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FIGURE 1
Frank Patania, Sr., Floral Spray Set, c. 1950. Fabricated Sterling silver with Burnham turquoise.
About Patania Jewelry
Frank Patania Jr.
They sit at their respective benches, back to back in the workshop in which they create their own unique designs. They are Frank Patania, Jr. and his son Sam, and though they share space, each is careful to respect the creative spark of the other. They admire each other's work, offer suggestions when asked, and generally support each other in their art and craftsmanship. Though the individual styles of three Patania generations (Fig. 1, 2, 3) are distinguishable, there is a common thread that runs through the fabric of this family and their work-the commitment to craftsmanship and design. This quality is a direct descendant of the standards of excellence established by Frank Patania, Sr. over 70 years ago.
FIGURE 2
Frank Patania Jr., "Cathedral Ring" c. 1965 Fabricated Sterling silver with Smokey quartz.
FIGURE 3
Sam Patania Pendant and chain 1999. Fabricated platinum/iridium, 24k gold, aquamarine, golden beryl, diamonds.
Photos and memorabilia of Frank, Sr. (see the Feb/Mar edition of Modern Silver magazine - in the library section), the originator of the "Patania Thunderbird" style, highlight the interior of Sam Patania's current gallery. The newest Thunderbird Shop, renamed in 1996 Patania's Sterling Silver Originals, is also one of the oldest-Sam Patania moved back into one of the original locations in Tucson, Arizona's Broadway Village, where Frank Sr. had opened the Thunderbird Suburban Shop in 1950. Fifty years later, a father and son team once again calls this location home.
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The Importance of the Discipline Legacy
Both Frank Jr. and Sam agree that discipline has been the greatest legacy left by Frank Sr. Through the discipline taught them, they have been able to continue the standard of excellence set in motion at the turn of the century. Back in November of 1946, Crafts Horizon magazine published the following quote: "Materials hold within themselves basic and inherent beauty. The task of the craftsman is first to know fully the character of his material. From such knowledge will come inspiration to incorporate the physical properties of his materials as an intrinsic part of his design." By the time this philosophy was just being introduced to the rest of the artistic world, it was already a 20-year tradition to Frank Patania Sr. And at this same time, Frank Jr. was being brought into the fold. "I probably had about the same training background as silversmiths in colonial times," Frank Jr. says. "I didn't really have any formal training. It was a tedious learning process, but I'm thankful for it now." The training Frank Jr. received gave him a master's understanding of the material in which he would design.
The Importance of Fearlessness in Design of Jewelry
Another important gift that Frank Sr. passed on to his son, and his grandson as well, was that of fearlessness in design, the ability to create and express an artistic vision unafraid of how it might fit in the conventions of the time. For example, the bench work required of Frank Jr. in the Thunderbird Shop before going to college was directed and designed by his father, and those designs didn't reflect the taste of mass production. But it was during the long hours of tedious repetition that Frank Jr. developed his commitment to the finishing process of a piece. Frank Jr. often acknowledges that the finishing process takes more time that designing and fabrication. As he gained more freedom in the shop, Frank Jr. was able to create his own designs, which were often simplified versions of his father's. These early creative efforts show an emergence of the importance of simplicity as well as an interest in basic geometric shapes. (Fig. 4)
FIGURE 4
Frank Patania J. Bracelet, c. 1960. Fabricated sterling silver and Morenci turquoise.
Frank Patania Jr. - Importance of Training
The training the younger Patania received was a breath of fresh air in the history of contemporary American craft. To understand the importance of this instruction, one must look to Frank Sr., who came to America with his experience of the apprenticeship system from Italy in the wake of the Industrial Revolution. This had a lasting effect on the handmade tradition. Mass production became apart of everyday life. The need for the services of skilled, educated artisans declined, as did the apprenticeship programs that trained them. It was accepted that mass production pieces were in general of better quality than what most people could make. Many craftsmen were forced to close shop and join in the factory ranks as designers.
The effect of mass production on jewelry design is evident with a glance of any "Sears and Roebuck" catalogues of the early 20th century. Since these products were being made for the masses, designs were often "dumbed down", reflecting "safe" motifs repeatedly rooted in past trends. Reproduction became the national aesthetic. There were however, "pockets" within the United States that were exceptions. The Kalo Shops and Roycrofter, for example, were teaching apprenticeship programs, but they were small factors compared to the overwhelming impact of mass production.
Like many first generation American children, Frank Jr. was encouraged to follow a formal education. Interestingly, he did not choose applied arts, but rather American History, with a minor in Anthropology. Reflecting on his choices, he believes his father would have thought a degree in applied arts would have been "a waste of time," because nothing could compare to the crafts education he had already imparted to his son.
FIGURE 5
From left to right, hallmarks for Frank Sr., Thunderbird Shop, and Frank Jr.
Frank Jr. graduated from the University of Arizona in 1954, and followed with a two-year commitment to the armed forces.
In 1956 Frank Jr. joined his father as a full time employee, working in the Thunderbird Shop in Tucson. (Fig. 5) With his return to the shop in which he grew up, Frank Jr. made a clear decision to establish his own voice in design, as exemplified in his work. (Fig 6)
FIGURE 6
Frank Patania Jr., Bracelet c 1965 Fabricated sterling silver Bottom Frank Patania Jr., Bracelet c 1955. Fabricated sterling silver.
Contemporary Jewelry
By the time Frank Jr. joined the shop full-time, the climate towards crafts had undergone a major change. Postwar America witnessed an explosion in the development of architecture, industrial design, and the handcrafts. For the first time in decades, craft was enjoying a newfound appreciation, much of which was due to en masse support of craftsmen through universities and crafts schools. An indication of the health of the contemporary jewelry movement can be seen in the surge of important exhibitions during the 40s and 50s. The Museum of Modern Art in NYC took an important step by promoting the first major exhibition of contemporary jewelry in 1946. Magazines like Design Quarterly and Craft Horizon (now American Craft) devoted full sections to design and contemporary jewelry.
By the 1950s, a number of people were making contemporary jewelry on a professional scale. That same year, The American Craft council held its first conference, attended by over 450 crafts men and women from 30 states. During the three day conference they addressed many concerns of the young craftsman, including: 1) the craftsmen's relationship to society in economics and social aesthetics; 2) design importance as it related to techniques; and 3) problems in professional practices in the small business. While many young craftsmen in the United States were just addressing these issues for the first time, The Thunderbird Shop of Tucson and Santa Fe had already found resolution in regards to these problems and had implemented them in to a system that allowed the creativity of the shop to flourish while maintaining financial success.
Marketing Jewelry
At this conference, metal smith Arthur Pulos made the following observation: "Marketing presents the greatest problem to the metal craftsman. He must depend upon either the slow growth of his reputation or he must embark upon some means of self -promotion. The exhibition circuit seems most popular. However, exhibitions take time from creative activity with questionable benefit to most participants."
This idea was far from lost on Frank Jr. With the foundation of the Thunderbird Shop firmly in place, Frank Jr. was able to put his energy into shows and competitions. It was through these exhibitions and commissions that Frank Jr.'s talent would shine.
When asked to describe his process he said, "My work is basically a contemporary style using the architectural technique of fabrication, like building a bridge. Each piece, rather that being cast as a whole, is the sum of the parts, fitted to achieve the end result."
In 1959, Frank Jr. entered his first of many competitions, and wins First Prize at the Arizona State Fair. (Fig. 7)
That same year, Frank Jr. participated in the prestigious "Young Americans 1962" exhibition. This was a national competition sponsored by the Museum of Contemporary Crafts, NYC, for craftsmen thirty years and under, circulated by the American Federation of Arts. Patania submitted a neck piece (Fig 9).
Also in 1962, Frank Jr. was included in the first annual survey of modern American jewelry by Craft Horizon magazine, and his entry (Fig 10) was shown in one of the issues. It is obvious that Frank Patania Jr.'s bracelet is in the top ten percent of which Ron Pearson spoke. Currently, this bracelet is in the permanent jewelry collection of the Renwick Gallery.
FIGURE 9
Frank Patania, Jr. Neckpiece 1960 Fabricated sterling silver with citrine.
Commenting on the survey, noted jeweler Ron Hayes Pearson stated: "In evidence is a search for new forms of expression and inventiveness and a freshness that indicate the possibility of a bright future for some individuals. A wide variety of traditional techniques have been employed some with great success. It is however, apparent that many exhibitors have not worked long enough to develop adequately their design ability or technical skill. Among the top ten percent the level of craftsmanship is excellent."
In 1964 as Frank Jr. explored new directions, won awards, and found important commissions, his father FrankSr., succumbed to cancer. Frank, Jr., now a father himself, had to carry on without the master. Work and life continued in the shop, producing jewelry that was still known as the "Patania Thunderbird" style-but this time, it was Frank Jr.'s own.
FIGURE 7
Frank Patania, Jr. Pie Server 1959 Fabricated sterling silver 1959 Arizona State Fair. First Prize, Other Creative Crafts
FIGURE 8
Frank Patania, Jr. Box 1962 Fabricated sterling silver with Aquamarine
FIGURE 10
Frank Patania, Jr., Bracelet 1960 Fabricated sterling silver bracelet.
Gold and Precious Jems in Contemporary Jewelry
In the 1960s, contemporary jewelry in the United States would enjoy a new level of sophistication. Jewelers were turning to gold and precious gems, and exploring new techniques.
For the most part, Frank Jr.'s philosophy on material is the same now as it was then-that working with material of less value is a necessary part of the affirmation of the expressive form over the intrinsic value, and still claims that a piece of work should stand on its own merits as far as design and craftsmanship.
It should not have to be made out of precious material and set with valuable stones to make it outstanding or command attention.
Most Influential in Contemporary Jewelry
Though most of Frank Jr.'s work is in silver, he did some work in gold. He did this not for the intrinsic value of the metal itself, but for the material contrast, often using it as a complement to silver (Fig. 11). There are relatively few pieces produced by Frank Jr. in purely gold (Fig. 12). Frank's memories of the Depression have influenced this part of his life and work-his vivid memories of his mother feeding the hungry off of their back porch have perhaps contributed to the stress he feels when working with precious stones. He openly admires his son Sam's ability to work with such materials with the ease and capability that he does.
FIGURE 11
Frank Patania, Jr., Necklace 1980. Fabricated sterling silver necklace, 14k gold, carnelian and moonstone. Frank Patania, Jr., Ring 1980. Fabricated sterling silver ring, 14k gold.
FIGURE 12
Frank Patania, Jr., Bracelets c. 1975 Fabricated 14k gold.
FIGURE 13
Frank Patania, Jr
Within a relatively short period of time, Frank Jr., would springboard past the accomplishments of his father's own brilliant career. Evidence of his talent is shown in Philip Morton's Contemporary Jewelry: A Studio Handbook, first published in 1970, a book still considered one of the most important books on design, technique, and the standards of craftsmanship. Morton compiled a list of 13 jewelers - a list of those he considers to be "Among the most influential young contemporary jewelers in America today." This list not only contains the name of Frank Patania, Jr., but also well known artisans such as Philip Fike, Stanley Lechzin, Hekki Seppa, and Olaf Skoogfors.
Meanwhile, Frank Patania, Jr. was being included in several modern exhibitions in the mid 1970s, like "Craft Encore 1976," sponsored by the Tucson Museum of Art, in which some of his most exciting designs of this period were featured (Figs. 13-15).
FIGURE 13
Frank Patania, Jr., Cross 1976 Fabricated sterling silver with Smokey Quartz.
FIGURE 14
Frank Patania, Jr., Bracelet 1976 Fabricated sterling silver with Smokey Quartz
FIGURE 15
Frank Patania, Jr., Bracelet 1976 Fabricated sterling silver with Smokey Quartz
By the mid 1970s, the Indian craze was in full swing. Many books were written on Indian Jewelry-among them Ray Manley's Portraits & Turquoise of Southwest Indians, with text by Clara Lee Tanner.
FIGURE 16
Frank Patania, Sr. Set c. 1955 Fabricated sterling silver and Burnham turquoise
Tanner, noted author on the subject of Indian jewelry is quoted as saying: "Frank Patania, Sr. became the first and the greatest non-Indian creator of turquoise and silver jewelry in the Southwest" (Fig 16). She goes on to describe the brilliant and talented architectural designs of Frank Patania, Jr. (Figs. 17, 18).
FIGURE 17
Frank Patania, Jr. Bracelet, box and pendant.c. 1965 Fabricated sterling silver, Persian turquoise and coral.
FIGURE 18
Frank Patania, Jr., Bracelet 1976 Fabricated sterling silver with Smokey Quartz. Cross c. 1970, sterling silver and Persian turquoise. Bracelet c. 1970, sterling silver and Persian turquoise.
FIGURE 19
Frank Patania, Jr. Crown for Saint Michael and All Angels Episcopal Church. Tucson Arizona. Fabricated brass amethyst 1964 Inscription: "To the Glory of God. In affectionate memory of Frank Patania, Sr., a Master Silversmith. Born Messina, Sicily 1899, died Tucson, Arizona 1964. Designed and executed by his son who learned from him."
From Jewelry to Liturgical Commissions
But Frank Patania Jr.'s talents would not be limited to jewelry. Liturgical commissions also became an important part of Frank Jr.'s career, once again reflecting the climate of craft in the United States.
Across the country churches and synagogues were eager to inject a fresh flow of talent into the field of American religious art, and they turned to craftsmen for fresh concepts in chalices, crucifixes, tapestries, and alter cloths.
Frank Patania, Jr. would participate in such exhibitions including the "5th Biennial National Religious Art Exhibition" in 1966 at Cranbrook Academy of Art in Bloomfield, MI.
The piece Frank, Jr., sent to this exhibition was a crown that consisted of over 100 pieces of metal, cut and shaped in over 250 hours of work. According to Frank, Jr., it was a difficult project, but one that was obviously close to his heart (Fig. 19, 20).
FIGURE 20
Interior of crown at St. Michael's
Another important commission located in Tucson is a large 9-foot cross, commissioned for Northminister Presbyterian Church (Fig 21-23). It is a 500-pound aluminum Celtic cross that bears a stylized vine. Patania sculpted the cross from Styrofoam and the various parts were then sand-cast. Hours went into the finishing process. When asked which piece stands as a testament for his abilities as a designer and craftsman, Frank, Jr. chose a religious commission which he crafted for Church of Christ the King in Dallas Texas.
When asked which piece stands as a testament for his abilities as a designer and craftsman, Frank, Jr. chose a religious commission which he crafted for Church of Christ the King in Dallas, Texas. (Fig 24)
FIGURE 21
Frank Patania, Jr. Cross. Cast Aluminum.
FIGURE 22
Close up of technique
FIGURE 23
Frank Patania, Jr., 1964 Monstrance, a Symbol of Faith. Fabricated sterling silver, coral, and turquoise.
FIGURE 24
Frank Patania, Jr., 1964 Monstrance, a Symbol of Faith. Fabricated sterling silver, coral, and turquoise.
The conception and design of this piece took over three months. The final design consisted of sterling silver set with turquoise and coral. It is 35 inches tall, has a 10-inch diameter at the base, and weighs 15 pounds. This commission has been in several exhibitions and publications, including the American Crafts Council's Craftsmen of the Southwest. To view more of Frank's work, click here.
Today, Frank, Jr. and his wife Donna travel between Tucson and Santa Fe. Frank, Jr. says he is grateful for the life he has been given, acknowledging his joy in being able to do what his loves for a living and finally arriving at a place in which he can create the pieces he chooses without the pressures of the market. (Fig 25-27) He looks to his son, Sam, to carry on the family name and traditions, recognizing the struggle of a young designer with a family and the pressures to meet payroll while still maintain ones own inimitable style.
FIGURE 25
Frank Patania, Jr. Ring 1980. Fabricated sterling silver, 14k gold, carnelian, moonestone. Frank Patania, Jr. Ring 1986. Fabricated sterling silver, 14k gold, lapis, moonstone
FIGURE 26
Frank Patania, Jr. (left to right) Bracelet 1990 Fabricated sterling silver 14k gold, perido, garnet, tourmaline, citrine. Bracelet 1985 Fabricated sterling silver 14k gold, lapis, moonstone.
FIGURE 27
Frank Patania, Jr. At Vintage Modern Gallery in Phoenix March 23, 2001 discussing his work with some of the members of the Jewelry Art Forum