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Large silver beads that fit together internally make this necklace an exercise in pure form, the join engineered into the beads themselves so the chain reads as a continuous run of polished silver. There is no stone and no applied ornament; the beadwork is the design.
Bead-making was a basic hand technique in Spratling's workshop, where smiths formed small balls by melting cut wire rings (Morrill, p. 36); scaled up into large fitted beads, the same logic produces a necklace of considerable presence. The piece dates to the Third Design Period (1951-1967).
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