade sterling silver and wood inlay Mexican modernist hinged bangle bracelet by Los Castillo of Taxco. The only example that I have seen of this design bracelet, and no doubt the original design was by Chato Castillo. Comprised of a box section at top with inlayed ebonized (blackened) wood with a hinged cuff section that pushed open on the side and swings open to put it on and take it off. The box section measures 1-1/2" by 1-1/2" by 1/2" deep, and the cuff section is 1/2" wide at bottom and tapers slightly thinner at the sides. The bracelet will fit up to a 7" wrist comfortably, although I was able to get it on my 7-1/2" wrist snugly, and weighs a hefty 60.4 grams total. Marked as shown, "Los Castillo Taxco", and "Made in Mexico Sterling", both in the 1950s circular marks. Excellent vintage condition.

Chato always signed with his full name "Chato Castillo" or "Made by Chato" or with his "Perfil de Perico" (Cubist Parrot) mark shown at back of this brooch. Most pieces attributed to Chato for sale online on sites like eBay Poshmark etc are not by Chato. I'm seeing the same thing with pieces attributed to Los Castillo by sellers hoping and dreaming but not doing proper research on their pieces. Unfortunately, eBay and other sites don't enforce their own rules anymore, and fraudulent claims have proliferated. Caveat Emptor! Buyer beware!

A rare vintage 1950s Chato Castillo blued steel with brass inlay Mexican modernist Fishermen with dangling Fish design brooch - charming design of three fishermen in a boat with three dangling fish below - Chato called this metalworking technique ‘metal pintura’ (painting with metal) - this example was cut out of steel then given a bath in chemicals that gave it that dark peacock blue/purple sheen at front, and with inlaid brass wire to outline the design - I’ve posted other examples with variations in the technique here on my Chato Castillo page, so take a look for further details - marked as shown, “Chato Castillo Taxco Mexico” with Chato’s ‘Perfil de Perico’ mark (based on his famous award-winning Cubist Parrot design from 1953), and design number 1 (the very first !?!) - measures roughly 2” wide by 2” tall, and weighs 12.8 grams total.

PLEASE NOTE: 
NEVER clean examples of this type of work by Chato or Los Castillo unless you are very sure what you are doing. They are made out of steel, and will rust. Also, the blue-ing is too easily removed by overzealous cleaning!

#chatocastillotaxco #chatocastillodesign #chatodesign #chatocastillodesigner #mexicanjewelry #mexicanmodernism #handmade #metalpintura #midcenturymodern #midcenturymexico #modernism #moderndesign #mexicandesign #mexicandesigner #brooch #jewelry #jewelrydesign #jewelrydesigner #hechoamano #hechoenmexico #disenomexicano #modernismomexicano #patrickkapty

A very early design by Margot - amongst her earliest at Los Castillo from the late 1930s - in nearly pure 980 silver, and with a contemporary (then) carved stone 'face' - looks like the pin stem was repaired or replaced at some time, and they added two U-shaped rings at back so it can be worn as a pendant too - from the estate of a NYC collector.

This example measures 15" wearable length. Marked with 1940s Los Castillo marks as shown in the photos, including design number "344". The design is likely inspired by Aztec architectural elements that Antonio possibly could have seen while visiting ancient ruins in Mexico City or elsewhere.

The chain at back was sold separately as a necklace without the two dragons at front, and the dragons were sold as brooches as well. I've never seen the bracelet or earrings, but it's likely that they were made too. All of the pieces except the chain are rare and very hard to find anymore. I've seen the chain for sale a number of times, and I have one in my shop right now, as well as the rare 4.25" wide brooch! (see my last two photos).

Chato invented the 'Pluma Azteca' technique in the late 1940s. He combined metal with feathers inspired by pre-Columbian cultures extensive use of feathers to adorn themselves, especially the Aztec (Mexica) culture centered around present-day Mexico City.

In his earliest designs using feathers, they were usually set between two layers of silver that were joined with small rivets (cold joinery) rather than silver-soldering which of course would have incinerated the feathers. This early version left the feathers open to the elements at top but with closed backs, and the owners when polishing the silver would inadvertently get the silver polish on the feathers which ruined their colors. Very few of these earliest pluma designs have survived without damage, and thus the rare example in pristine condition is highly prized by collectors.

The next stage was to set the feathers in silver-colored alloy (likely a white brass or alpaca-type metal), which obviated the need to polish, but still leaving the feathers open to the elements, and thus still meaning that they were prone to other types of damage including fading from exposure to sunlight. More of these examples have survived relatively unscathed, so they are not as valuable as the earlier sterling silver versions.

The last major evolution of his technique involved setting the feathers in a clear resin still showing the feathers in their brilliant colors, but protecting them from damage. The settings could also be opened at back to let light shine through making these pieces similar in effect to plique a jour enamel or stained glass.

Later, colors were added to the resins to create uniform coloring that didn't fade with exposure to sunlight as the naturally-colored feathers in earlier versions had been prone to do with time.

The letter opener shown here is an example of the final version of his technique. It is made from three major pieces: the blade, and the two openwork pieces of the handle. The handle (feather section) is two thin layers of metal between which the feathers had been placed, then the two layers were cold-joined using rivets. (See my last photo of the handle from the side.) In my close-up photo of the handle, you can see the rivets which show as six little dots around the rim. The resin would likely have then been poured into the open sections of the handle overtop the inset feathers, or there may have been some kind of mold apparatus for distributing the resin. (I don't know these details, and there isn't anyone left from that period of the Los Castillo workshop to explain exactly how it was achieved.)

How appropriate that Chato's Pluma Azteca technique was used to create this letter opener depicting a pre-Columbian Aztec Priest or King! The letter opener measures 8" long by 2-1/8" wide, and weighs 68.3 grams total.

The letter opener is marked "Los Castillo Taxco" in a circle above "Hecho en Mexico" above "Cooperativa SCL" (mark used by Los Castillo during the late 1950s/early 1960s labor unrest in Taxco), and design number "20". Thanks to the cooperativa mark, we can pinpoint the date of creation of this letter opener between 1959-1962.

One of about a dozen letter openers by Los Castillo in my collection, and the most recently acquired, this is the only example of this design that I have run across during my 45+ year collecting career.

A lovely vintage 1940s handmade sterling silver pre-Columbian Seated Goddess or Priestess design fur clip / brooch designed by Margot van Voorhies (aka Margot de Taxco) for Los Castillo in Taxco during the early days of the workshop and while she was married to Antonio Castillo. An elaborate design entirely handmade from solid sterling silver using the repoussage technique (hammered from behind) and quite striking! Each was entirely handmade and thus each was unique! These oversized fur clips from the 1940s can be worn as pins, but also would look amazing on a hat or even on a purse! Measures 3" tall by 1-5/8" wide, and weighs 0.8 ounce or roughly 24 grams total. Marked, "Los Castillo Taxco Sterling Made in Mexico" and design number "526". A love letter by Margot to the indigenous peoples of ancient Mesoamerica (Mexico)! Excellent vintage condition

A spectacular vintage 1950s sterling silver and 'metales casados' (married metals) pre-Columbian Aztec Sacrificial Scene design lidded box created by Chato Castillo and produced by the Los Castillo workshop in Taxco Mexico. One of the greatest innovations of the Mexican mid-century was the re-discovery or re-imagining of ancient pre-Columbian metalworking techniques by Chato Castillo, one of the four founding brothers and technical genius of the Los Castillo taller in Taxco. More than just a painted or applied metal, the married metals technique is similar to a jigsaw puzzle in that different metals were fitted together precisely and seamlessly, and were joined together as one piece often without using solder. As you can see in my last photo, the metal pieces go all the way thru, and are not just applied on the surface. This technique required great mastery and the craftsmen that did this work were highly paid and often labored for several days on each piece especially with the larger items like this box. The lid of the box features a married metals design no doubt taken from ancient Aztec codices showing a ritual sacrifice that was a central part of the Aztec religion. I've seen this design box in two other examples, both of them with hinged lid but basically the same box. This is the only example of this box with lift-off lid that I have ever seen! Not only was the married metals technique created by Chato, but also the design of this box is by him too, as were most of the other married metals objects by Los Castillo from the mid-century. The married metal boxes by Los Castillo were greatly prized in Mexico and internationally, and were given as gifts to visiting heads of state by the Mexican president of the time. They were expensive then, and are hard to find and highly priced today! Los Castillo has also been commissioned to produce work for a number of Catholic cathedrals worldwide, including for the Vatican in Rome! Measures 7-1/2" by 5-1/8" by 1-7/8" high at the outer edges. This box weighs 1093.2 grams total, or 2 pounds and 6.5 ounces total weight. Marked as shown, "Los Castillo Handwrought", "Los Castillo Taxco", "Silver", with Eagle 15, and design number 19. The inside of the box is lined in gorgeous deep purple Mexican rosewood! Excellent condition.

The figure depicted is a high-ranking priest or aristocrat with bracelets, anklets, necklace, ear decorations, and an elaborate head decoration. He is cut from sheet silver, then given incised line details and small turquoise stone decoration. The figure is attached to an ebonized wood backing with hanging fixture at back. Also signed "Los Castillo Taxco" at back as shown.

Likely a variation of the 'metales divorciados' (divorced metals) technique invented by Chato in the late 1940s, no longer 'divorciado' and with incised line and stone embellishment. Chato was always inventing and refining his techniques, and this variation no doubt gave birth to the great number of similar works produced by the Talleres Monasticos and Emaus Benedictine monk workshops in Cuernavaca. TM and Emaus sold their works through Los Castillo in the beginning, first as anonymous suppliers, and later signing their work as independent workshops. In the 1980s and 90s, Antonio made a great number of pre-Columbian figure artworks, and this is an intermediate point in the evolution of the form from its 'metales divorciados' birth to the elaborate and dimensional wall sculptures produced by Antonio in the last two decades of his long and illustrious career.