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A sterling necklace built on clean modernist lines, with no stone to carry it, shows Sigi Pineda working in silver alone, the design depending entirely on the shaping and rhythm of the metal at the throat. Form is the whole argument here.
Sigi came up through the Taxco school's best workshops. Morrill places him among the silversmiths in Margot van Voorhies Carr's atelier, where he oversaw the enamelers for four years before opening his own shop in the mid-1950s (Morrill, p. 168). A stoneless modernist necklace belongs to the independent line he developed afterward.
That line later turned, in Morrill's account, toward die-cast manufacture to make it less expensive (p. 250). For a collector, a Sigi sterling necklace is a clean, characteristic instance of his modernist hand in silver.
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