Jimmy Long Navajo turquoise vintage sterling silver squash blossom necklace with earrings set. Circa third quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 27" long. Marked on back as being Lone Mountain turquoise, I‘m not sure if that was a later attribution or not. It is nice turquoise, but I‘m not sure it‘s Lone Mountain. I just noticed that these earrings are not an exact match, but both appear to be made by the same hand. Jimmy Long: A Renowned Navajo Silversmith Artist signature of Jimmy Long, Diné of the Navajo Nation JewelerDiné of the Navajo Nation artist Jimmy Long is celebrated for his exquisite turquoise and silver jewelry. Known for his meticulous craftsmanship and distinctive style, Long‘s work is highly sought after by collectors and admirers of Native American art. Jimmy Long (1930 - 1973) has carried on a rich family tradition of silversmithing. His pieces are often marked with only one stamp "J. Long." He scratched his initials before he acquired his hallmark stamp. He resided in Manuelito, New Mexico. Jimmy Long biographical information provided by nephew Audie Yazzie.

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K Navajo sterling silver onyx pendant necklace with feather links. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 26" long. Circa 1970‘s-80‘s.

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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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Vintage Navajo sterling silver squash blossom necklace w/cast naja and blossoms. Circa third quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings. 21.5" long.

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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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Richard Tsosie Navajo high grade spiderweb turquoise sterling silver pendant. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 18" long. Very high grade natural American turquoise likely from a Nevada mine. #8, Lone Mountain, Indian Mountain, one of those. Richard Tsosie jewelry is featured in books, magazines and museums; including the permanent collections of The Museum of Man in San Diego, The Smithsonian, The Heard Museum, and The Museum of Northern Arizona. Richard Tsosie and his brother Boyd came to public attention when they were featured in the August 1979 Jewelry Collectors Issue of Arizona Highways Magazine. Richard is a Navajo jeweler and sculptor from Flagstaff, AZ and the Wide Ruins area of the Navajo Nation. He is currently living in Scottsdale, AZ. His work has been featured in American Indian Art Magazine, Arizona Highways Magazine, the video “Beyond Tradition: Contemporary Indian Art and Its Evolution”, as well as several books including, Southwestern Indian Jewelry by Dexter Cirillo and Enduring Traditions, Art of the Navajo by Jerry Jacka. Richard’s work has been exhibited in galleries and museums from New York to California. He explains that his designs represent the beauty of life. The arrows are things that come natural like the lightening in the sky. There are ups and downs in life as there are in his designs, and that is what makes you strong.

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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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sz6 Gilbert Nelson Navajo sterling silver Mediterranean coral bracelet/ring/earrings/pendant. Bracelet fits up to a 7" wrist, size 6 ring. Weight and measurements in pictures, solid sterling silver no issues.. Signed on back as shown. Circa last quarter of the 20th century.

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Vintage C Davis Navajo sterling silver beaded turquoise/coral pendant necklace 19" long. Circa third quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues.

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22" 40‘s-50‘s Navajo sterling silver high grade turquoise necklace nice stamping. Circa second quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings.

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17.5" JCJ Southwestern Modernist sterling silver bib necklace w/earrings. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. Unknown maker.

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Vintage WK Coin silver watch fob anklet/choker necklace card symbols. Weight and measurements in pictures, solid sterling silver no issues.. Signed on back as shown. Circa last quarter of the 20th century. Really not sure if it‘s big enough for a choker, and would be a weird anklet....so probably just a watch fob unless you want to be creative.

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30" Vintage Santo Domingo turquoise/shel 3 strand heishi necklace. Circa third quarter of the 20th century, could possibly use restringing but appears solid and intact. No apparent issues.

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Southwestern sterling silver bar necklace in overlay style. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 17.5" necklace. Other measurements in pictures.

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17" Southwestern sterling silver onyx, lab opal arrowhead form pendant necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Unknown maker.

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20" Rocki Gorman/KC Cook Navajo sterling silver turquoise dragonfly necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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16.5" Vintage Navajo sterling silver cone beaded necklace w/turquoise pendant . Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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17.5" Vintage Santo Domingo sterling silver shell/turquoise heishi necklaces . Solid sterling silver beads tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. 16.5" and 17.5" Selling both, 1970‘s.

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26" Marie/Julian Lovato Santo Domingo modernist sterling silver link necklace. Made by Julian Lovato‘s wife Marie, I have seen these with Julian Lovato pendants on them. She made the necklaces and he made the pendants. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Christin Wolf southwestern sterling silver, turquoise, opal, onyx pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Vintage Zuni sterling silver snake eye/needlepoint turquoise cross/other pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. Selling all 4 pendants with 17" necklace.

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Vintage Southwestern sterling silver spiderweb turquoise cluster pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Vintage N Navajo sterling silver Rainbow Man turquoise inlaid pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa fourth quarter of the 20th century.

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Large vintage Zuni snake eye turquoise sterling silver cross pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.

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Large vintage Navajo sterling silver high grade turquoise cross pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked. Very nice natural turquoise, I did not mine them so I am unsure which mine they came from.

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Large vintage 50‘s-60‘s Navajo cast sterling silver cross pendant with turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.

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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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Vintage Navajo sterling silver Kingman turquoise cluster pendant w/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. No detectable markings. 24" necklace, other measurements in pics.

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16" Locaspino Zuni sterling silver needlepoint turquoise bib/choker necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. No detectable markings. 16" necklace, other measurements in pics.

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Vintage southwestern sterling silver modernist dangly necklace pendant turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. Likely Native American made. Each dangle illegilby hallmarked at the end.

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Vintage southwestern sterling silver pink agate necklace pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. Likely Navajo Native American made.

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Vintage Zuni sterling silver needlepoint turquoise necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa 1970‘s-80‘s. No issues, Signed by artist Nelson Harry.

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Vintage Coro snake costume jewelry Necklace and earrings rhinestone set. With box shown, some wear to exterior of box, Overall good condition with one tiny stone missing from each earrings, no other detectable issues.

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Large Tom Taylor Navajo sterling silver Royston turquoise two stone pendant. Tested and guaranteed solid sterling silver 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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Huge Gary G Navajo for Rocki Gorman sterling silver cross pendant turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century, huge bail made to go on multi-strand necklace. Clean with no significant wear.

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Big Vintage Billy Eagle Navajo high grade turquoise sterling silver pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Has a hook on the back to hook on to any necklace. Very nice Natural American turquoise. It could be from a few different mines, I didn‘t mine it.

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G&L Leekity Zuni sterling silver Mediterranean coral needlepoint cross pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures.

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Vintage Zuni Sterling silver thunderbird channel inlay squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. No detectable markings, 29" long.

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20.5" Nicely stamped vintage Navajo pearls sterling silver beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa mid 20th century. No detectable markings, Very nice hand stamped handmade beads.

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FF Navajo sterling silver, charoite, opal, coral sterling silver inlay pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. High quality silver and inlay work.

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Navajo sterling silver tiger‘s eye, petrified wood, black jade inlay pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. High quality silver and inlay work. Illegible hallmark

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Vintage Navajo precisely stamped sterling silver pendant with turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Jack & Mary Tom Navajo sterling silver stamped bear pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Large Spencer Navajo Azurite sterling silver Native American pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Very high quality silverwork and amazing stone.

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FF Navajo sterling silver Petrified wood/Fossil/Tiger‘s eye inlaid pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. High quality silver and inlay work.

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Everett & Mary Teller Navajo sterling silver reversible turquoise pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. These self-taught silversmiths have been making jewelry for over 40 years. Everett and Mary Teller’s work is made of sterling silver and 14k gold with simple Navajo overlay designs. They incorporate the storm pattern designs on many of their jewelry pieces. They carefully design their pieces and select the stones using a wide variety of natural stones -Turquoise, Lapis, Oyster Shell, Coral, Onyx and more. They show their work in galleries as well as prestigious art shows such as The Heard Museum and Santa Fe Indian Markets. The workmanship is impeccable - you can always depend upon quality when you purchase a piece of Everett & Mary Teller jewelry.

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20" Vintage Navajo sterling silver 3 stone necklace with nice turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century with no apparent markings. Gorgeous stones, no issues, apparently unmarked.

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Ernie Lister Navajo Ingot silver Isleta cross pendant sterling. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Comes with 28" cloth necklace. Born in 1953. Ernie is now making jewelry in Prescott, AZ. His jewelry is made by the 1920 to 1940 method of navajo silversmithing. He always starts from a silver coin or ingot silver, then he uses charcole and hammer to make his designs.

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15" & 17" 2 1970‘s Vintage Navajo sterling silver turquoise/chip inlay necklaces. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa 1970‘s, one 15" long another 17" long. Selling both for one price.

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28" Heavy stamped Navajo pearls sterling silver beaded necklace high quality. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Handmade beads, hand stamped, no detectable markings.

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Vintage CH Navajo sterling silver Ceremonial Kingman waterweb turquoise pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Huge 1970s Jerry Roan reversible spinner coral/turquoise sterling silver pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. 60‘s to early 70‘s. Jerry Roan (1919-1977) Navajo tribal native Jerry Roan (1919-1977) had a productive life as a silversmith and jewelry maker. He began actively working at silversmithing around 1968. In 1969, a year after he began smithing, he on a 1st Award at the Navajo Tribal Fair in Arizona. Roan was included in the 2002 exhibit “Jewels of the Southwest” at the Museum of Indian Arts and Culture, Santa Fe. His work is included in the collections of the Smithsonian National Museum of the American Indian, Washington, and the Yellowhorse Museum in Paradise Valley, Arizona.

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Vintage Navajo sterling silver high grade turquoise Kokopelli pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Unmarked.

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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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Vintage Native American sterling silver pendant/beaded necklace w/Nice turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Very attractive turquoise on both the pendant and the necklace. Beaded necklace very well made. I believe these have been together "forever" As it stands the pendant will not come off the necklace, if the bail were reshaped it might or might not.

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A Secatero Navajo sterling silver malachite hand stamped pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Ray Tracy Knifewing sterling silver, sugilite, turquoise, onyx bear pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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Patrick Yazzie Navajo sterling silver turquoise, spiny oyster cluster pendant. Solid sterling silver tested and guaranteed with no issues, weight and measurements in the pictures. New old stock condition, circa early 2000‘s. anderas

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Vintage SES Navajo sterling silver Royston turquoise pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. Unknown to me artist.

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40‘s-50‘s Navajo sterling silver stamped cross pendant w/turquoise. Solid sterling silver tested and guaranteed with no markings, weight and measurements in the pictures. No issues, circa mid 20th century.

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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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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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1970‘s Eleanor Weeka (1928-2012) Zuni needlepoint turquoise squash blossom necklace/ screw back earrings sterling silver. Solid sterling silver tested and guaranteed with no detectable markings, weight and measurements in the pictures. No issues, circa 1970‘s. 24" long, nice pieces with no issues.

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David Rosales Supersmith Coral/Turquoise sterling silver inlay necklace/earrings. Solid sterling silver tested and guaranteed with shop and Navajo artists signatures, weight and measurements in the pictures. 18" long, nice piece with no issues. Supersmith Inc, also known as David Rosales Designs “Contemporary Designs, Traditionally Made, located in Gallup, New Mexico, consists of several extremely talented Native American craftspeople from the Navajo and Zuni tribe. In 1997, David Rosales, founded Supersmith Inc along with his cousin, John Delgado. What started as a small operation in his garage, has grown to offer one of the highest selections of contemporary Native American jewelry in the Southwest. Born and raised in Gallup, NM, David was trained as a mechanic and was offered an opportunity to accept a managing job at a jewelry company, which changed his life completely. After discovering his own creativity and design ability, and the partnership with his cousin, John Delgado, Supersmith Inc was born. Most commonly known for beautiful, clean inlay work and stunning color combinations, their new tagline is “Contemporary Designs, Traditionally Made. Working from an old Coors warehouse, artists work within three different departments which include a lost-wax casting department, an inlay department, and a finishing department. The end results are one of hand-crafted beauty from talented artists of all ages. Keeping with family traditions, Davids daughter, Sheree, joined the team in 2016. Today Supersmith employs approximately forty employees who continue to produce hand-crafted contemporary jewelry with continually evolving designs and color combinations to keep up with current trends and popularity. Supersmith strives to keep jewelry making alive by training and encouraging young generations of artists.

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Vintage Zuni sterling silver turquoise/coral inlay thunderbird earrings/pendant. Solid sterling silver tested and guaranteed with no detectable markings, weight and measurements in the pictures. No issues, circa mid 20th century. Later necklace included, Italy.

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Large Bernard Dawahoya Hopi overlay lizard pendant sterling silver. Solid sterling silver tested and guaranteed with artists hallmarks and measurements in the pictures. No issues, circa last quarter of the 20th century. Hopi artist Bernard Dawahoya was considered by all to be a master silversmith. His bold and clean designs along with the precise matting or texture he worked into the negative areas of this pieces, made his work easily recognizable. His Hopi name was Masaqueva (Wings of the sun). He was born in the second Mesa village of Shungopavi. Not only a master jeweler, but a respected storyteller and a man of great talents. He passed away in 2010. His work is displayed in Museums across the country and in many publications.

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Large vintage Navajo sterling silver, turquoise/coral Claw pendant. Solid sterling silver tested and guaranteed with the markings shown, weight and measurements in the pictures. No issues, circa fourth quarter of the 20th century. Marked as shown.

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50‘s-60‘s George Kee Navajo White Hogan Shop Modernist sterling silver pendant. Solid sterling silver tested and guaranteed with the markings shown, weight and measurements in the pictures. No issues, circa third quarter of the 20th century. In the 1950s and 60s Begay, George Kee and Kees two brothers, Allen and Ivan headlined an all-star team of Navajo silversmiths at Scottsdales famed White Hogan Shop, turning out an extraordinary array of sleek Modernist-style Navajo silver jewelry, flatware and other precious objects.

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Johnson Zuni sterling silver channel inlay turquoise cross pendant. Solid sterling silver tested and guaranteed with the markings shown, weight and measurements in the pictures. No issues, circa last quarter of the 20th century or newer..

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Jan Pomianowski Turquoise, baroque pearl, Butterscotch Amber sterling necklace. Solid sterling silver tested and guaranteed beads with the markings shown, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Jan Pomianowski was born in Gdynia, but he has lived and worked in Kashubia for over twenty years. He graduated in painting at the State College of Fine Arts, currently functioning as the Academy of Fine Arts in Gdańsk. He has been associated with the jewelry industry for a quarter of a century, he has been constantly developing new collections in which he often modifies style, materials, concepts and distinctions. Therefore, each jewelry has new features, which makes Jan Pomianowski‘s collections so sought after for uniqueness. In designing and creating jewelry, the artist often draws inspiration from the world of fairy tales, fairy tales, as well as from his personal experiences. An example is the story of one of the rings in our collection with the image of an owl carved in amber sitting on a branch. Owls remembered from the earliest childhood, because living in a tree neighboring his family home. Probably the effect of such an approach to work are emotions, and these are positive emotions that you experience when interacting with this jewelry. In addition to the extraordinary imagination, the artist is also characterized by reliability, precision and the ability to choose the method of implementation to the assumed concept. Finished jewelry therefore consists of detailed elements, perfectly matched to the whole, creating a unique, hand-created product. All items are color and functional. This means that the artist‘s works, in addition to their artistic function, can and do have practical functions. A notable example is the shaving kit by Jan Pomianowski, consisting of a bowl, razor with replaceable blade and brush with natural badger hair (product available in our gallery). The artist‘s commitment to his work shows his active participation in many of the most important fairs and events of the jewelery world. Jan Pomianowski participates in domestic and foreign fairs, e.g. Amberif, Inhorgenta or Tucson. An interesting anecdote is the fact that during the visit of the Norwegian Royal Couple to Poland in 2012, the then presidential couple, the State of Komorowski, gave JKM Sonji a set by Jan Pomianowski. This set was named after the queen of Poland - Anna Jagiellon and comes from the series "Great Queens".

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16.5" Retro Carol Felley Sterling silver malachite beaded pendant necklace. Solid sterling silver tested and guaranteed with the markings shown in the pictures markings, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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30" Tommy Singer Navajo sterling silver multi-stone turquoise beaded necklace. Solid sterling silver tested and guaranteed with the markings shown in the pictures, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Tommy Singer, Diné Jeweler Diné of the Navajo Nation artist Tommy Singer grew up on the Navajo Reservation and was taught silversmithing by his father, beginning at the age of seven. In the 1960s he invented the "chip-inlay" technique of using turquoise or coral chips in the silverwork. This technique has become widespread in his community. He also used stamps and work in overlay. Thomas Singer (1938 - 2014) was active ca. 1960s until his death. He was known for his silver, chip inlay jewelry. Tommy was the husband of Rose Singer, brother of Charlie Singer, William Singer, and Jackie Singer.

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17.5" Vintage 1960‘s Navajo sterling silver Bisbee turquoise 3 pendant necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Center stone could have tight old stable fracture, please see pics, circa third quarter of the 20th century. Unmarked. This has an old 60‘s-70‘s mark on the back labeling it as Bisbee, the center and the right stones look like they could be Bisbee, the other with a tad of green looks more like some higher grade Royston. I didn‘t mine these of course and probably would not confidently call them Bisbee without Bisbee having been written on the back long ago. There are many grades and forms of Bisbee.

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27" Vintage Navajo sterling silver, turquoise/coral Kachina pendant necklace. Solid sterling silver tested and guaranteed with no apparent markings, with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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14" Vintage Mid Century Modernist Mexican sterling choker necklace 15mm-16mm wide. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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22" Vintage Navajo sterling silver tigers eye beaded necklace w/agate pendant. Solid sterling silver tested and guaranteed with the markings shown in the pictures markings, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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16" Vintage Santo Domingo shell bead stamped sterling silver tube necklace. Solid sterling silver tested and guaranteed beads with no apparent markings, with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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c1950 Hopi overlay SilverCrafts Guild large pendant sterling silver. Solid sterling silver, marked as shown with weight and measurements in the pictures. No damage or significant wear. Circa mid 20th century. No detectable artists hallmark.

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Navajo sterling silver boulder turquoise pendant dragonfly form. Tested and guaranteed solid sterling silver, unmarked with weight and measurements in the pictures. No damage or significant wear. Collected but possibly unworn, fairly modern.

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Phillip Sekaquaptewa Weseoma Hopi sterling silver coral beaded necklace/pendant. Authentic with no damage, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. 28" long necklace. Hopi Pueblo artist Phillip Sekaquaptewa, or Weseoma, was Eagle Clan and was actively making jewelry circa 1973-2003. He is known for his gold and silver overlay, appliqué, tufa cast jewelry. Weseoma lived in Hotevilla, Third Mesa, Hopi Pueblo, Arizona. Weseoma learned his trade from Hopicrafts Cooperative Guild, Second Mesa, Az. Phil Sekaquaptewa was the grandson of Judge Emory Sekaquaptewa, Sr. and Helen Sekaquaptewa; son of Wayne Sekaquaptewa and Judy Chen Wagner; brother of Kenneth Sekaquaptewa, Harlan Sekaquaptewa, David Sekaquaptewa, Jeannie Groves, Helen Freeman, Patricia Sekaquaptewa, Kimball Sekaquaptewa; father of Caroline Huma, Wayne Perry Sekaquaptewa.

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Marita Benally Navajo Sterling silver Royston turquoise pendant w/dangledoo. Solid sterling silver, marked as shown with weight and measurements in the pictures. No damage or significant wear. Collected but unworn, fairly modern.

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21" Retro Mexican Aztec style sterling silver turquoise chip inlay link necklace. Solid sterling silver, marked as shown, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. No damage.

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Ramon Dalangyawma Hopi overlay large kachina figure pendant sterling silver. Solid sterling silver, marked as shown with only artists signature and sterling, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. No damage or significant wear. Ramon Dalangyawma Born Ramon Albert, Jr. (a non-Hopi surname), his grandmother gave him the name Dalangyawma, a name of the Greasewood Clan. As a young man, he attended school in Santa Fe and served in the US Marines. Ramon began his silver working career in 1978 at Hopicrafts then located near the village of Hotevilla. His designs come from his experiences in life - clouds, thunderbolts and rain - important in an area with no irrigation for crops; and bear, spider, antelope, prayer feathers, kachinas, kokopelli, corn - the clan religious symbols, the basis of Hopi life. Ramon‘s work is characterized by the very heavy weight (thickness) silver he uses and his laser like precision in cutting out his designs and meticulous background stamping - nothing but the highest quality. He is a very fine man who we are proud to call our friend! Ramon uses his name stamped into the reverse of his pieces as his hallmark. Earlier examples of his work were marked with a composite RA. Ramon lives in Hotevilla. His son Cheston was honorably discharged from the Marine Corp and graduated from Arizona State University where he obtained his Master‘s Degree in Criminal Justice. At present, Cheston is living in Artesia, NM and working as an instructor at the Federal Police Academy. Mindful of his role in encouraging the next generation of Native American artisans, Fritz has returned as an instructor to the Poeh Arts Center in Pojoaque, NM, where he was once a student. His time as a teacher has helped to strengthen his own skills as a jewelry-maker and inspires him and his students to experiment with progressive designs. An amiable spirit, Fritz explains that his fashion-forward, sculptural jewelry designs are a combination of forethought and serendipitous discovery, resulting in jewelry that excites both his students and collectors. Examples of his awe-inspiring jewelry can be seen in Dexter Cirillo‘s book, Southwestern Indian Jewelry.

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Large Vintage Hopi-Hopicrafts Overlay hunter pendant sterling silver. Solid sterling silver, marked as shown with weight and measurements in the pictures. No damage or significant wear. Circa last quarter of the 20th century. Marked with Hopicrafts hallmark and another illegible to me hallmark.

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Ira Custer Navajo Tufa Cast sterling silver/14k gold turquoise pendant/pin. Solid sterling silver with solid 14k gold bead accent, marked as shown with weight and measurements in the pictures. No damage or significant wear. Ira Custer Navajo Ira Custer learned the art of silversmithing from his parents, Benny and Emily Custer at their small shop near Greasewood Arizona on the Navajo reservation. He specializes in traditional sand casting and intricate carvings on tufa stone. Recently, he has learned to inlay his cast creations. Self taught, he has won many awards and routinely sells out at Santa Fe Indian Market.

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Troy Hoyungwa Hopi Overlay pendant sterling silver Kokopelli flute player. Solid sterling silver, marked as shown with weight and measurements in the pictures. No damage or significant wear. Circa last quarter of the 20th century.

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Ramon Albert Jr Dalangyawma Hopi Overlay Kokopelli pendant/pin sterling silver. Solid sterling silver, marked as shown with weight and measurements in the pictures. No damage or significant wear. Circa last quarter of the 20th century. Marked with Hopicrafts hallmark the artists older RA hallmark. Ramon Dalangyawma Born Ramon Albert, Jr. (a non-Hopi surname), his grandmother gave him the name Dalangyawma, a name of the Greasewood Clan. As a young man, he attended school in Santa Fe and served in the US Marines. Ramon began his silver working career in 1978 at Hopicrafts then located near the village of Hotevilla. His designs come from his experiences in life - clouds, thunderbolts and rain - important in an area with no irrigation for crops; and bear, spider, antelope, prayer feathers, kachinas, kokopelli, corn - the clan religious symbols, the basis of Hopi life. Ramon‘s work is characterized by the very heavy weight (thickness) silver he uses and his laser like precision in cutting out his designs and meticulous background stamping - nothing but the highest quality. He is a very fine man who we are proud to call our friend! Ramon uses his name stamped into the reverse of his pieces as his hallmark. Earlier examples of his work were marked with a composite RA. Ramon lives in Hotevilla. His son Cheston was honorably discharged from the Marine Corp and graduated from Arizona State University where he obtained his Master‘s Degree in Criminal Justice. At present, Cheston is living in Artesia, NM and working as an instructor at the Federal Police Academy. Mindful of his role in encouraging the next generation of Native American artisans, Fritz has returned as an instructor to the Poeh Arts Center in Pojoaque, NM, where he was once a student. His time as a teacher has helped to strengthen his own skills as a jewelry-maker and inspires him and his students to experiment with progressive designs. An amiable spirit, Fritz explains that his fashion-forward, sculptural jewelry designs are a combination of forethought and serendipitous discovery, resulting in jewelry that excites both his students and collectors. Examples of his awe-inspiring jewelry can be seen in Dexter Cirillo‘s book, Southwestern Indian Jewelry.

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Fritz Casuse Navajo large 14k gold/Sterling silver purple stone/pearl pendant. Solid sterling silver, marked as shown with only artists signature, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver and solid 14k gold accents. Stone is great, I‘ll think about it more in the morning. Early in his life, award-winning designer, Fritz Casuse, showed natural aptitude for the arts which his family encouraged. As a graduate of the Institute of American Indian Arts, where he studied sculpture, Fritz has adapted his experience in other artistic disciplines to his jewelry. He views his jewelry as "something you can walk through," highlighting an attention to dimension and texture that offers a sense of space and wonder. Each of Fritz‘s designs focus on color and balance, enticing you to regard the whole work as a single masterful sculpture. His designs truly break the mold on Native American jewelry with a contemporary stroke that will amaze collectors. Fritz‘s early work experience as a graphic designer, eventually gave way to jewelry-making as he gradually became more involved in his projects for the Santa Fe Indian Market. His efforts would garner accolades from some of the most prestigious art fairs dedicated to Native American work. Fritz holds blue ribbons from both the Heard Museum Guild Indian Fair & Market (2005) and the Santa Fe Indian Market (2005). In 2006, he became a fellow of the Southwestern Association for Indian Arts, and added to his honors "Best of Classification" awards from both the Heard Museum and the Santa Fe Indian Market for his 18k yellow and white gold perfume-vial ring, Nizoniful. Mindful of his role in encouraging the next generation of Native American artisans, Fritz has returned as an instructor to the Poeh Arts Center in Pojoaque, NM, where he was once a student. His time as a teacher has helped to strengthen his own skills as a jewelry-maker and inspires him and his students to experiment with progressive designs. An amiable spirit, Fritz explains that his fashion-forward, sculptural jewelry designs are a combination of forethought and serendipitous discovery, resulting in jewelry that excites both his students and collectors. Examples of his awe-inspiring jewelry can be seen in Dexter Cirillo‘s book, Southwestern Indian Jewelry. Fritz is originally from Twin Lakes, NM in the Eastern part of the Navajo reservation in New Mexico. He shares his home with his wife and son. The subtle balance of his environment - the purity and texture of architecture, landscape, insects and animals, and the sea - and the fun of family-life and teaching, mix together in a creative experience that doesn‘t feel like a job.

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Vintage CT ST Zuni Sterling silver channel inlay butterfly pendant/pin. Solid sterling silver, marked as shown with only artists signature, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. Circa 1970‘s.

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Phillip Sekaquaptewa Weseoma Hopi sterling silver lapis beaded necklace . Authentic with no damage, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. 22" long necklace. Hopi Pueblo artist Phillip Sekaquaptewa, or Weseoma, was Eagle Clan and was actively making jewelry circa 1973-2003. He is known for his gold and silver overlay, appliqué, tufa cast jewelry. Weseoma lived in Hotevilla, Third Mesa, Hopi Pueblo, Arizona. Weseoma learned his trade from Hopicrafts Cooperative Guild, Second Mesa, Az. Hopi Pueblo Jeweler Phil Sekaquaptewa (1948-2003) Weseoma was the grandson of Judge Emory Sekaquaptewa, Sr. and Helen Sekaquaptewa; son of Wayne Sekaquaptewa and Judy Chen Wagner; brother of Kenneth Sekaquaptewa, Harlan Sekaquaptewa, David Sekaquaptewa, Jeannie Groves, Helen Freeman, Patricia Sekaquaptewa, Kimball Sekaquaptewa; father of Caroline Huma, Wayne Perry Sekaquaptewa. Reference: American Indian Jewelry III: M-Z 2,100 Artist Biographies by Gregory and Angie Yan Schaaf.

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29" Large Navajo Pearls hand stamped sterling silver graduated beaded necklace. Solid sterling silver, unmarked, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. No damage.

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Mary Marie Yazzie Lincoln Navajo sterling silver high grade turquoise necklace. Authentic with no damage, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. 24.5" long necklace. Mary Marie Lincoln is an accomplished Navajo jeweler. For over 35 years she has been known for her simple, yet elegant designs that are timeless. She often combines various colored stones such as coral and turquoise, in her popular “cluster work pieces. She works closely with her brothers, Lee and Raymond Yazzie, who are both well-known award winning jewelers. Mary Marie lives with her family near Gallup, NM. She is featured in Navajo Indian Jewelry by Jerry and Lois Jacka and North American Indian Jewelry and Adornment by Lois Dubin.

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27.5" Huge Charlie John Navajo Pearl hand stamped sterling silver beaded necklace . Illegibly artist signed on tag, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. a few dents in top tubes, no other issues.

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Huge Esther Wood Navajo sterling silver multi-stone Yei pendant/necklace. Solid sterling silver, marked as shown with only artists signature, with weight and measurements in the pictures. Tested and guaranteed solid sterling silver. No damage. The necklaces is unmarked, high quality and goes with the pendant.  The necklace with the diamond patterns is 29" long, The pendant/pin with the necklace is 213 gramsEsther Wood is a Navajo silversmith and jeweler who learned her craft from her aunt, Elsie Platero. She currently lives in New Mexico and works primarily with silver and turquoise. Esther was born in 1946, she has works in the Smithsonian and just about every major collection. I don‘t believe she is still active.

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Vintage Native American sterling silver beaded turquoise/shell heishi necklace. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No detectable issues or markings. 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. These are older, circa mid 20th century with way above average quality, 19" long.

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