8.5" Antique 9k gold ruby hands link bracelet/fob/anklet. Tested and guaranteed solid 9k gold, natural Ruby gemstones. Very clean with minimal wear, weight and measurements in pictures. Antique piece, late 19th century. May have been part of something larger. The clasp is gold filled from a watch chain added later. Listed with ExportYourStore.com

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Estate Collection Antique Gold filled lockets, pendants, brooches, stickpins/etc. All gold filled, mostly marked. Very little wear, all in good condition. Selling the entire lot, mostly antique from late 19th to early 20th century. Some mid century. Listed with ExportYourStore.com

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sz7 Larry Golsch Cherokee 14k yellow gold purple Charoite modernist ring. Tested and guaranteed solid sterling silver, circa third quarter of the 20th century. Some expected wear, weight and measurements in pictures.Larry Golsh has accomplished international fame as a jeweler and sculptor, known for his unique designs and exceptional craftsmanship. Growing up on the Pala Mission reservation near San Diego, California, Golsh learned admiration and respect for the environment and feels a strong connection to the universe which is reflected in the harmony of his designs. Many of his designs are inspired by prehistoric rock art found in the hills and canyons of Southern California.Golsh studied architecture and art at Arizona State University where he met renowned sculptor Ben Goo who encouraged and inspired Golsh. In 1969 he began to work with Paolo Soleri’s Arcosanti project touring major art museums in the U.S. and Canada. It was shortly after that he met Hopi jeweler, Charles Loloma, who Golsh credits, as his inspiration for beginning his world-renowned jewelry designs.Forbes magazine in their article “American Fabergé” said of Golsh and Loloma, “They have attained a whole new aesthetic level, keeping the vital connection with their past, yet transcending it. Their style is now fully international.”Golsh has been the recipient of numerous awards and the subject of many articles. He has received two NEA grants and been featured in the PBS documentary film, “Larry Golsh-American Indian Artist”One of the most accomplished artists of our time, Golsh has defied the boundaries traditionally placed on Native American jewelers. He was the first Native American to study at the Gemological Institute of America and with master jeweler, Pierre Touraine. Golsh often uses diamonds and other precious stones in conjunction with traditional cultural techniques. The result is abstract sculptural pieces that are innovative yet possess a timeless quality. Listed with ExportYourStore.com

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Larry Golsh Cherokee 14k gold Charoite modernist clip-on earrings. Great earrings with no issues, tested and guaranteed solid 14k gold, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century. Strong springs on clips, no issues. Larry Golsh has accomplished international fame as a jeweler and sculptor, known for his unique designs and exceptional craftsmanship. Growing up on the Pala Mission reservation near San Diego, California, Golsh learned admiration and respect for the environment and feels a strong connection to the universe which is reflected in the harmony of his designs. Many of his designs are inspired by prehistoric rock art found in the hills and canyons of Southern California.Golsh studied architecture and art at Arizona State University where he met renowned sculptor Ben Goo who encouraged and inspired Golsh. In 1969 he began to work with Paolo Soleri’s Arcosanti project touring major art museums in the U.S. and Canada. It was shortly after that he met Hopi jeweler, Charles Loloma, who Golsh credits, as his inspiration for beginning his world-renowned jewelry designs.Forbes magazine in their article “American Fabergé” said of Golsh and Loloma, “They have attained a whole new aesthetic level, keeping the vital connection with their past, yet transcending it. Their style is now fully international.”Golsh has been the recipient of numerous awards and the subject of many articles. He has received two NEA grants and been featured in the PBS documentary film, “Larry Golsh-American Indian Artist”One of the most accomplished artists of our time, Golsh has defied the boundaries traditionally placed on Native American jewelers. He was the first Native American to study at the Gemological Institute of America and with master jeweler, Pierre Touraine. Golsh often uses diamonds and other precious stones in conjunction with traditional cultural techniques. The result is abstract sculptural pieces that are innovative yet possess a timeless quality. Listed with ExportYourStore.com

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Antique 14k yellow gold amethyst/pearl pin/brooch. Tested and guaranteed solid 14k gold. Very clean with minimal wear, weight and measurements in pictures. It is a perfect rectangle, was photographed at an angle. Listed with ExportYourStore.com

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Antique 10k yellow gold carved coral cameo pin/brooch. Tested and guaranteed solid 10k gold. Very clean with minimal wear, weight and measurements in pictures. Listed with ExportYourStore.com

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7" 14k gold gold multi-color rainbow Tourmaline gemstone link bracelet. Tested and guaranteed solid 14 gold, natural Tourmaline gemstones. Very clean with minimal wear, weight and measurements in pictures. Listed with ExportYourStore.com

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Antique 14k yellow gold hardstone cameo black and white onyx Hermes/Mercury. Tested and guaranteed solid 14k gold. Very clean with minimal wear, weight and measurements in pictures. Listed with ExportYourStore.com

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Antique 9 ct 9k gold opal/seed pearl pendant/necklace. Tested and guaranteed solid 9k gold. 19" long necklace. Very clean with minimal wear, weight and measurements in pictures. Listed with ExportYourStore.com

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14k yellow gold garnet cluster halo pendant. Tested and guaranteed solid 9k gold, I believe natural jade. Circa first quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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14k yellow gold citrine and peridot necklace pendant. Tested and guaranteed solid 14k gold, natural stones. Circa last quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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14k yellow gold garnet cluster halo pendant. Tested and guaranteed solid 14k gold, natural garnets. Circa last quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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vintage 14k yellow gold sapphire, ruby, pearls grand piano charm/pendant. Tested and guaranteed solid 14k gold, natural rubies and sapphires. Circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz6 Antique 14k yellow gold 18k white gold diamond solitaire size 6 women's ring. Tested and guaranteed solid 14k and 18k gold, natural diamond. Circa first quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz7.5 14k white gold sapphire cabochon natural diamond size 7.5 ladies ring. Tested and guaranteed solid 14k gold, natural diamond, natural sapphire with a little wear. Circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz5 Antique 10k rose gold druzy pyrite victorian size 5 women's ring. Tested and guaranteed solid 10k+ gold. Circa late 19th century. Very clean with minimal wear, weight and measurements in pictures. Mark likely worn.

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sz7.5 antique 14k yellow gold White Sapphire 3 stone size 7.5 women's ring. Tested and guaranteed solid 14k gold. Circa early 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz11 Antique 9k gold 9 carat buckle style band men's ring. Tested and guaranteed solid 9k gold. Circa early 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz7.5 retro 14k yellow gold onyx/shell size 7.5 women's ring zebra stripes. Tested and guaranteed solid 14k gold. Circa early 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz6 14k yellow gold retro Moss in Snow green Jadeite Jade women's size 6 ring. Tested and guaranteed solid 14k gold. Circa mid 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz7.5 Antique 14k yellow gold diamond, platinum onyx women's size 7.5 ring. Tested and guaranteed solid 14k gold, Natural diamond guaranteed. Circa first quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz12.5 retro men's 14k yellow gold, diamond, blue star sapphire size 12.5 ring. Tested and guaranteed solid 14k gold, Natural Blue star sapphire and diamonds guaranteed. The lighting we have is not conducive to showing the star as it comes from the sides. Circa fourth quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz9 1950's retro 14k yellow gold blue topaz women's statement size 9 ring. Tested and guaranteed solid 14k gold, Natural Blue Topaz guaranteed. Circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz6.5 antique 14k yellow gold turquoise art nouveau women's size 6.5 ring . Tested and guaranteed solid 14k gold, All stones are natural guaranteed. Circa first quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz5.5 retro 14k yellow gold diamond, emerald ruby, jade, garnet women's ring. Tested and guaranteed solid 14k gold, All stones are natural guaranteed. Circa second quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz7 retro 14k yellow gold, diamond, turquoise, onyx inlay size 7 women's ring . Tested and guaranteed solid 14k gold, All stones are natural guaranteed. Circa fourth quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz6 retro Madeira Citrine and ruby 14k yellow gold women's ring size 6. Tested and guaranteed solid 14k gold, Natural Madeira Citrine and rubies guaranteed. Circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz6 retro 14k yellow gold gold pastel Columbian emerald 18 diamond women's ring. Tested and guaranteed solid 14k gold, Natural Emerald and Diamonds guaranteed. Circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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sz8 retro 14k yellow gold gold natural opal cluster women's ring. Tested and guaranteed solid 14k gold, circa third quarter of the 20th century. Very clean with minimal wear, weight and measurements in pictures.

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Antique Roman 14k gold micro-mosaic rose/flower bouquet brooch/pin. Selling the pin shown in good condition with weight and measurements in pictures. Circa late 19th century. Tested and guaranteed solid 14k gold, marked on catch.Tesserae in good condition with a slight raised 3d effect, no cracks, some very tiny nicks to rim of black jet.

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Vintage George & Nusie Henry Navajo 14K Gold turquoise necklace pendant. Selling the pendant shown in good condition with measurements in pictures. Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Circa third quarter of the 20th century.

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7" Heavy vintage Chinese 18k gold auspicious symbols link bracelet. Tested, marked, and guaranteed solid 18k gold, circa third quarter of the 20th century. Some expected wear, weight and measurements in pictures. Worn very little as it's been packed up for years, estate fresh. I have a digital 2004 (when gold was less than 1/4 current price) appraisal for this for $19,950. I would be happy to send it over to the buyer.

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sz11 14k gold natural diamond vintage nugget men's ring. Tested and guaranteed solid 14k gold, circa last quarter of the 20th century. Some expected wear, weight and measurements in pictures. No damage to stones, no time to measure stones but they are decent sized diamonds (maybe 1cttw), tested and guaranteed.

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Nelson Walley vintage Zuni inlaid 14k gold ladies watch tips turquoise/coral. Selling the watch tips shown with weight and measurement in pictures. Very thick sold 14k gold. These are not gold filled, solid 14k gold tested and guaranteed.

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18k Gold Tufa Cast Steve Wikviya Larance Hopi turquoise/coral/lapis belt buckle. Tested and guaranteed solid 18k gold with no significant wear. Very fine piece mad by a top Hopi artist, his work is carried by the top galleries in the US. I've been testing gold most of my life and guarantee it to be at least 18k gold. No purity markings which is common with much Native American jewelry. Other gold pieces I have found by this artist also have no 18k, etc markings. Master Hopi silversmith Steve Wikviya LaRance was born 1958 in Phoenix, Arizona but spent part of his childhood with his grandparents in the Hopi village of Moencopi. At Hopi he learned the traditional Hopi arts and those ceremonial designs are a part of his distinctive tufa cast jewelry today. Steve says "When we create art, we share a piece of ourselves with the world."Steve’s distinctive, tufa-cast jewelry uses traditional Native symbols, like petroglyphs, dragonflies, kachina figures and water signs, in creative contemporary ways. His designs are inspired by historical cast jewelry and other old techniques.After becoming a painter, then a sculptor, he now does jewelry that is beautifully designed and impeccably executed. He gathers the semi-hard volcanic tufa from the Hopi Reservation. "I was able to find the site where Charles Loloma used to get his tufa," he says, happily. It is finer-grained than that found elsewhere. Constantly seeking the best is a signature concept of Steve LaRance and his jewelry.

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1970‘s Alice Quam Zuni 14k gold bolo tie carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel clip on the back. 40" long with weight and measurements in pictures, circa third quarter of the 20th century. This is a style that was later adopted by Alice Quam‘s daughter Alvina Quam, though not in gold that I know of. I have seen a few Alice Quam pieces in gold, but not that many even though when she was active gold was 1/7 to 1/130 of the current price. Yes you read that correctly, during much of the time she was active gold was .7% of it‘s current price. The average was probably 1/20 current price. Still gold items by her are extremely rare and were likely custom items as it was always more expensive than silver and not as popular with top Native American artists as it is today. Alice Quam was definitely a top Zuni artistThe stones are quality American turquoise which would of course be sold by the carat even if they were not carved by Alice Quam or possibly her daughter working under her. The stones are worth more than gold, the leather and clip on the back can‘t be that heavy.  This is Historic Zuni jewelry that would improve the quality of any collection/wardrobe.Alice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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sz12.5 Vintage Navajo Diamond Bisbee Turquoise tufa cast 14k gold men‘s ring Nice ring from the last quarter of the 20th century. One side with what appears to be FR initials cast into the design, likely an artists signature. Guaranteed natural diamond approx .25ct, natural ultra high grade Bisbeee turquoise, tested and guaranteed solid 14k gold.

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1970‘s Alice Quam Zuni 14k gold belt buckle carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel bar to catch the belt. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. This is a style that was later adopted by Alice Quam‘s daughter Alvina Quam, though not in gold that I know of. I have seen a few Alice Quam pieces in gold, but not that many even though when she was active gold was 1/7 to 1/130 of the current price. Yes you read that correctly, during much of the time she was active gold was .7% of it‘s current price. The average was probably 1/20 current price. Still gold items by her are extremely rare and were likely custom items as it was always more expensive than silver and not as popular with top Native American artists as it is today. Alice Quam was definitely a top Zuni artistAlice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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Jim Harrison Navajo 14k gold Tufa Cast coral/turquoise/sugilite inlay reversible pendant. Tested and guaranteed solid 14k gold with weight and measurements in pictures. All stones, secure and intact with no apparent issues. Signed by Harrison Jim with an additional hallmark. I believe the Tufa casting was done by H Jim and possibly the inlay work done by another extremely skilled artist that I didn‘t attempt to identify. Harrison Jim is Navajo and a member of the Red House Clan. Born and raised in Gallup, New Mexico. Growing up, he was exposed to the traditional arts through his aunt and grandmother who often wore beautiful pieces and would also weave rugs at home. This early exposure sparked a strong interest in the arts for him. Harrison honed his skills by apprenticing under renowned jewelers such as John Hall, Tommy Jackson, and McKee Platero. These mentors not only taught him the technical aspects of jewelry making, but also instilled in him a deep respect for the traditional Navajo methods and materials. Harrison also pursued formal training through various workshops and classes to further refine his craft. Harrison has developed a unique style that sets his work apart from others in the industry. He blends traditional Navajo techniques with contemporary designs, resulting in pieces that are both modern and rooted in tradition. His attention to detail and use of high quality materials have earned him a loyal following among collectors and admirers alike. His designs are reflective of bright stars in the New Mexico nights and his geometric forms, of the landscape. With his sleek and contemporary shapes and designs, he manages to balance the flavor of tradition along with his stylized approach to Indian imagery. The colorful and innovative inlays in his jewelry are inspired by the natural gifts that Mother Earth and Father Sky provide to each and every one of us.

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Vintage 18k gold gold high grade Lapis Lazuli cufflinks. Great cufflinks with no issues, tested and guaranteed solid 18k gold, any marks detected, weight, and measurements will be shown in the pictures. Circa mid 20th century.

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Antique 10k gold natural Diamond, Sapphire, Ruby butterfly pendant/pin/brooch. Tested and guaranteed solid 10k gold, natural Diamonds, Sapphires, and Rubies. Great piece with no significant issues. No detectable markings other than illegible scratched mark on back. 12.7 grams

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sz7.5 vintage 14k gold modernist mid century green jade ring. Tested and guaranteed solid 14k gold. Nice ring from the third quarter of the 20th century. Some expected wear, weight and measurements in pictures.

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sz5 Anthony Sanchez Navajo 14k gold modernist freeform turquoise ring. Tested and guaranteed solid 14k gold. Nice ring from the last quarter of the 20th century. No apparent issues. Weight and measurements in pictures.

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Michael Horse-Yaqui 14k gold, sugilite, coral yei pendant/necklace . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. 18" necklace. Necklace marked 14k, original to this piece and made by Michael Horse. There was another silver pieces in this collection with a silver necklace of similar construction made by the same artist. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Herman Vandever Navajo 14k gold coral/sugilte beaded necklace/pendant. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold (pendant and all hardware/findings on necklace) with weight and measurements in pictures. 22" long necklace Herman Vandever (1964- ) Diné – Navajo Nation. He belongs to a family of well-known silversmiths and it seems only natural that he would follow in their footsteps. He turns traditional methods into contemporary styles with fine, natural stones, coral and even sea shell. He often makes his own ingot silver jewelry by melting his silver to roll it out into handmade sheet silver.

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Michael Horse-Yaqui natural Opal, diamond, 14k gold kachina figural pendant . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Natural opal, natural diamond. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Michael Horse-Yaqui Indicolite Tourmaline, diamond, 14k gold kachina pendant necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Natural Indicolite Tourmaline, natural diamond. 20" long necklace Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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Sam Patania 18k gold, Platinum-high grade Bisbee turquoise necklace/earrings set. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold and platinum. No apparent issues. 23" long necklace, other measurements in pictures. A set like this would retail for around 30k directly from Sam Patania or another high end gallery that represents him.Sam Patania - Third Generation Artisan in JewelrySam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

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Michael Horse-Yaqui 14k gold, corn row turquoise/coral bull skull pendant . Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold (acid tests strong at 14k gold, it‘s higher than 14k) with weight and measurements in pictures. 20" leather and 14k gold necklace. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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sz10.5 Albert Jake Navajo 14k gold high grade Carico Lake Nevada turquoise ring. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Nice ring from the last quarter of the 20th century. Clean with no issues. Albert Jake is a distinguished Navajo silversmith. He was born at Zuni Pueblo in 1959 and has made his home in the beautiful village of Ramah, New Mexico for over 50 years. Albert’s parents taught him the many steps to fine Navajo silverwork, which includes both cluster jewelry as well as beautiful stones in classic Navajo settings. He has been professionally making beautiful traditional jewelry since 1987. Albert is renowned for the precise detail and execution of his work, including intricate stamping and applique/ He is also known for the fine natural stones which he always employs in his pieces. Albert is a multi-talented artist, as he is also a sandpainter and potter. During the summers, he works as a forest firefighter. He signs his pieces A. Jake.

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10k/14k gold large vintage deep carved pink shell cameo pendant/pin. Bail likely a later addition, marked and tested 14k gold, body unmarked (tested and guaranteed) solid 10k gold. No damage, very high relief beautiful cameo.

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7.2" vintage solid 14k gold multi-stone carved Scarab link bracelet . Weight and measurements in pictures Marked, tested, and guaranteed solid 14k gold with semi-precious stones. Circa third quarter of the 20th century with no issues.

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Vintage 14k gold/diamond carved moss in snow Jadeite Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite, natural diamond.

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Vintage 14k gold carved moss in snow Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite.

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7.25" vintage solid 14k gold multi-stone carved Scarab link bracelet . Weight and measurements in pictures Marked, tested, and guaranteed solid 14k gold with semi-precious stones. Circa third quarter of the 20th century with no issues.

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Antique Victorian 9ct gold and turquoise pin/brooch . Tested and guaranteed solid 9ct gold. It XRF‘s at just over 9ct 37.7% gold. No issues, circa late 19th century to turn of the last century. Weight and measurements in pictures, unmarked.

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Antique 14k gold Signed Hardstone cameo Agate screw back earrings Victorian. Illegibly signed, circa last half of the 19th century. The main bodies are tested 14k gold+, the screw backs were added later and are gold filled. No detectable markings on the gold. Very good condition. Measurements and weight in pictures.

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Antique 14k gold Signed Hardstone cameo pendant/pin w/pearls Victorian. Illegibly signed, circa last half of the 19th century, tested 14k gold+. No detectable markings on the gold. Very good condition. Measurements and weight in pictures.

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NSS Southwestern 14k Gold pendant with green turquoise hand chiseled/ rope bail. Tested and guaranteed solid 14k gold with weight and measurements in the pictures. No detectable issues. Any markings detected will be shown in the pictures. Great piece from large collection of Native American jewelry purchased in the last quarter of the 20th century and never worn for the most part.

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sz6.75 14k gold micro-webbed Nevada Blue turquoise vintage Navajo ring. Weight and measurements in pictures. Unmarked, tested and guaranteed solid 14k gold. No issues. Vintage ring circa 1970‘s which I believe was the last time this turquoise was readily available.

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Boyd Tsosie Navajo 14k gold, diamond, opal, and coral beaded necklace. All of the metal on this necklace is tested and guaranteed solid 14k gold, weight and measurements in pictures. No issues, circa last quarter of the 20th century. Natural Opal and Mediterranean coral beads and inlay outside the pendant. My monitor is off, but these pics look really bad to me. It‘s gold, it‘s beautiful. Boyd Tsosie is a jeweler who draws inspiration from the rich heritage of his Navajo traditions. Born in 1954, he has been making jewelry since he was sixteen years of age. In 1979, Boyd Tsosie was only 23. He was already among the top echelon of Southwestern jewelers / silversmiths (both past and present). Boyd was featured in Arizona Highways along with other greats like Jesse Monongye, his brother Richard Tsosie, Gibson Nez, James Little, and Larry Golsch. These Navajo silversmiths all would go on to build fine reputations and set the standards you see today for Southwest jewelry. Kenneth Begaye, a teacher at the Navajo Community College on the Navajo Reservation, inspired Boyd at a young age. Boyd gives credit to Kenneth for teaching him his trade. Kenneth Begay has been deemed the father of modern Navajo jewelry. Before Kenneth Begay, Navajo Indian Jewelry was much like it had been for the past 100 years. Navajo jewelry had a strong Spanish influence. Which is entirely understandable since it was a Mexican silversmith (who learned from the Spanish) that taught the first Navajo to work silver. Boyd considers Kenneth Begay a major influence and carries on today the work of Kenneth Begay. Boyd Tsosie continues to move Navajo jewelry forward and he, like Kenneth Begay, generously shares his knowledge with other silversmiths. Boyd, working with his brother Richard, first gained widespread recognition for his soldered flower and leaf designs. Later, he moved his jewelry designs to a more complex, contemporary look. Over the years Boyd has developed a contemporary style of work primarily in 14K gold combined with turquoise, coral, lapis, and sugilite. Boyd feels that he is creating “tomorrows tradition in Navajo jewelry by being given the rights and prayers by his elders to create his special pieces. He is featured in Navajo Indian Jewelry and Enduring Traditions by Jerry and Lois Jacka and North American Indian Jewelry and Adornment by Lois Dubin. In recent years, Boyd and his son have given back to the Navajo Nation with a nonprofit to give counsel and help to those with substance challenges.

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c1900 Syman Bros. Denver Colorado 14k gold high relief pink shell cameo - nice Marked Syman with no detectable gold markings, tested and guaranteed solid 14k gold. No damage, very high relief beautiful cameo. These pics are a little too bright and the color is washed out in the pics, plus it was on a lighted table. There is no time for more pics, it‘s great.

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sz7 14k gold southwestern ring with high grade spiderweb turquoise. Weight and measurements in pictures. Unmarked as shown, tested and guaranteed solid 14k gold with 14k scratched on the back.

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Lucien Piccard 14k gold Tiger‘s Eye, and pearl cufflinks. Vintage, guaranteed authentic in amazing condition with no issues. Weight and measurements in the pictures.

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sz8.5 Hopi 14k gold high grade turquoise ring Native American. Weight and measurements in pictures. No damage or detectable wear. Very high quality work, I could not figure out the hallmark, but believe it‘s Hopi made.

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14k High Grade spiderweb Carico Lake turquoise earrings AC. Weight and measurements in pics. Solid 14k gold with no issues, likely Native American made from the last quarter of the 20th century.

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Vintage 14k Jadeite Budhha pendant. Marked and tested 14k gold, Jadeite. Weight and measurements in pics. Estate fresh item with No chips, cracks, or other issues.

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sz8 70‘s-80‘s Saunsa 14k cobblestone band ring. I‘m not sure what ethnicity Saunsa was, this is the type of work they did. Very clean modernist Hopi style jewelry. No issues. 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. 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. Women's Size 8 Ring.

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Danny Romero Yaqui (1954-2018) 14k Gold Diamond, Tanzanite, Opal, sugilite, coral, boulder opal, and lapis necklace. Measurements in pics, accompanied with 2013 receipt. Still in like new condition with no damage or detectable wear. Please keep in mind that in 2013 gold averaged 1/2 the price it currently is so did the other top grade materials used to make this, not to mention a deceased artists talent and time. Also It seems this dealer sells secondary market items, so I believe this 7k was a used price in 2013 as it's really not a lot of money for this necklace now and wasn't then.  18.5" long Danny Romero 1954-2018 Danny Romero is of both Yaqui and Spanish heritage. He creates jewelry and paintings from his home in New Mexico. Growing up in Douglas, Arizona, he has been working with stone and silver for over 20 years. "I like E.S. Curtis photographs," he says, referring to the famous turn-of-the-century photographer and ethnographer who documented more than 80 Native American tribes. "I go through magazines. I've done drawings and I paint". He was one of five silversmiths invited to the Night of the First Americans at the Kennedy Center in Washington D.C., and he has had showings of his jewelry in galleries and museums in many parts of the country as well as in Germany, Japan, and Canada. Danny Romero is no longer producing jewelry. The jewelry we have was made by Danny Romero circa 2005. Danny received wide acclaim in the 1970's-80's for both his traditional turquoise jewelry as well as his inlay jewelry. Danny Romero was the first silversmith to literally put painted art into jewelry.  

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Andy Lee Kirk Isleta Pueblo (1947-2001) 14k gold Sugilite and Opal necklace. With accompanied 2008 appraisel from Waddell Gallery 2008, keep in mind gold averaged 1/3 of it's current price in 2008 so do the other materials not to mention a deceased master's labor and skill. No issues with the necklace or pendant, no damage or significant wear. 23" long and other measurements in pics. 64 grams total weight.Andy Lee Kirk was a Master contemporary Native American artist of Isleta and Navajo heritage, who died tragically at the height of his career at the age of 54. He created beautiful gold and silver jewelry using the finest materials from 1970 to 2001. Born in 1947, he originally earned a degree in biology continuing on to work for the Fish and Wildlife and Forest Services. Andy had learned the basics of jewelry making at the University of New Mexico and with the urging of Navajo artist, Gibson Nez, he made the decision to become a full time jeweler. Andy Lee Kirk was a consummate artist with many fine skills. He did lapidary work, rolling his own beads, and had mastered many types of precious metalwork including lost wax and sand cast techniques, stamping, engraving, overlay and fabrication. His artistic innovation reached further than aesthetic beauty alone. His designs were brilliant – a perfect balance between clean modern lines, meaningful symbolism, and bright southwestern colors such as lapis lazuli, turquoise, and red coral. He was the IACA Artist of the Year in 1996 and earned many other prestigious awards and accolades including First Place and Best of Division at Santa Fe Indian Market and Best of Category at the Inter-Tribal Indian Ceremonial in Gallup, NM.All precious metals are tested and guaranteed,

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6 3/8" Veronica Poblano Zuni 14k gold Turquoise and Coral modernist cuff bracelet. No issues, measurements in pics. 6 3/8" inside circumference including the 7/8" gap.. Appears unworn. The daughter of Leo Poblano and Ida Vacit Poblano, Veronica Poblano has become recognized as a top contemporary jeweler. While she draws on Zuni silverworking and lapidary forms and techniques, her work is characterized by a high degree of innovation and individual creative license, making it a fertile hybrid of the contemporary and the traditional. Veronica has gained notoriety as a contemporary innovator, working with uncommon materials in wide-ranging styles. All precious metals are tested and guaranteed,

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8" Melanie Kirk Isleta Pueblo 14k gold Opal and Sugilite reversible bracelet,  showing little to no signs of wear.   The quality of workmanship is absolutely amazing. Recognized as the leading voices of today’s Contemporary Native Jewelry scene, Designers and Goldsmiths Melanie Kirk-Lente and Michael Lente (Isleta Pueblo) command a distinctive presence at the top of collectors’ lists world-wide. The Lentes continue to carry on their well-known family tradition in fine jewelry design, being taught by Melanie’s father, renowned artist Andy Lee Kirk.

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sz6 c1880 Antique 14k Green Hardstone cameo ring. Tested and guaranteed solid 14k gold, illegible markings on band. It appears this was a pendant or brooch that was long ago soldered to a gold ring that used to have stones if you look at all the pics. It's really great with no issues. 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. Women's Size 6 Ring.

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Large Retro 14k gold Jade pendant with diamonds. Nice sized Jade pendant, marked and tested 14k gold. Diamonds are small but real diamonds. High quality Jadeite and Setting estate fresh so I don't know if it's type A, etc.

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sz5.75 Antique gold carved carnelian ring. Nice old 19th century ring. The shank is cut on the back but when closed it sits at size 5.75. I'll try to test carat and weigh later. 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. Women's Size 5 Ring.

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c1960 14k gold Budweiser Executive ladies watch. Fits a 6"-6.5" wrist, just a little stretchy. Watch solid 14k gold, bracelet not. Watch is overwound and not currently ticking. This is a really rare if not one of kind item from the third quarter of the 20th century.

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10k Gold WW2 USN US Navy Sweetheart Pendant. Marked and tested 10k gold,guaranteed ww2 era. 1.4 Grams. 1.75" long x .5" wide.

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24" 14k Black Jade beaded necklace. 8.5mm black jade beads, solid 14k tested and guaranteed beads and clasp. 42.7 grams with no issues.

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34" Estate Black Jade, 14k, Carnelian beaded necklace. Extremely high quality piece on hand tied silk cord. 10mm natural black Jade beads with 20mm Carnelian agate largest beads. 14k yellow gold (tested) accent beads. 118.6 grams

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Vintage Ankh 14k gold/Amethyst mounted bronze. Measurements in pics. Looks to have been custom made from an antique piece of solid 14k gold/amethyst jewelry. Interesting, one of a kind. Tested and guaranteed solid 14k gold center piece.

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Antique HBJ 9ct gold hardstone watch key pendant/charm. Hallmarked by maker on one side, 375 and date/city codes on other. All unresearched by me, 19th century.

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sz4.25 14k Ming's of Hawaii Jadeite ring 20mm x 12mm face. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 4 Ring.

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sz7.25 14k Ming's of Hawaii Jadeite ring 22mm x 16mm face. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 7 Ring.

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sz7.25 14k Ming's of Hawaii Lavender Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. Ring face 20mm, Jadeite 15mm wide. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 5 Ring. 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. Women's Size 7 Ring.

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sz7.25 14k Ming's of Hawaii Lavender Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 19mm x 15mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 7 Ring.

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sz9 Vintage 14k Multi-color Natural Jadeite balls ring, balls approx 6mm, ring face approx 20mm, no issues. Scratched on inside of ring 14k and and illegible makers name. From a significant estate collection of mostly Ming's jadeite rings. 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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sz7 Large Vintage Ming's of Hawaii Jadeite 14k gold ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 20mm x 30mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 7 Ring.

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sz9.5 vintage 14k carved Jadeite ring 21mm face, jade likely 20mm. Possibly an older/antique Jadeite piece made into a ring. 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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18k Gold French Art Deco Lapis cufflinks for Nieman Marcus. I don't recognize the hallmark but these are the highest quality, similar to that of Van Cleef & Arpels, Boucheron. I feel this is likely an obscure hallmark only used for a short time by a well respected company such as the ones mentioned. 11/16" face, 16 grams.

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sz7 14k Ming's of Hawaii White Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 25mm x 15mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. 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. Women's Size 7 Ring.

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Vintage Karl Lagerfeld Gold-tone and Faux Mabe pearl clip-on earrings, 1 1/8" wide with little wear. A few slight scratches to Faux pearls, no wear to gold. Guaranteed authentic, strong springs on clips. Very high quality. 15 grams each.

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c1860 French 14k Gold top cut glass perfume bottle. Tested 14k gold, Dutch Oak leaf 14k Hallmark on lid and mounting, both shown in the last pic, one in the center of the pic.. Another on other side of lid. The gold is tested and guaranteed. Original inner stopper intact. Amazing bottle with no issues, top gold lid snaps on tight, inner stopper forms waterproof seal, no chips or cracks. 5.5" tall x 2" wide.

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6" Duane Maktima Hopi 14k gold Multi-stone channel inlay cuff bracelet. 5" plus 1" gap, 6" total inside including gap. 25mm wide in center tapering down to 15mm on the tips, 10mm tall, 64.2 grams. Super clean with no detectable damage or wear inside or out. I don't believe it has ever been worn. Hallmarked by artist twice in interior, hallmarked 14k 3 times in interior.  This bracelet it composed of 14k gold, Gem Silica, Natural Australian Opal, Carnelian, Chalcedony, and Lapis Lazuli.   Duane Maktima was studying education at Northern Arizona University in Flagstaff, when a dean suggested he switch his major to art. “ I thought it would be a hobby.” Growing up in tiny towns in Arizona under the tutelage of his Hopi and Laguna relatives, Maktima learned how to carve and paint, but these artworks were referred to as “blessings” and not art. The Dean, having seen Duane’s work was insistent. When Maktima first laid eyes on the jewelry in the jewelry lab, he says, “It was like my whole life flashed before my eyes, I was hooked.” It took a decade for Maktima to complete his degree. He left college to work as a resident artist at the nearby Museum of Northern Arizona in Flagstaff. At only 19 years old he was given a studio and stipend to make jewelry which was snapped up by visitors from around the world.  Eventually he embarked on a personal retreat from the pressure and spent 3 years at Laguna Pueblo. Maktima worked there as a survey helper and everyday he walked the country from Second Mesa to Black Mesa.  During these long walks he came to deeply appreciate his heritage and decided to complete his education. When he did return to university, it was an exciting time for Native American artists. His research into African and Indian art led him create spiritual based  pieces from beads, shell work mosaics, motifs from Hopi pottery, hollow silver tubes, gold , lapis, turquoise , and red coral. In 1982, Maktima,  received a second-ever fellowship from the Southwestern Association for Indian Arts. He moved to Sante Fe a year later. An active community leader,  he has influenced many young people to pursue a career in art.  His brooches, buckles, and other exquisite jewelry have been featured in some of the best Native American galleries. In 1990, Northern Arizona University honored the artist with its 2000 Distinguished Alumni Artist Award, Distinguished Achievement Award, and member of the President’s Circle. Maktima credits his achievements to his education and his family. “I can hear grandpa saying, ‘You have really learned something. You’ve really excelled with what God gave you.’ ” According to his grandfather, the name “Maktima” means “searching for eagles.”

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Sz6.25 Estate 18k white gold Jadeite, Diamond ring. Nice old, extremely high quality ring, tested natural diamonds .4cttw, Approx 4ct assymetrical Jadeite stone, no tests have been done to the Jadeite other than to confirm it is Jadeite. Marked and tested 18k gold. Shown on a finger it fits. 4.5 grams. 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. Women's Size 6 Ring.

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sz4 Antique gold carved cat's eye ring. Unmarked, guaranteed solid gold, I'll test carat and get weight later. 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. Women's Size 4 Ring.

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Large Vintage 14k Lavender Jade Diamond and Lapis pendant 3 1/8" tall x 1 3/8"<br>wide, apparently unmarked. Tested by me guaranteed solid 14k gold, genuine<br>diamond, Lapis, and Jadeite. 28.8 grams.

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