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Stone inlay and a bird motif together define this silverplate pitcher, joining the Los Castillo workshop's two signatures, figural subject and inlaid material, in one vessel. The inlay punctuates the body with color while the bird gives the piece its shape.
The taller was known for setting stone into metal, the experimental approach Morrill associates with its circle (Morrill, p. 206). Combined with the recurring bird, the inlay reads as plumage or accent.
Founded in Taxco in 1939, Los Castillo became one of the talleres grandes whose scale supported this decorative ambition (Stromberg, p. 41).
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