c1980's British Roadace Replica 1960's BRM F1 Racer model collection. No damage<br>or detectable wear. The Average Wood base measures 2 3/8" x 1 3/8", car approx<br>1.5 or 35mm long. Selling the Exact 3 cars shown. These are all quite rare as<br>they were not mass produced, historically they tend to average $125-$200 each.<br>If I were to split up this group I would want towards the higher end for just<br>one but could potentially work a deal on several. I'll be offering other makes<br>and models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 1960's Lotus model collection. No detectable<br>issues or wear. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm<br>long. Selling the Exact 4 cars shown. I photographed one individually with the<br>intention of listing individually but I figured I would offer them as a group<br>for a better price. These are all quite rare as they were not mass produced,<br>historically they tend to average $125-$200 each. If I were to split up this<br>group I would want towards the higher end for just one but could potentially<br>work a deal on several. I'll be offering other makes and models separately,<br>these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 1964 Maserati 4.9 in Original Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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c1980's British Roadace Replica 50's-60's Racecar model collection. No<br>detectable issues or wear. Average Wood base measures 2 5/8" x 1 3/8", car<br>approx 1 5/8 or 40mm long. Selling the Exact 9 cars shown. I photographed one<br>individually with the intention of listing individually but I figured I would<br>offer them as a group for a better price. These are all quite rare as they were<br>not mass produced, historically they tend to average $125-$200 each. If I were<br>to split up this group I would want towards the higher end for just one but<br>could potentially work a deal on several. I'll be offering other makes and<br>models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 60's-70's Ferrari models collection. No<br>detectable issues or wear other than the one I photographed individually has the<br>tiniest paint nick on back left corner of tailfin. Average Wood base measures 2<br>5/8" x 1 3/8", car approx 1 5/8 or 40mm long. Selling the Exact 11 cars shown. I<br>photographed one individually with the intention of listing individually but I<br>figured I would offer them as a group for a better price. These are all quite<br>rare as they were not mass produced, historically they tend to average $125-$200<br>each. If I were to split up this group I would want towards the higher end for<br>just one but could potentially work a deal on several. I'll be offering other<br>makes and models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica Lotus Elan in Original Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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c1980's British Roadace Replica Porsche 904 G.T.S Carrera In Box. Average Wood<br>base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car<br>shown, car is perfect, some wear and or adhesive residue to box.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980‘s Huge Vintage Navajo Sterling silver Bruneau Jasper slab bolo tie. Solid sterling silver (tested), slide and tips. Weight and measurements in pictures. Great bolo with no issues. 44" long.

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c1980‘s Vintage Navajo sterling silver turquoise bear paw shadowbox bolo tie. Solid sterling silver (tested) with no issues. Weight and measurements in pictures. Overall good condition, tested sterling, unmarked.

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c1980‘s Vintage Navajo sterling, turquoise, belt buckle with Zuni inlay. Solid sterling silver with weight and measurements in pictures. Marked with Capital Letter STERLING on reverse, no other detectable markings.

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c1990 French Philippe Ferrandis Paris gold-tone runway necklace and clip-on<br>earrings. Amazing retro over the top set clean and ready to wear, estate fresh<br>from a multimillion dollar jewelry/clothing collection in which nothing could<br>have been worn but a few times. No damage or detectable wear. Earrings 3.5" tall<br>x 2" wide with strong springs on the clips. Necklace 20" long with no issues.<br><br>Guaranteed Late 80's-90's authentic set with no issues.<br><br>anderasbag

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c1990 Hopi Mudhead Kachina Rattle. Nicer quality than most with the carved<br>feathers, unmarked. Guaranteed at least 25 years old. Good condition with no<br>breaks, one paint blemish on front as shown. 12.75" tall x 5.75" ear to ear,<br>sounds great.<br>tw209

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c1992 Wedgwood Blue Elephant Paperweight and Trinket Box. Selling both with no wear or damage whatsoever. The measure about 3.25" wide. This pattern was made from 1992-1995. b49

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c40‘s-50‘s Navajo Tufa cast sterling silver Ketoh form concho belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa mid 20th century. Fits a .5" belt.

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c700-1000bc Luristan bronze spear and arrowhead collection. Largest 4.25" long,<br>smallest .5" long. Sorry there aren't more pics but I really don't want to<br>handle these anymore than I have to for obvious reasons. This is part of a large<br>collection of artifacts I'm helping liquidate, all purchased from reputable<br>sources over the last quarter of the 20th century, money was no object. I'm<br>pricing everything at a small fraction of what it cost from the<br>galleries/auctions. Just the displays alone must've cost a small fortune. They<br>come in a very fancy Steel/acrylic display case, case measuring 6.5" cube, some<br>wear/adhesive residue to case, figures 5 3/8" tall, some wear to figures but no<br>major breaks or repairs. The figures are over 3000 years old and guaranteed<br>authentic.<br><br>isshelf

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c700bc Luristan bronze animal figures. Largest approx 3" tall and wide, selling<br>all three, guaranteed authentic with no questions asked returns. The two headed<br>figure appears to have once had a base. These were used as pendants/saddle<br>ornaments. This is part of a large collection of artifacts I'm helping<br>liquidate, all purchased from reputable sources over the last quarter of the<br>20th century, money was no object. I'm pricing everything at a small fraction of<br>what it cost from the galleries/auctions. Just the displays alone must've cost a<br>small fortune. They come in a very fancy Steel/acrylic display case, case<br>measuring 6.5" cube, some wear/adhesive residue to case, figures 5 3/8" tall,<br>some wear to figures but no major breaks or repairs. The figures are over 3000<br>years old and guaranteed authentic.<br><br>isshelf

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California Sterling Golden State Trapshooters Association Belt Buckle Trophy<br>1999. 3.25" x 2 5/8" for a 1.5" belt.<br>B39

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Calvin Begay Early Work 14K Gold & Sterling Silver Geometric Overlay Earrings 1" tall x 13mm wide x 12.7 grams with no issues. Calvin Begay is an award winning artist, jeweler, designer and master craftsman. He was born in Gallup, New Mexico in 1965 and raised in Tohatchi, northwestern New Mexico. Calvin designed his first piece of jewelry at age 10, learning from his mother an uncle. In more than 20 years as a jewelry designer and craftsman, he has become a master in every aspect of the design and manufacturing process. He has won numerous awards at the Gallup Inter Tribal Ceremonial, including Best of Show in 1989. His jewelry has been featured in Arizona Highways and Southwest Art Magazines. This gifted artist continually innovates and updates his designs, working in both gold and silver, and adding new motifs and stones to his repertoire. In his leisure time, Calvin participates in rodeos and rides in the back country in his all terrain vehicles. When he creates jewelry, that wild free spirit finds expression in precious metals and stone.He has a unique ability to translate traditional Navajo inlay techniques into jewelry that reflects his Native American heritage, yet have elegant and contemporary flair. Calvin’s work is prized by clients and collectors, not only in the Southwest, but throughout the United Stated and the world. In the artistry of Calvin Begay, the stunning beauty of the untamed West is reflected in the combination of color and design that create unforgettable pieces of wearable art.

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Calvin Begay Navajo Sponge Coral Sterling Channel inlay necklace and earrings.<br>Very unusual set with no damage or issues 18.5" long necklace 1 1/8" long<br>earrings. 88 grams total.<br><br>Calvin Begay is an award winning artist, jeweler, designer and master craftsman.<br>He was born in Gallup, New Mexico in 1965 and raised in Tohatchi, northwestern<br>New Mexico. Calvin designed his first piece of jewelry at age 10, learning from<br>his mother an uncle. In more than 20 years as a jewelry designer and craftsman,<br>he has become a master in every aspect of the design and manufacturing process.<br>He has won numerous awards at the Gallup Inter Tribal Ceremonial, including Best<br>of Show in 1989. His jewelry has been featured in Arizona Highways and Southwest<br>Art Magazines. This gifted artist continually innovates and updates his designs,<br>working in both gold and silver, and adding new motifs and stones to his<br>repertoire. In his leisure time, Calvin participates in rodeos and rides in the<br>back country in his all terrain vehicles. When he creates jewelry, that wild<br>free spirit finds expression in precious metals and stone.He has a unique<br>ability to translate traditional Navajo inlay techniques into jewelry that<br>reflects his Native American heritage, yet have elegant and contemporary flair.<br>Calvin’s work is prized by clients and collectors, not only in the Southwest,<br>but throughout the United Stated and the world. In the artistry of Calvin Begay,<br>the stunning beauty of the untamed West is reflected in the combination of color<br>and design that create unforgettable pieces of wearable art.

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Frame measures 29" x 41", Painting measures 24" x 36" painted on 1979 by Calvin<br>Canepa who can be read about below. The painting is undamaged and has not been<br>restored, canvas is tight, frame is also in great condition.<br><br>Not many people are “discovered” in kindergarten, but Calvin Canepa’s artistic<br>talents were apparent at the age of 5.<br><br>“The superintendent of the Lake Tahoe school district saw a painting I did and<br>was impressed,” Canepa said.<br><br>“He contacted my mother and told her that she should expose me to as many<br>outdoor scenes as possible so I could further develop my artistic abilities.<br><br>“I had the first exhibition of my work when I was in the first grade.”<br><br> Canepa is a self-taught fine artist. He concentrates on outdoor scenes and<br>still lifes. The area around Lake Tahoe and the Sierra Nevada foothills serves<br>as the subject for most of his paintings.<br><br>When Canepa isn’t painting or exhibiting his art, he works as a clerk at the<br>Bel-Air market in Cameron Park. “When my daughter came to live with me,<br>following the death of her mother, I needed a job with health benefits that<br>would cover both of us,” he recalled. “I also wanted to work less than 40 hours<br>a week so I could have more time to concentrate on my painting. “That’s why I<br>applied to work at Bel Air. It was a Union job and I could work less than<br>full-time and still be eligible for benefits.<br><br>‘The only way to go’<br><br>“I also had an uncle and two cousins who were Union members and worked for<br>Lucky. I saw how they lived a solid middle-class lifestyle, so I knew Union was<br>the only way to go.”<br><br>Canepa works the overnight shift because it lets him paint and market his art<br>during the day.<br><br>“Selling paintings is an up-and-down business,” Canepa said. “Having a secure<br>Union job with benefits has been a lifesaver for me.”<br><br>His union-negotiated health benefits were especially useful when he had to have<br>back surgery seven years ago.<br><br>“I was out of work for six months,” Canepa said. ”Everything was taken care of.<br><br>I didn’t have to worry about how I was going to pay for the surgery and could<br>concentrate on getting better.”<br><br>Canepa’s goal is to get his art into more galleries and eventually into museums.<br>“Having your work hang in a museum would be very prestigious,” he said.<br><br> “But showing my work in as many galleries as possible is also important,<br>because I can sell more of my paintings.”<br><br>One of Canepa’s paintings sold for $14,000 to Bank of America and still hangs in<br>the bank’s corporate offices.<br><br>Although he is nowhere near retirement age, Canepa plans to keep working as long<br>as he can.<br><br>“Work sharpens my artistic abilities,” Canepa said. “Having less free time is<br>good, because you need a sense of urgency to paint. If you have too much time on<br>your hands, you can get lazy.<br><br>More information about Canepa’s artwork can be found at his<br>website, www.calvincanepafineart.com.

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Cambridge Rose Point Oval footed 12" bowl c.1940 No issues at all, no cracks, chips, scratches, cloudiness. Hard to find piece. Tw48

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Candy Tangney Texas Coastal child on beach watercolor 14.5" x 11.5" framed, 8" x 5.25" sight. No issues with painting or frame. I couldn't show the whole frame due to my current setup and time limitations but it's all clean like what's shown. tw71

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Cantagalli Antique Itanian Faience Reticulated Plate with Crest. 9.5" wide with no cracks, chips, or restorations. 19th century. About Ulisse Cantagalli Ulisse Cantagalli was a superb artist and an even better businessman. Not much of him is known before 1878 when he took over the family factory in Florence and started to produce highly decorative Italian ceramics in the Renaissance style. At the time the taste for this kind of pottery was a very hot trend in the English speaking countries. He devoted his artistic energy to the understanding of the techniques and the designs of the old masters from Gubbio, Deruta, Urbino and other important ceramic centers. His ability to master the ruby and golden luster techniques of Mastro Giorgio Andreoli brought the factory to fame, particularly in Britain. The passion for Italian pottery and its role in the success of Cantagalli’s factory is well described in a delicious article published in the New York Times in 1879, titled “The Making of Majolica: A Florence Pottery Factory”. The event that more than any other contributed to the International success of Cantagalli was his friendship with William de Morgan, Britain’s most talented and most admired pottery and tile designer of his days. He introduced him to influential collectors in England and US and encouraged him to participate to International exhibitions. In a short time, Cantagalli works were highly regarded in English speaking countries, where they still are popular Collector’s items. Cantagalli died in 1901. His wife and daughter continued to operate the factory in Florence. In 1934 they sold it together with the Cantagalli’s trademark to Amerigo Menegatti, former artistic director of the factory. The economic turmoil following World War II forced Menegatti to a step change in production. He began to offer more utilitarian items, which still bore the famous cockerel that English speaking collectors find so appealing. The Cantagalli factory closed in 1985. The production of Cantagalli ware is now over, although the Menegatti family still owns the trademark. TW156

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Caran d Ache Varius Ivanhoe Rollerball and Ballpoint pens. Selling the two silverplate rhodium coated pens that retailed for $500+ each. One is in in working condition, the other needs an ink cartridge. Both are extremely clean with little to no wear, buying the exact pens shown. They are estate fresh with no boxes from an amazing pen collection all retailing for over $500, all apparently unused. trinketdrawer

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Carl Allen Begay (1912-1972)  Navajo sterling and coral buckle on 30" belt. Belt is clean, fits a 29"-32" waist, 1.25" wide, Buckle 3 1/8" x 1.5". The belt is tied on, could obviously be replaced but don't want to mess with it in case it works for you. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn't answered in this listing that we put so much effort into already :)=  All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

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Carl Allen Begay (1912-1972) Navajo sterling silver turquoise/coral bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 39" long. Circa third quarter of the 20th century.

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Carl Kauba Bronze Bust Pair of beautiful young ladies standing 8" tall on a marble base. Their hair in a fashionable updo of the period and elegantly dressed for an evening out. Properly signed C Kauba on side and marked by J Kalmar Foundry in Austria as well Guaranteed genuine Reddish marble base with dark veining. No damage to bronzes, minor chipping to Marble bases. This price is for both, obviously a matching reverse pair that has been together for over 100 years. Carl Kauba (1865-1922) The Austrian sculptor Carl Kauba attended the Viennese Academy of Fine Arts, where he was taught by Laufenberg, Waschmann and Schwartz. He later continued his education in Paris. Kauba's polychrome, very detailed and realistic sculptures make him one of the leading 'Viennese bronze' artists. b29

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* Carl McConnell / Pinjarra Pottery 4" tall x 3.5" wide. All with no damage or<br>wear.<br><br><br><br>Carl McConnell (1926-2003) was born in Chicago. He attended art schools in<br>Chicago, Dallas and Memphis, before serving in the US Navy from 1943-1945. He<br>was stationed at Brisbane for some of this time. He continued his art studies in<br>Pittsburgh after the war, but returned to Brisbane in 1948 with his<br>Australian-born wife and son Phillip (1946- ). He studied art at the Brisbane<br>Technical College, becoming interested in ceramics, setting up a studio in<br>Norman Park in 1954, and moving to the Pinjarra Hills in 1959. He taught at the<br>College from 1958-1963, resigning to become a full-time potter a year or so<br>after losing the position of Head of Pottery to Milton Moon. He taught again at<br>the College from 1971-74 and ceased working as a potter in 1983. He has come to<br>be regarded as Queensland's most significant contemporary potter and an exemplar<br>of the Anglo-Oriental tradition in Australia. He used a variety of marks, all<br>well-documented in Glenn Cooke's 1986 monograph

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Carl Poul Petersen Canadian Sterling silver Cutting Horse Rodeo Belt buckle .. Fits a 1.75" wide belt. No issues, some expected wear. Circa third quarter of the 20th century. Weight and measurements in pictures. One of the highest quality trophy buckles I‘ve ever had.

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Carl Thieme Dresden Flowers porcelain reticulated Centerpiece Hand painted with<br>applied flowers. Great piece from about the second quarter of the 20th century.<br>One tiny pin sized flake to a petal. No other cracks, chips, or restorations.<br>Amazing piece in amazing condition. 11.5" wide x 5" tall.<br>chinacab

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Carlos Eagle Ottawa/Chippewa sterling silver turquoise row inlay concho belt. Tested and guaranteed sterling silver. Weight and measurements in pictures. Will fit up to a 38" waist, but can be worn shorter. Carlos’ career as a jeweler began in the 1970’s, inspired by his mother, who was an artist of Ottawa/ Chippewa descent. He is completely self-taught. Unlike many jewelers, he is both a lapidary and a silversmith, and fabricates all of his jewelry by himself. Nothing is cast or manufactured. He is an Elder in the Little River Band of Ottawa Indians, but also considers himself part of God’s Universal Family. His greatest pride comes from his work with animals and caring for the land. “I am doubly blessed. I have been able to pursue my passion for art as a career which has enabled me to live the life I have dreamed of. No one could ask for more.”

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Carmelo Patania #8 turquoise modernist sterling silver clip on earrings. Great earrings, tested and guaranteed solid sterling silver with weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century. Clip on earrings as shown. Strong springs on clips. Frank Patania Sr. and brother Carmelo "Pat" Patania opened up their Thunderbird Shop in Tucson, AZ in 1937. They combined old world jewelry-making with the influence of the Southwest jewelry. Many Native American jewelers apprenticed with the Patania family.

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Carmen Beckmann mid century Modernist sterling silver necklace, bracelet, ring. Solid sterling silver, extremely high quality as shown 17" necklace, Size 7 ring, 6.5" bracelet. Selling the set shown from the third quarter of the 20th century with no issues. Untouched estate fresh condition, I would be happy to clean up a little upon request before shipping. Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry. Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones. It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece. anderas

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Carmen Beckmann Modernist sterling carved Amethyst frog on leaf pin 25.2 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Carmen Beckmann Modernist sterling chrysocolla pin 16.6 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Carmen Beckmann Modernist sterling turquoise pendant/pin 22.7 grams, other measurements in pics.Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry.Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones.It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece.

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Carol Jean Green Miniature Watercolors Listed California Artist. Selling both. Sight measures 2 1/8" x 2 5/8". 5.5" x 7.5" framed. Art is perfect with no issues, original watercolors guaranteed. Frames are near mint. Carol Jean Green was born in California but raised and educated in the Far East and India. She lived for many years on the island of Ibiza, Spain. A self -taught "naif" her original watercolors of the Mediterranean, California and Southwest influence are sought after by collectors worldwide. Tw61

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Carol Theroux California Listed Artist original Pastel drawing of a Mountain Man with Fur Hat. No issues or damage. 19.5" x 22.5" frame 14" x 11" drawing. From Bellflower, California, she is an authority on native Americans and spent much of her painting career on those subjects. Later she turned to western genre, paintings of men and women in "bygone days."

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Carol Wylie Navajo Native American Sterling Multi-stone Chandelier earrings 5" tall x 1.25" wide with no issues whatsoever. Appear unworn. All natural high grade turquoise stones/spiny oyster 47.3 grams total weight. Navajo artisan Carol Wylie is now in her 50's & has been making jewelry for over 25 years now..It is very obvious in her work how 25 years has paid off & what you are going to get from her is perfection & extremely precise work. She lives on the Navajo reservation in western New Mexico. All precious metals are tested and guaranteed,

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Carol Wylie Navajo silver and high grade turquoise pin, also has mark from Adam & Rita Teller<br>Navajo (De Chelly shop). 2 3/8" x 1 3/8" x 15.2 grams.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Carolyn Morris Bach 2007 Retro 18k gold/Sterling silver modernist earrings. Great earrings with no issues, tested and guaranteed solid sterling silver and solid 18k gold, any marks detected, weight, and measurements will be shown in the pictures. Carolyn Morris Bach lives in Southern Rhode Island. Her studio is surrounded by pastures and forests and impacted directly by the cycles of seasons which connect her to the natural environment and its visual expression in figurative imagery. For 30 years, her work has developed along with themes which are keyed to visual metaphors often found in older iconographies representing the powers of sun, moon, wind, rain, stones, plants, and a selection of animals residents that determine the rural, non-industrial landscape. EDUCATION & RECOGNITION Carolyn Morris Bach is a graduate of the prestigious Rhode Island School of Design. Her work is in numerous museum collections including: Boston Museum of Fine Arts, Boston, Massachusetts Museum of Arts and Design, New York, New York Fuller Craft Museum, Brockton, Massachusetts Racine Art Museum, Racine, Wisconsin Her work is widely collected both in America and abroad, and recognized by several organizations with awards of merit from Smithsonian Institution, American Craft Museum, Philadelphia Museum of Art (Women‘s Committee), and a National Endowment for The Arts grant. Most recently, a Carolyn Morris Bach brooch was included in the book by Madeline Albright, Read My Pins. Brooches from her personal collection.

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Carolyn Pollack Relios Southwestern sterling multi-stone channel inlay pendant 2 3/8" x 1 3/8" x 17.6 grams with no issues. All precious metals are tested and guaranteed,

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Carolyn Pollack Southwestern style Sterling pendant on necklace. 18" necklace 2.5" long pendant, both pieces sterling. Necklace isn't Carolyn Pollack. 24.7 grams total, no issues with either.

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Casa Del Regalo Bortoli Mid century Alabastro Murano Apple paperweight 3.5" wide x 3" tall with no cracks, chips, or restorations. pwdrawer

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Case Pendleton Round-Up Pocket Knife Unused 4254 Stainless Steel. Very rare<br>knife in unused condition, they didn't make many of these and they aren't<br>available on the secondary market. It's probably about 25 years old. It is<br>unused, the blades are mint and have never been sharpened since they left the<br>factory razor sharp. Knife is 4.25" longest blade is 3.25" There are tinly dark<br>spots one on each side of handle, I didn't attempt to clean them, I think it's<br>dye from the sheath which it came it from the estate but I'm not sure is<br>original or not.<br>tw208

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C.1900 marked est 1774 Cauldon China England. Then below William Junor 352 Yonge Street Toronto, which was a large high end China shop in Toronto around the turn of the century. 9" wide with no chips, cracks, crazing, or repairs on any of them. A few light scratches, but very clean in general with good gold. I believe the border is transfer printed and the house decoration is hand painted over transfer due to the slight variations on each plate. Selling all six for one price.

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Cecil Ashley Navajo Denim Lapis, coral, opal, onyx, sterling pendant on 22" lapis beaded necklace. Sterling beads and clasp on necklace. Measurements in pics. I think I have earrings to match the pendant, listed separately because I didn't know until the pics were taken.Cecil worked for the Brown family, Brown’s Trading Company in Safford, Arizona in the mid-80's and had access to top grade Morenci turquoise, which he used to create many beautiful jewelry pieces. There he honed his craft before venturing out on his own and establishing his own studio. Most of Cecil’s pieces have a variety of colorful, inlaid materials including spiny oyster, onyx, lapis, opal and the rare Dragon Skin or Brown Spider Web turquoise. These stones are most often inlaid in asymmetrical settings. His other silverwork is classic Navajo stamp work with classically set stones.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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Cecil Ashley Navajo sterling Carico Lake turquoise cobblestone pendant. Solid sterling, weight and measurements in pics. Fully functional and attractive vintage piece in good condition with no significant issues, but some expected wear. Unmarked, at the time of listing I have a concho belt that matches this that is signed. My guess is it was either custom made by Cecil or one of the links were removed from the belt and a pendant was made from it. Cecil Ashley is a respected Navajo Master silversmith who signs his pieces “CA sterling. Cecil is well known for his quality of material and meticulous workmanship in his one-of-a-kind collectible designs. He is best known for his extraordinary lapidary skills, whose signature style is creating some of the best mosaic inlay work today. Cecil worked for the Brown family, Browns Trading Company in Safford, Arizona in the mid-80‘s and had access to top grade Morenci turquoise, which he used to create many beautiful jewelry pieces. There he honed his craft before venturing out on his own and establishing his own studio. Most of Cecils pieces have a variety of colorful, inlaid materials including spiny oyster, onyx, lapis, opal and the rare Dragon Skin or Brown Spider Web turquoise. These stones are most often inlaid in asymmetrical settings. His other silverwork is classic Navajo stamp work with classically set stones.

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Cecil Ashley Navajo sterling channel inlay pendant/beaded necklace sugilite opal, and turquoise. Weight and measurements in pics, all solid sterling. Cecil Ashley is a respected Navajo Master silversmith who signs his pieces “CA sterling. Cecil is well known for his quality of material and meticulous workmanship in his one-of-a-kind collectible designs. He is best known for his extraordinary lapidary skills, whose signature style is creating some of the best mosaic inlay work today. Cecil worked for the Brown family, Browns Trading Company in Safford, Arizona in the mid-80‘s and had access to top grade Morenci turquoise, which he used to create many beautiful jewelry pieces. There he honed his craft before venturing out on his own and establishing his own studio. Most of Cecils pieces have a variety of colorful, inlaid materials including spiny oyster, onyx, lapis, opal and the rare Dragon Skin or Brown Spider Web turquoise. These stones are most often inlaid in asymmetrical settings. His other silverwork is classic Navajo stamp work with classically set stones.

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Cecil Ashley Navajo sterling silver inlay overlay pendant turquoise/coral. Solid sterling silver tested and guaranteed with artists hallmarks and measurements in the pictures. No issues, circa last quarter of the 20th century. Cecil Ashley is a respected Navajo Master silversmith who signs his pieces “CA sterling. Cecil is well known for his quality of material and meticulous workmanship in his one-of-a-kind collectible designs. He is best known for his extraordinary lapidary skills, whose signature style is creating some of the best mosaic inlay work today. Cecil worked for the Brown family, Browns Trading Company in Safford, Arizona in the mid-80‘s and had access to top grade Morenci turquoise, which he used to create many beautiful jewelry pieces. There he honed his craft before venturing out on his own and establishing his own studio. Most of Cecils pieces have a variety of colorful, inlaid materials including spiny oyster, onyx, lapis, opal and the rare Dragon Skin or Brown Spider Web turquoise. These stones are most often inlaid in asymmetrical settings. His other silverwork is classic Navajo stamp work with classically set stones.

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Cecil Ashley Navajo sterling tiger‘s Eye, Onyx, petrified wood pendant/necklace. No issues, weight and measurements in pics, solid sterling. Necklace is the same stones but with only sterling mark on the cones. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Cecilia Tono Piedra Negra Mid Century Modernist sterling mixed metals pendant/pin. Measurments in pics. 31.5 grams..

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Cedric Navenma Kuwaninvaya Hopi Overlay bolo tie sterling silver. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown. Exremely high quality. From huge collection so well preserved, 42" total length.

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CEJ Southwestern sterling silver channel inlay belt buckle with nice turquoise. Hallmarked clearly with an unidentified hallmark. Tested and guaranteed solid sterling silver, fits a 1.25" wide belt. No issues, some expected wear. Circa fourth quarter of the 20th century. Weight and measurements in pictures.

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Cel Vintage Matl Style Sterling Turquoise Amethyst and coral necklace/<br>bracelet/earrings set. Selling the set shown with no issues, Necklace 18.5"<br>long, bracelet 7.75" long, earrings 1.5" long. Nice old vintage set from the<br>70's or 80's. with no apparent damage. 85.8 grams total weight.

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Cenedese Murano Centerpiece with applied fruit handles. Great piece in perfect condition from the last half of the 20th century. 11" handle to handle x 8" tall, signed on base as shown. B38

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Central American Chancay Figure Very Early. Very old piece came from a collection of relics and Pre-columbian artifacts from Central America. I believe it's original circa 1000 A.D. and will back that up with no questions asked return if you aren't happy. 6.75" tall , doesn't stand well by itself, a few small flakes, no restorations. TW82

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Cesar Aquino Peruvian Gourd Art. Really cool and nice with no damage or wear. 10" tall x 4.75" wide. B54

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Chalmers Day Hopi Overlay belt buckle sterling silver kokopelli designs. Solid sterling silver with weight and measurements in pictures, some expected wear with no damage. Chalmers was born October 24, 1956 in Keams Canyon, Arizona. Chalmers was given the Hopi name Dap-Hong-Va, and was born to the Corn and Water Clans. He is the grandson of Robert Satala, Sr., one of the Hopis earliest silversmiths and a merchant on the First Mesa in Arizona. Chalmers Day learned his art from the Hopi master, Preston Monongye. As Dr. Gregory Schaaf in his book, American Indian Jewelry Artist Biographies states: “Chalmers specializes in very detailed and sophisticated designs in the overlay technique. The quality of his artistry is exceptional. His compositions combine village scenes, cornfields, kachinas and more in a single piece. His jewelry takes one on a journey into the Hopi world. His designs portray the life of the Hopi, their migrations, ceremonies and spiritual figures. He is recognized as one of the greatest overlay jewelers in history. In 1976, Chalmers participated in one of Prestons jewelry classes. Preston continued to advise Chalmers in his jewelry craft. Like the Navajo Nation, the Hopi Indians were the benefactors of the Spaniards silversmith tradition. While the two nations influences are evident in the art of the other, Hopi jewelry artists sought to distinguish themselves from other Southwestern Indian jewelry artists. Beginning just before WWII, Hopi Indian jewelry artists have developed a characteristic style, one that uses few stones but intricate overlay design work. Today Chalmers Day is the most well-known Hopi jewelry artists. Day has been creating jewelry since 1972.

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Measures 3 5/8" wide x 2" deep. No cracks, chips, or restorations.

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Chan Luu Peach Quartz beaded necklace. Very substantial 30" high quality necklace with graduated up to 20mm faceted natural peach quartz stones, hand tied with no issues.

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Charlene Dishta Zuni sterling silver turquoise/coral inlay eagle pendant/pin. Solid sterling silver tested and guaranteed with no markings other than artists hallmark on the pendant in the back, weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Charles Garnier Sterling Vermeil necklace 29" long 5/8" x 1.25" stations. Appears unworn with no issues. 16.6 grams. By 1901 Charles Garnier had established his reputation in Paris as a masterful designer of jewelry. Working in the time of Cartier and Vuitton, his creations soon became respected and admired for their exceptional quality and elegance. More than a century later, Charles Garnier Paris continues this tradition with the same dedication to excellence and workmanship that our namesake so proudly crafted into every piece. Our factory combines cutting edge technology with old world craftsmanship and hand finishing to create pieces that are sought after and sold throughout the world.

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Charles Johnson Navajo Sterling/turquoise pendant 2.5" tall x .75" wide x 23 grams with no damage or wear.Charles was taught silversmithing from his parents at about the age of 15, and continued to learn on his own during the summers. His parents are lifetime silversmith’s with his mother’s family having 5 generations, and his father’s family with 2 generations. Charles has worked full-time as a silversmith since the age of 20. He first started inlaying at the age of 13 for a few years while learning both.Starting with traditional Navajo jewelry, Charles then went into Navajo contemporary jewelry, then onto the Western style with swirl design cutouts. The majority of his jewelry are cutout overlay on bracelets, and buckles with Petroglyph designs (Anasazi drawings). He also enjoys bracelet overlay with Western style and swirl design. Charles’ clans are Ashii (Salt People) and Todich’ii’nii (Bitter Water Clan).

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Charles Loloma Hopi 18k gold, sterling silver high grade Turquoise pendant. Tested and guaranteed solid sterling silver with solid 18k gold inlay bar weight and measurements in pictures. Marked as shown, circa last quarter of the 20th century (1980's). Small but great, authentic. High grade natural American turquoise, likely Lone Mountain and Sleeping Beauty, with Lapis, 14k gold, and sterling silver. High quality as shown.Charles Loloma was born near the little village of Hotevilla on Third Mesa of the Hopi Reservation, on January 7, 1921, the son of Rex and Rachael Loloma. He had his early schooling at the Hotevilla Day School. Later he lived with an aunt in Moencopi while attending the Hopi High School in Oraibi. There he worked under the well-known artist, Fred Kabotie. He went onto Phoenix Indian School and graduated from it in 1940. While still a student, he was selected by Kabotie to assist in the reproduction of the Awatovi murals for the Museum of Modern Art in New York. During the same period, at the age of eighteen, he worked with the late Renen d´Harnoncourt and Kabotie executing murals for the Federal Building in the 1939 Golden Gate Exposition in San Francisco. Other murals, done while in his teens, may still be seen on the walls of the Employees Club and Dormitory of the Hopi High School in Oraibi. In 1940 he illustrated the book Hopihoya by Edward Kennard, and in 1948 collaborated with him again on Little Hopi. From 1941 to 1945 he served in the army, spending over three years in the Aleutians. He married Otellie Pasivaya in 1942. Immediately following his discharge, they settled in Shipaulovi on the Second Mesa. At that time he did illustrations and murals for the Verde Valley School. Late in 1945, the GI Bill made it possible for him to begin studies in ceramics at the School for American Craftsmen at Alfred University, in Alfred, New York. There he received a fellowship from the Whitney Foundation for the research in ceramics on the Hopi Reservation. He worked on this project from 1949 to 1951. In 1954 he and his wife opened a pottery shop in Scottsdale, becoming the first tenants of the successful Kiva Craft Center, founded by Lloyd Kiva New.It was in 1955 that Loloma began turning his creative efforts toward jewelry, and gradually this new art form took precedence over the popular pottery line of Lolomaware. During the six-year period he had the shop, he devoted his time to teaching at the University of Arizona, Tucson, at Arizona State University at Tempe, and at their summer extension courses in Sedona. In 1959 he took part in the initial conference, which launched the Rockefeller Foundation’s Southwest Indian Art Project at the University of Arizona, and was an instructor for its three succeeding summer sessions. In 1962, with the founding of the Institute of American Indian Arts in Santa Fe came the realization of a long time dream he had shared with Lloyd New, a school directed toward helping Indian students find an individual expression of their cultures through the arts. He and New were appointed heads of the Department of Plastic Arts, as well as the Sales Department where student work was sold.Despite the demands of full time teaching, he continued working on his jewelry, and in 1963, had a very successful Paris show. By 1966 he was able to devote all of his time to his art and began construction of a studio and gallery on a rocky knoll near Hotevilla, commanding a panoramic view of the valleys and mesas of his homeland. Rooms have been added on the main structure many times since then, and a house for his niece and her family was completed across the road.His jewelry became internationally known and pieces can be found in the collections of many distinguished persons, including Mrs. Dwight D. Eisenhower and Mrs. Frank Lloyd Wright. In the 1960’s, President Lyndon B. Johnson commissioned pieces to be presented to the Queen of Denmark and the wife of the Philippine president. During the sixties, Loloma won First Prizes seven years in a row at the Scottsdale National Indian Arts Exhibition. In March 1970, he was on the arts panel for the First Convocation of American Indian Scholars at Princeton University. He was included in the 1970 book, Objects: USA, and the resulting exhibition, which toured the country for several years. In 1971, he had his second Paris show, and in December of that year, a one-man show at the Heard Museum in Phoenix. He was featured in the 1972 NET film “Three Indians” and was the subject of the 1074 PBS television film “Loloma”, narrated by Rod McKuen. In June 1973, he was the keynote speaker for the American Craftsmen Council convention in Fort Collins, Colorado. Later that year, his work was exhibited in Houston, Texas, and the following January through March, at the Museum of Contemporary Crafts in New York. He was appointed to a three -year term on the Arizona Commission on the Arts and Humanities in the fall of 1973. He was a board member of the American Indian Historical Society of Princeton University and of the American Indian Center for Living Arts in New York. In late 1974, under a National Endowment for the Arts program, he spent five weeks as Artist-in-Residence in Japan.None of this worldly acclaim, however, has deflected him from his work or estranged him from his native culture. He continued to have a deep reverence for Hopi beliefs and the ceremonies, which express them. In the midst of his successful 1971 Paris show, he flew home so that he might take part in the Bean Dance. He lived by the Hopi calendar, its cycles of birth, death, and regeneration. In autumn, the fields behind his studio were filled with ripening squash and melon, and on the crest behind it, he was found with relatives roasting corn to provide for the winter ahead. There is a seeming disparity between this way of life and the sophisticated world in which he moved. His answer to this was: “We are a very serious people and have tried hard to elevate ourselves, but in order to create valid art, you have to be true to yourself and your heritage”. He also said: “I felt a strong kinship to stones, not just the precious and semi-precious stones I use in my jewelry, but the humble stones I pick up at random while on a hike through the hills or a walk along the beach. I feel the stone and think, not to conquer it, but to help it express itself”. Charles passed away in 1992.Biography from “American Master of Stone”. Listed with ExportYourStore.com

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c1925 Royal Doulton Chang over Sung decorated Flambe Signed by Charles Noke<br>(1858 - 1941); Harry Nixon (1886 - 1955). Large, rare, one of a kind and<br>important. 9.75" 24.5cm tall x 6" 15cm wide. No cracks, chips, restorations or<br>wear. Overall crackle glaze from production. This is likely the most fun and<br>interesting piece of pottery I've owned and I've appreciated art pottery the<br>majority of my life. This piece was entirely decorated with the prunus<br>chinoiserie "Sung" decoration (Iridescent branches and flowers) and flambe glaze<br>then they poured this crazy thick Chang glaze on it and just let it run. I feel<br>this is likely a piece from the very beginning of Chang production in 1925 or<br>even before when they were experimenting as it's a most unusual and extremely<br>labor intensive piece, even the bottom seems like a party. In addition to the<br>painted marks and signatures there is also an impressed Doulton and something<br>else that I just couldn't decide what it was. For international shipment it will<br>be sent Fedex so it will be there in less than a week unless you have an<br>objection.<br>B33

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Charlotte Dishta Zuni sterling silver inlaid Navajo rug pattern belt buckl. Tested and guaranteed solid sterling silver, fits a 1.5" wide belt. No issues, some expected wear. Circa last quarter of the 20th century. Weight and measurements in pictures.

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Cheryl Wadsworth Hopi overlay spinner gecko/sunface pendant sterling silver. Reversible spinner 2 sided as shown. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Cheryl Wadsworth Soohafyah is a fine silversmith. Cheryl and her husband Eddison live just below the rim of the Second Mesa between the villages of Mishongnovi and Shungopavi.

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Cheryl Wadsworth Hopi overlay spinner Kokopelli/sunface pendant sterling silver. Reversible spinner 2 sided as shown. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Cheryl Wadsworth Soohafyah is a fine silversmith. Cheryl and her husband Eddison live just below the rim of the Second Mesa between the villages of Mishongnovi and Shungopavi.

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Cheryl Wadsworth Hopi overlay spinner kokopelli/sunface pendant sterling silver. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.Cheryl Wadsworth Soohafyah is a fine silversmith. Cheryl and her husband Eddison live just below the rim of the Second Mesa between the villages of Mishongnovi and Shungopavi. Listed with ExportYourStore.com

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Chief Dodge shop vintage Navajo sterling silver turquoise/coral eagle belt buckle. Tested and guaranteed solid sterling silver weight and measurements in pictures, circa last quarter of the 20th century. Fits a 1.75" belt. Very well made unique belt buckle.

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Chief Shatka Bear-Step Appaloosa Horse Club Champion belt buckle sterling silver. Fits up to a 1.5" belt. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional. All items will likely have some expected wear, the older they are the more wear they should have. circa third quarter of the 20th century. Chief Shatka Bear-Step (1898-1980; otherwise known as Richard Spencer) who was both an accomplished and well known silversmith. Not only was Shatka Bear-Step a silversmith but he was also passionate about the Appaloosa horse breed. The Appaloosa Horse Club (an international breed registry), inducted Chief Shatka Bear-Step into their hall of fame in 1988, and on their website they describe him in this way: "An Appaloosa showman and promoter, Shatka Bear-Step added colorful and romantic aspects to the breed. Shatka was the father of Mr. Dick Spencer (Western Horseman Magazine) and a well-known silver and turquoise artist. He was featured on national television depicting the Lord‘s Prayer in Indian Sign Language. He produced several awards for the Appaloosa Horse Club, including the Shatka Bear-Step award given to the overall high point youth at each National Show." His love for the Appaloosa breed is apparent in the book he wrote and illustrated, "Painted Ponies" It was originally published in 1952.

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Chief Wolf Robe Hunt (1905-1977) Acoma silver Bolo tie with turquoise/Jasper heart, 40" long with no issues.Wayne Wolf Robe Hunt, a full-blood Acoma Indian (1905-1977). Born on the Acoma Reservation, Wolf Robe was the son of Chief Day Break (Edward Proctor Hunt), Chief of the Delight Makers -- a man instrumental in the improvement of relations between the Acomas and whites. His mother, Morning Star, whose own father was Governor of Acoma seven times, was a potter and weaver. Wolf Robe learned silver-smithing from his older brother on the reservation. Wolf Robe achieved recovnition and fame for his jewelry and art work, winning the prestigious Philbrook Art Center's Grand Award in 1967. In addition, he was a businessman, with his own arts and crafts store in Tulsa, a lecturer, international traveller, author, and translator for the Bureau of American Ethnology. He assited L. A. White in his extensive studies of the Acoma Indians and made recordings for the National Anthropological Archives. Wolf Robe was particularly interested in the preservation of tribal customs, language and culture, and devoted his own time to this and the encouragement of others in similar efforts. Of his work at BAE he said, "My work there as an interpreter is the highlight of my efforts in trying to preseve all of the rich and wholesome lore of my people."* Not only was the preservation of the 'old ways' important to Wolf Robe, but also the representation and dissemination of his culture to whites, in an effort to promote their understanding and appreciation. He travelled all over Europe and to Australia for the Departments of Agriculture and Commerce, representing the American Indian to an appreciative audience.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Chief Wolf Robe Hunt Acoma (1905-1977) silver necklace with pendant. Very well made as expected 20" necklace with other measurements in pics.Wayne Wolf Robe Hunt, a full-blood Acoma Indian (1905-1977). Born on the Acoma Reservation, Wolf Robe was the son of Chief Day Break (Edward Proctor Hunt), Chief of the Delight Makers -- a man instrumental in the improvement of relations between the Acomas and whites. His mother, Morning Star, whose own father was Governor of Acoma seven times, was a potter and weaver. Wolf Robe learned silver-smithing from his older brother on the reservation. Wolf Robe achieved recovnition and fame for his jewelry and art work, winning the prestigious Philbrook Art Center's Grand Award in 1967. In addition, he was a businessman, with his own arts and crafts store in Tulsa, a lecturer, international traveller, author, and translator for the Bureau of American Ethnology. He assited L. A. White in his extensive studies of the Acoma Indians and made recordings for the National Anthropological Archives. Wolf Robe was particularly interested in the preservation of tribal customs, language and culture, and devoted his own time to this and the encouragement of others in similar efforts. Of his work at BAE he said, "My work there as an interpreter is the highlight of my efforts in trying to preseve all of the rich and wholesome lore of my people."* Not only was the preservation of the 'old ways' important to Wolf Robe, but also the representation and dissemination of his culture to whites, in an effort to promote their understanding and appreciation. He travelled all over Europe and to Australia for the Departments of Agriculture and Commerce, representing the American Indian to an appreciative audience.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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Childs Navajo Sterling turquoise bear claw shadowbox cuff bracelet. 3 grams, no issues.

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