Victor Coochwytewa Hopi overlay flute procession belt buckle sterling silver. Tested and guaranteed solid sterling silver, weight and measurements in pictures. Fully functional. All items will likely have some age appropriate/expected wear, the older they are the more wear they should have. Circa third quarter of the 20th century.. Fits up to a 1.5" belt.Master Hopi Silversmith, Waterhouse Clan – Shungopavi, Second MesaVictor Coochwytewa is widely regarded as one of the most influential Hopi silversmiths of the 20th century. A master of overlay jewelry and a pillar of his community, his work helped define the standards and aesthetics that Hopi jewelers continue to follow today. His career, which spanned more than 60 years, earned him national recognition, including being named an Arizona Indian Living Treasure in 1994.Born on June 7, 1922, in the village of Shungopavi on Second Mesa, Victor was a member of the Waterhouse Clan. He first learned the basics of silversmithing in 1940 under the guidance of Paul Saufkie. But his early career was interrupted by World War II, during which he served with distinction in the South Pacific. A member of the 167th Combat Military Police and later the 5309th Infantry Division under General Frank Merrill (Merrill’s Marauders), Victor saw heavy combat in Burma and was awarded the Purple Heart, Good Conduct Medal, and Asiatic-Pacific Campaign Ribbons.After being honorably discharged in 1946, Victor returned to Hopi and became one of the first students in the now-legendary Veterans’ Classes established under the G.I. Bill. Taught by Fred Kabotie and Paul Saufkie, these classes marked the beginning of a new era in Hopi silversmithing. Victor not only mastered the overlay technique but innovated within it—introducing a background texturing method inspired by leatherwork that became a defining feature of Hopi overlay jewelry.Victor's designs, executed in both sterling silver and gold, are known for their precision, spiritual depth, and elegant symbolism. Many of his pieces reflect Hopi traditions and cosmology, and his work has been collected by major institutions and private collectors around the world.In addition to his artistry, Victor was deeply rooted in the traditional Hopi way of life. A lifelong dry farmer, he raised corn, squash, beans, and watermelons without irrigation or chemical inputs, relying entirely on prayer, ceremony, and natural rainfall. “Jewelry is my hobby; corn is my work,” he once said with characteristic humility. He attributed the success of both his crops and his craft to blessings from the Creator. “When you pray, you should pray for all things, and in return, all things are benefited. Nothing can be accomplished without prayer.”Victor retired from silversmithing and farming in 2006 and continued to live with his family at Hopi until his passing on July 3, 2011, at the age of 89. Today, his legacy lives on in the work of his descendants and in the broader community of Hopi artists who follow the path he helped shape. His jewelry remains among the most iconic and sought-after expressions of Hopi artistry—no serious collection of Hopi overlay work is truly complete without a piece by Victor Coochwytewa.

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1.5" Vintage 18k gold/Sterling silver bull head engraved Mexican belt buckle. Solid 18k gold pieces on sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa mid 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Angie Cheama Zuni sterling silver snake belt buckle turquoise/coral. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Diablo Lady Liberty Morgan Dollar 3-D sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa mid 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Diablo sterling silver US Dollar hand engraved belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage F.L. Begay Navajo sterling silver high grade turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa fourth quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Hopi Overlay Bighorn Sheep Ram belt buckle sterling silver. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Illegible hallmark. Listed with ExportYourStore.com

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1.5" vintage Hopi Overlay warrior kachina belt buckle sterling silver. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century. Illegible, unknown hallmark. Attributed to the Hopi tribe, from a large collection of Hopi buckles/bolos.

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1.5" vintage JB Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Jenny Blackgoat Navajo sterling silver Ghan Dancer belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage modernist Navajo shadowbox sterling silver -turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo chip inlay sterling silver ranch brand belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century.

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1.5" vintage Navajo deep stamped sterling silver rectangular belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" Vintage Navajo sterling silver bear paw chip inlay belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" vintage Navajo sterling silver chip inlay turquoise peyote bird belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century.

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1.5" vintage Navajo sterling silver chip inlay turquoise peyote bird belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver deep stamped rug pattern belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver gold filled eagle belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver Kokopelli/Corn overlay belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa last quarter of the 20th century.

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1.5" vintage Navajo sterling silver modernist belt buckle with turquoise-coral. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo sterling silver rayed concho style belt buckle w/ turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver stamped belt buckle with turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century.

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1.5" vintage Navajo sterling silver thunderbird belt buckle with nice turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo sterling silver turquoise belt buckle with applied feathers. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage Orville Tsinnie Navajo sterling silver chrysocolla belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt.Orville Tsinnie (1943-2017) was a Navajo artist and master silversmith who has been featured in the American Indian art world for over 25 years. He was born in Tuba City, Arizona in 1943 and lived and worked in Shiprock, New Mexico. Tsinnie learned jewelry making from his Hopi brother-in-law in the 1970s and has since won many awards, including a Lifetime Achievement award from the Indian Arts and Crafts Association. Listed with ExportYourStore.com

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1.5" vintage Pete Sanchez Navajo Dry Creek Turquoise sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa last quarter of the 20th century. Age appropriate wear.

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1.5" vintage Robert Vandover Navajo sterling silver heartline bear belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century.

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1.5" vintage Robert Vandover Navajo sterling silver heartline bear belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage southwestern Sterling silver shell inlaid belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" vintage Spencer Navajo sterling silver turquoise nugget belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage T Navajo sterling silver turquoise nugget belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. High quality unresearched due to time limitations.

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1.5" vintage Wayne Cheama Zuni sterling silver turquoise cluster belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Zuni John Lucio Eagle Dancer inlaid sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.75" Alberto Contreras southwestern modernist sterling turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear.Alberto Contreras, Western SilversmithHailed as The Cellini of the Southwest, Alberto Contreras honed his craft under the guidance of his renowned grandfather, Frank Patania Sr. His formal education at the University of Arizona and the University of Mexico City further solidified his expertise in jewelry design and metalwork. Some of his earliest works, dating back to the 1950s and hallmarked AC Sterling, are testaments to his exceptional skill and enduring quality.The Contreras family has been a cornerstone of Tucson, Arizona's fine jewelry and silversmithing scene for generations. Founded by Alberto Contreras, a visionary artist and skilled craftsman, the family business has flourished, with each generation adding to its rich legacy. From intricate silverwork to stunning gemstone jewelry, the Contreras family's commitment to quality and craftsmanship is evident in every piece they create. Listed with ExportYourStore.com

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1.75" Clarence Lee Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Lee, Clarence and RussellClarence and Russell Lee: Father and Son Navajo Silversmiths:Born in 1952 in Ft. Defiance, AZ, Clarence Lee ws the second oldest of six children. His parents, Tom and Emma Rose Lee raised their children in Twin Lakes, NM. Currently, all his siblings work with silver to one degree or another with the exception of a sister who works in the health care system.Clarence learned his craft from his late father Tom Lee who built and owned a Trading Post in Twin Lakes and learned how to make silver jewelry to supplement his income when business at the Trading Post was slow. Tom Lee fought in the Pacific Theatre during World War II, was a POW for four years and a survivor of the infamous “Death March of Bataan.” He later became New Mexico’s first Native American State Senator. Clarence’s mother, Emma was recognized in her own right as the maker of the first Navajo Nation Flag.Clarence discovered his love of art work in elementary school when a teacher saw promise and encouraged him to pursue his talent. Later on at Tohatchi High School in New Mexico he met his first real art teacher Mrs. Hale. Clarence favored his art classes over academic classes because he suffered from dyslexia. In school he made metal sculptures and worked in oil and watercolors. (Clarence still paints occasionally) Mrs. Hale also saw potential yet admonished him, “Don’t start giving stuff away.” Her comments did not discourage him and while he was still in high school continued selling his jewelry to teachers. In addition to his art, Clarence was interested in rodeo and participated in calf and team roping events. Throughout his high school years, Clarence continues to help his father sell traditional jewelry. When financial pressures grew Clarence left school just short of his high school graduation to support his family.His first pieces of silver work were traditional hammering and stamp work set with stones. Clarence developed his own unique style almost by accident when he shaped a piece of silver resembling a dog. “I did that for eight months and sort of fell over backwards into storyteller style. I made my first bracelet and pin. I didn’t set any stones in my work until later.” HIs ideas come from his childhood memories of summers spent with his great grandmother at her summer home in the mountains. He remembers herding sheep and cattle near his home with friends and relatives. Images of windmills, water barrels, old trucks, wood stoves, dogs and rabbits are reflected in his artwork today. Along the way he has added whimsical animals, cowboys, dancers, children and many other images to his collection.Clarence prefers to sell his jewelry at Indian shows and present his work in competitions and exhibitions. HIs first show was at the Grand Canyon in Arizona. In early years he struggled to make a name in the art world and support his family. Fortunately, the first few shows provided the emerging silversmith encouragement. “I got a good response and it just opened up from there.” HIs first competitive show was at the Navajo Nation Fair where his work garnered a first place ribbon in 1977. “ I started signing using an engraver at the beginning, using my family’s registered brand stamp. Using the brand was my dad’s idea, but by 1988 I added my own signature.”In 1976, Clarence married and later that year his son Russell was born. By 1980 Clarence was a divorced single parent raising his four year old son and began taking his son along to all his shows. “When Russell was about ten or so he wanted a toy he saw at the mall. I told him you have to earn it by selling something first.” From there Russell was encouraged to try his hand as a silversmith. Russell followed his father’s footsteps and eventually entered various junior competitions winning numerous awards for his work. Russell hoped to go to college after he graduated from high school but during his senior year Russell’s responsibilities in the family jewelry business began to rapidly grow. Russell postponed his college plans to tend the family business, a business that has not slowed down since. Now as an adult, Russell helps full time with the jewelry business work. An apprentice and talented artist in his own right, Russell fashions most of the tiny figures his father incorporates into his storyteller images. Russell also acts as manager for the family business, handling the paperwork, safeguarding the the valuable inventory and ensuring everything is ready for the next show. By Russell handling the administrative responsibilities Clarence had the opportunity to go too as many as 25-30 shows per year. For now, Russell loves making jewelry and hopes to continue his education in the future.Tom passed on to young Clarence lessons he learned as a young silversmith. “If you want to do well, you have to have plenty of inventory on hand.” Incorporating this lesson has come at a high price for this industrious silversmith. Carpal Tunnel Syndrome now restricts the amount of pieces Clarence can create in a day, usually fifteen to twenty pins. He works diligently to maintain a large inventory for each of the 300+ designs he created. Because of Clarence’s physical limitations, Russell now does most of the design cutting including working on his own projects having acquired his own hallmark stamp in 1998. Clarence has done all the stone cutting for each piece for eighteen years, since 1988. “I do the stamp work and everything else, then gives it back to Russell to put on the findings and buffing.” For several years now father and son have collaborated on ideas for new pieces and new techniques for their work.Most silversmiths create or adapt equipment to facilitate their style of work or particular circumstances. In Clarence’s case it is the adaptation of IV bags for the water drip on his stone cutting and grinding equipment. Twice a year he puts all his scrap silver together and melts it down using the castings for special pieces. Many of the techniques used to create his jewelry are developed to suit Lee’s unique style. As he creates more images, he designs new tools and develops accompanying methods so his craft continues to evolve. His material includes twelve to twenty gauge silver, copper, brass, gold and using fine saw blades to create the intricate appliqué’ work he’s known for. He designs his own stamps using old drill bits to create a variety of textures and surfaces. He incorporates several methods of casting including steam casting, spin casting and old traditional tufa stone casting taught to him by his father.Clarence can see the results in his mind even before he actually finishes a new piece. His famous designs are usually sketched out wile sitting in airports, during down time at hotels or even selling at his booth. He tries to keep the merchandise interesting and fresh, trying out new designs for a minimum of four to five months. “If it doesn’t sell then we abandon it, but you never know. We used to make trucks, but sales slowed so much we stopped making them. Then as soon as we stopped people started asking for the trucks again. We now make them in four different sizers, but for the largest one there are two dozen separate pieces of silver that we have to solder together to make that truck which is our 3-D business card holder. That truck was done for fun and entered into the Gallup Ceremonial. It was something different; we thought would get a lot of attention. It worked because a lady from the British Museum came by and bought some pieces.” She interviewed Clarence over a period of three days. “The truck pin is our signature piece, as is the truck bracelet.”Three museums currently display pieces made by Clarence and Russell. You can see a bracelet on display at the San Diego Museum of Man in San Diego, California. In June 2006, the Eiteljorg Museum of American Indians and Western Art in Indianapolis, Indiana purchased the 3-D card holder, “Mr. Yazzie goes to town” that will remain in their permanent collection. There are also several pieces on display at the British Museum in London, England.Among silversmiths, Clarence admires Jake Livingston, whom he describes as, “A nice guy who does nice silver work.” Clarence has built a successful career as a silversmith, doing what he loves and working alongside his son. And when he needs a break from his silversmith work he can cross the yard to his welding shop where his welding accomplishments include a barbecue grill with a smoker and designing a dumping trailer for his tractor and then it’s back to work Listed with ExportYourStore.com

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1.75" hand engraved sterling silver custom Sue Monogram Eddie Harris belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" large Randy Hoskie Navajo sterling silver turquoise cluster belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" Les Baker Shop Navajo sterling silver vintage carved turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Les Baker was a well-known southwest jewelry artist who designed and also made jewelry himself. Although he was Anglo he employed many Native American silversmiths throughout the years, most notably Fritson Toledo, the great Navajo artist. Les had a great deal to do with the success of the Stagecoach. We have sold more Les Baker jewelry throughout the years than any other jewelry artist. But beyond that, Les was a great mentor and friend to Susan and Gary, here at the Stagecoach. Back in the late 1970’s Gary called Les about selling his jewelry. Gary and his father, Jim, met Les in Denver and have sold his jewelry ever since. In the early 1980’s, Gary spent a week in Albuquerque while one of Les’ Navajo silversmiths taught Gary the craft. This was one of the turning points at the Stagecoach. We could now size our own sterling silver and gold rings and eventually make our own jewelry right here at the Stagecoach. This was and is a huge advantage in selling jewelry as our knowledge of the craft went up exponentially. And for all this, Les asked nothing in return.Les was born in 1935 and when he was older joined the Navy. He told me once that he lied about his age to get into the Navy and became one of the youngest Navy pilots ever. After the Korean War he headed back to New Mexico and became interested in American Indian jewelry. His wife at the time (ex-wife now) wanted a Navajo squash blossom necklace but Les couldn’t afford it. He was always resourceful and since Les didn’t have the money to purchase the squash blossom he figured he would try making one himself. It turned out so nice that when Les’ wife was at a party with Edith Maisel, the “Queen of Indian Jewelry” was so impressed that she offered Les a job. Maisel helped popularize “Indian Jewelry” and though it wasn’t actually handmade, Maisels’ offered many Native Americans a job and increased the awareness of this art form. This was Les’ big break and he later also learned from the great Native American artist Carl Louthy.Eventually Les opened his own shop and was at the right time and the right place when the great “Indian Jewelry” boom in the 1970’s hit. Everybody wanted this turquoise Indian jewelry, from celebrities to the common man and woman. Les teamed up for a while with Bing Crosby (not the singer but the Indian Trader) and at one time had around 50 Native Americans working for him.Les developed his signature look, the swirling free flowing scroll work with leaves and flowers which he used throughout his life. He was one of the first to incorporate gold and diamonds into “Indian Jewelry”. Even though he had his own signature “look”, he was an expert at many different styles and techniques. Listed with ExportYourStore.com

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1.75" Les Baker Shop Navajo sterling silver vintage red coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Les Baker was a well-known southwest jewelry artist who designed and also made jewelry himself. Although he was Anglo he employed many Native American silversmiths throughout the years, most notably Fritson Toledo, the great Navajo artist. Les had a great deal to do with the success of the Stagecoach. We have sold more Les Baker jewelry throughout the years than any other jewelry artist. But beyond that, Les was a great mentor and friend to Susan and Gary, here at the Stagecoach. Back in the late 1970’s Gary called Les about selling his jewelry. Gary and his father, Jim, met Les in Denver and have sold his jewelry ever since. In the early 1980’s, Gary spent a week in Albuquerque while one of Les’ Navajo silversmiths taught Gary the craft. This was one of the turning points at the Stagecoach. We could now size our own sterling silver and gold rings and eventually make our own jewelry right here at the Stagecoach. This was and is a huge advantage in selling jewelry as our knowledge of the craft went up exponentially. And for all this, Les asked nothing in return.Les was born in 1935 and when he was older joined the Navy. He told me once that he lied about his age to get into the Navy and became one of the youngest Navy pilots ever. After the Korean War he headed back to New Mexico and became interested in American Indian jewelry. His wife at the time (ex-wife now) wanted a Navajo squash blossom necklace but Les couldn’t afford it. He was always resourceful and since Les didn’t have the money to purchase the squash blossom he figured he would try making one himself. It turned out so nice that when Les’ wife was at a party with Edith Maisel, the “Queen of Indian Jewelry” was so impressed that she offered Les a job. Maisel helped popularize “Indian Jewelry” and though it wasn’t actually handmade, Maisels’ offered many Native Americans a job and increased the awareness of this art form. This was Les’ big break and he later also learned from the great Native American artist Carl Louthy.Eventually Les opened his own shop and was at the right time and the right place when the great “Indian Jewelry” boom in the 1970’s hit. Everybody wanted this turquoise Indian jewelry, from celebrities to the common man and woman. Les teamed up for a while with Bing Crosby (not the singer but the Indian Trader) and at one time had around 50 Native Americans working for him.Les developed his signature look, the swirling free flowing scroll work with leaves and flowers which he used throughout his life. He was one of the first to incorporate gold and diamonds into “Indian Jewelry”. Even though he had his own signature “look”, he was an expert at many different styles and techniques. Listed with ExportYourStore.com

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1.75" vintage B Yazzie Navajo sterling silver Royston turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa fourth quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" Vintage Birds Eye Kingman turquoise Navajo sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" vintage Navajo basket sterling silver, copper, turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.75" vintage Navajo sterling silver belt buckle w/ Ceremonial Kingman turquoise. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" vintage Navajo sterling silver rattlesnake belt buckle with turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. The buckle is sterling with later added base metal back plate to make it a functional buckle. My guess is it was a concho or a buckle that got damaged and was no longer functional. The back plate is soldered on. Listed with ExportYourStore.com

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1.75" Vintage Navajo Sterling silver stamped turquoise nugget belt buckle JVT. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa fourth quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" Vintage Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" vintage Zuni sterling silver carved turquoise & Branch coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. One turquoise with old repair.

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10 figurale Eierbecher aus englischer Keramik aus den 1950er Jahren. Verkaufe das Set aus der Mitte des 20. Jahrhunderts ohne Risse, Chips oder Restaurierungen. 2,5" hoch mit 1,5" Öffnung, um das Ei oben zu halten. TW68

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10 japanische Imari-Teetassen aus der Meiji-Zeit. 2 5/8" hoch x 3,25" breit, variieren leicht, da sie handgefertigt und vor über 100 Jahren handbemalt sind. Etwa Ende des 19. Jahrhunderts. Keine Risse, Absplitterungen, Restaurierungen oder Verluste, einige Vergoldungsspuren an den Rändern. Alles unmarkiert.TW199

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10" antiker Dresdener handbemalter Dresdner Netzteller. Keine Risse, Chips oder Restaurierungen, keine erkennbaren Gebrauchsspuren. isshelf

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10" c1910 Royal Bayreuth Portrait vase. 10" tall with no cracks, chips, or restorations. Wear to gilding on rim. isshelf

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10,4" c1965 Orrefors Graal Ingeborg Lundin Schwedische Kunstglasschale. 10 3/8" breit x 5 1/8" hoch, wirklich großes Stück, ungewöhnlich groß. Keine Risse oder Chips, keine Trübung und keine anderen Probleme. Gut aussehende schwere Schüssel. Erwartet werden extrem geringe Gebrauchsspuren an der Basis. b47

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10,5" große MCM Emaille-Hirschschale aus Holland. Tolles Stück aus dem dritten Viertel des 20. Jahrhunderts mit geringen Gebrauchsspuren und ohne Schäden an der Emaille. tw271

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100ct Boulder Opal gebohrter Anhänger/Perle. Verkaufe exakt den abgebildeten Stein. Es ist ein sauberes 2-mm-Loch durchgebohrt. Ich habe mehrere davon und werde sie separat anbieten. Sie trugen eine Halskette aus 24-karätigem Gold mit großen 24-karätigen Perlen zwischen jedem Stein. Das Gold wurde bereits recycelt und ich hoffe, dass ich es wiederverwenden kann, da es sich um teure Steine ​​handelt, die es wert wären, an einer Halskette befestigt zu werden, an der sich Gold im Wert von mehreren Tausend Dollar befand. Die Möglichkeiten sind endlos, eine oder mehrere davon würden in oder außerhalb einer Umgebung großartig sein. Kaufen Sie genau den abgebildeten Stein mit den Maßen 48 mm x 28 mm und einem Gewicht von 100 ct.

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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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Auf 10 Karat Gold montierter halber Columbia-Dollar von 1892. Verkaufe den abgebildeten halben Dollar in einer „getesteten“ Fassung aus 10 Karat Weißgold. Ich dachte, ich hätte ein paar Markierungen auf der Fassung gesehen, kann es aber nicht sagen, habe es selbst getestet und es ist solides 10-Karat-Gold, nur die Fassung, die Münze besteht natürlich zu 90 % aus Silber. 14 Gramm.

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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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10k/Sterling Sunset Trails Santa Monica Police Potrolman retirement belt buckle. Solid 10k gold plaques top and bottom, quite a bit of gold, probably $300-$400 in gold at current market. The rest is solid sterling silver with weight and measurements in pics. Fully functional with some expected wear as it‘s a vintage item. Engraved as shown since it‘s solid 10k gold it could easily be removed. Any honest jeweler would do it for very little as they can recover the gold that they buff off.

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11 3/8" um 1870 japanische Imari-Schale aus der Meiji-Zeit, 3,5" tief. Keine Risse, Chips oder Restaurierungen. Tragen Sie die Vergoldung am Rand und an anderen Stellen. Schön dekoriert.

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11 Hawkes Eardley 8,25" Salatteller ohne Risse, Chips, Restaurierungen und minimale Gebrauchsspuren. Sehr hochwertiges amerikanisches Kristall, das wie eine Glocke klingelt. Thomas Gibbons Hawkes, 1846 in der Grafschaft Cork, Irland, als Sohn einer prominenten Familie mit Glasmacher-Erbe geboren, wanderte 1863 in die Vereinigten Staaten aus. Seine Karriere begann als Vorarbeiter der Glasfabrik Hoare and Daily in Brooklyn, New York, wo er mit dem Unternehmen wechselte 1868 nach Corning, New York. In Corning angekommen, eröffnete er bald seine eigene Schneidewerkstatt, die 1890 als TG Hawkes & Company gegründet wurde. Dies folgte auf den Erfolg im Jahr zuvor, als Hawkes auf der Weltausstellung in Paris Anerkennung und den Hauptpreis gewann. Thomas Gibbons Hawkes Der europäische Geschmack für funkelndes geschliffenes Glas dieser Zeit wurde in den Vereinigten Staaten in der sogenannten Brilliant Cut Glass-Periode nachgeahmt. Über 1.000 Schneidebetriebe wurden gegründet, um die Nachfrage zu befriedigen, und TG Hawkes & Company florierte. Das Unternehmen war 82 Jahre lang in Betrieb.

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Antikes persisches Kupfertablett mit Silbereinlage aus dem Nahen Osten, 27,9 cm breit und sehr schwer für seine Größe, da es aus Kupfer und Silber besteht. Garantiert aus dem 18.–19. Jahrhundert. 90+ % Silber (getestet) auf Kupfer. Aufhängelasche später auf der Rückseite hinzugefügt. TW153

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12 Pound Petrified Wood Covered in Crystals. It weighs 12 pounds and Measures 13" x 7" x 4.75". Picures don't do it justice. I bought it from a guy that found it in a storage locker.

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Vintage signierter Krug/Krug aus der „Cancan“-Serie von Kosta Boda vom berühmten schwedischen Designer Kjell Engman 89147. Signiert von Kosta Boda. Keine Risse oder Chips, keine Kratzer (abgesehen von einigen erwarteten Abnutzungserscheinungen am Boden, da er sehr schwer ist), keine Trübung und keine anderen Probleme . TW120

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12" große Meissener Servierschale aus dem Jahr 1870 mit schwerem Gold und handbemalten Früchten. Keine Risse, Chips oder Restaurierungen. Das Gold ist nahezu neuwertig. Die Farben sind lebendiger, als die Bilder vermuten lassen. Tw47

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12" japanisches Nippon-Tablett aus dem Jahr 1910 mit schöner Bemalung. Fantastisches Stück ohne Markierung, also möglicherweise vor 1890, garantiert über 100 Jahre alt, handbemalt ohne Chips, Risse oder Restaurierungen. 11 7/8" breit, einige Gebrauchsspuren an der Vergoldung am Rand. TW252

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12" große Harding Black (1912-2004) Texas Studio Art Keramikvase mit der besten tropfenden chinesischen Flambe-Glasur. 7" breit. Sehr imposantes Stück, 12-Unzen-V8-Dose zum Maßstab abgebildet. 3 wirklich kleine, unbedeutende Abplatzer am Fußrand und ein paar Glasurfehler an der Schulter, möglicherweise absichtlich. Keine nennenswerten Chips, keine Risse, keine Restaurierungen. Sehr coole Space-Age-Form auf diesem Stück. Harding Black San Antonio (1912–2004) Als Keramiker, Bildhauer, Maler, Maurer und Lehrer absolvierte Black die Brackenridge High School und besuchte das San Antonio Junior College (1929–30). Im Jahr 1933 wurde Black von Rudolph Staffel in der Herstellung von Töpferwaren auf der Drehscheibe unterrichtet und begann außerdem, an der Witte-Universität Keramikkurse für Kinder zu unterrichten. Black leitete eine Keramikinstallation in einem Wiederaufbauprojekt in San Antonio, das von der National Youth Administration und dem Kunstprogramm der Works Progress Administration gesponsert wurde. 1955 zog er sich aus der Lehrtätigkeit zurück und widmete sich ganz der Keramik. Black wurde durch seine Forschungen, Innovationen und Schriften auf diesem Gebiet zu einem bekannten Keramiker. Blacks Sammlung und Archiv sind an der Baylor University untergebracht. Harding Blacks Arbeit mit Ton dient als wichtige Brücke zwischen dem frühen Texas und der Töpferkunst der Mitte des Jahrhunderts. anderas

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12" Japanische Imari-Vasen aus der Meiji-Zeit, ein Paar. Nicht nur eine der schönsten Imari-Vasen, die ich je hatte, sondern auch ein Paar davon, 12" hoch. Eine mit einem alten, stabilen 2,5" langen Haaransatz oben, ganz links vom letzten abgebildet Bild. Keine weiteren Risse, Chips oder Restaurierungen. Schönes Paar etwa 150 Jahre alte Vasen. isshelf

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12" pr Republic Period Antique Chinese Famille Rose vases. Great pair of Nice sized Chinese hand painted famille rose vases from the first quarter of the 20th century with no damage or restorations. isshelf

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12,5" japanische Satsuma-Vase aus der Meiji-Zeit mit erhabenem Moriage-Dekor. Großes Stück, Ende des 19. Jahrhunderts handdekoriert. Unbearbeitet, Brennfehler an der Basis, insgesamt Haarrisse, möglicherweise qualitativ hochwertige Restaurierung am Rand. Ich bin mir nicht sicher (zeigt sich nicht unter UV-Licht). ), aber die Haarrisse scheinen in einigen Bereichen weniger ausgeprägt zu sein. Keine Risse oder Chips. TW199

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12,5" Mid-Century Modern Toasting Glasses Green Air Twist Stem Riesiger Blenko? Zwei riesige Gläser, garantiert aus den 1950er bis 1970er Jahren. Eines hat eine kleine geplatzte Blase am Rand des Fußes, die im Basisbild zu sehen ist, unbedeutend. Keine anderen Risse, Absplitterungen usw Restaurierungen. TW72

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12,75" Texas Studio Art Glasvase Michael McDougal 7" breit Keine Risse, Chips, Kratzer oder Restaurierungen. Der Glaskünstler Michael McDougal ist von der Natur inspiriert und bekannt für seinen Sinn für Farben und seine elegante Laune. Er lebt und arbeitet im Texas Hill Country. Er wurde durch Jane Duryea, Schützling von Robert Willson, mit Glas bekannt gemacht und studierte anschließend am Corning Museum of Glass in New York, der renommierten Pilchuck Glass School im US-Bundesstaat Washington, bei Jane Bruce, Claire Kelly & Antony Schafermeyer und Boyd Sugiki. McDougal hat auch Zeit in den „Fornaces“ von Murano, Italien, verbracht. Heute arbeitet er mit seinem Freund und Mentor Jason Lawson in Studios in Fischer, Texas, einer kleinen Stadt nördlich von San Antonio. „Glas ist ein erstaunlich vielseitiges Medium“, sagt McDougal. „Es hat eine inhärente Musik. Die Arbeit damit in geschmolzener Form ist rhythmisch … eher ein Tanz als ein Prozess.“ Michael Monroe, ehemaliger Kurator und Direktor der Renwick Gallery der Smithsonian Institution, beschreibt einen Krug aus McDougals Sammlung als „…die Essenz von geschmolzenem Glas in einem Moment gefrorener Eleganz einfangend.“ Der Griff mit seinem dynamischen, aber zarten Muster ist wunderschön integriert, um beides zu bieten ein Gefühl von Bewegung und Gleichgewicht für das Stück.“ „Ob ich sie schätze oder erschaffe, ich liebe Kunst, die ein Gefühl des Staunens und der Ehrfurcht hervorruft und mich zum Grinsen oder Lachen bringt“, sagt McDougal. „Ob eine Erkundung der Schönheit, der Launen oder des riesigen Reichs des Unbekannten, es muss mich daran erinnern, dass all unsere menschlichen Belastungen und Belastungen unbedeutend sind.“ McDougals Arbeiten werden in Galerien in ganz Texas und Kalifornien ausgestellt. Er war unter anderem in Shows in Dallas, Fort Worth, San Antonio, Houston und Galveston zu sehen.

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124ct Boulder Opal drilled pendant/bead. Selling the exact stone shown. Has a<br>clean 2mm hole drilled through it. I have several of these I will be offering<br>them separately. They were on a 24k gold necklace with large 24k beads between<br>each stone. The gold has already been recycled and I'm hoping to repurpose these<br>as they are expensive stones that were worthy of putting on a necklace that had<br>thousands of dollars worth of gold on it. The possibilities are endless, one of<br>them or a few would be great in or out of a setting. Buying the exact stone<br>shown 55mm x28mm, weighs 124ct.

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124 mm seltene Mitra Helenae, gefunden am 08.01.82, Honduras, Karibik. Kam mit abgebildetem Papier aus dem Nachlass. Auf den Bildern ist ein kleiner Chip an der Spitze zu sehen, ansonsten perfekt.

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13" Bing and Grondahl Snarling Tiger Figure by Lauritz Jensen. Great, realistic, scarce figure with no cracks, chips, crazing, or restorations. TW88

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13" c1940 Shirley Temple Doll with book "The little Princess" These came together, estate fresh and well preserved. A little writing and wear on outside of the book, clean interior. Doll is about 13" tall without her poofy hair. I believe the clothes and shoes are original. Clean unrestored condition composition body. Selling the doll and the book, last date in the book is 1939. isshelf

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13.5" Lalique Claude French Art Cut glass Vase. Very tall piece 13.5" x 5.5" wide, hand cut designs on base. No cracks, chips, or restorations.TW189

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13,5" lange Pat 1897 Clark Hill Climber Pressstahl-Reibungszuglokomotive. Guter Zustand mit Originallackierung, ein paar Biegungen. Funktionell, könnte aber eine Anpassung vertragen. Das Schwungrad funktioniert, könnte aber wahrscheinlich etwas Öl oder eine Anpassung gebrauchen, um die Reibung zu verbessern. I Ich weiß nicht viel darüber und habe leider keine Zeit, damit zu spielen. tw187

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13,5" Skyros Granatapfelkanister, groß, nicht mehr erhältlich, handbemalt. 6,5" breit, 4,5" breite Öffnung. Wirklich großes Glas mit 10,5" Innentiefe. Ungewöhnlicher Artikel mit wunderschönem Muster. Keine Risse, Chips, Restaurierungen oder Haarrisse. 2 stecknadelgroße Glasursprünge an der Seite und einer am Endstück.

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13,75" c1928 Fostoria Grape Blue Brocade Etched Cameo Glass Iridescent Oval Centerpiece. Hergestellt von 1927-1929. Sehr interessantes und seltenes Muster. Säuregeätzt mit leicht schillerndem Grund. 13,75" x 11,25" x 3" hoch, nahezu neuwertig, ohne Chips oder Risse , Kratzer, Trübungen oder andere Probleme. Viel schöner, als die Bilder vermuten lassen.

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1329 Gramm Labradorit-Exemplar. 7 3/8" x 3,5" x 2", großes poliertes Exemplar. Es gibt nur wenige Edelsteine, die das Phänomen des „Farbspiels“ besser zum Ausdruck bringen als Labradorit. Rot-, Blau-, Lila-, Gelbtöne und mehr tanzen vor Ihren Augen, während er sich in Ihrer Hand dreht, aber es gibt noch viel mehr über diese seltene Schönheit zu entdecken. Der Schiller-Effekt, Labradoreszenz, Lichtinterferenz und Gitterverzerrungen sind einige der wissenschaftlichen Erklärungen für Farbblitze in Labradorit-Edelsteinen, auf die wir später noch näher eingehen können, aber vielleicht erklären es die Inuit in Labrador in Kanada am besten, indem sie sagen, dass es sich um Nordlichter oder Aurora handelt Borealis waren in Labradoritgesteinen gefangen. Die Geschichte besagt, dass ein mächtiger Eskimo-Krieger mit Speerhieben die Farben befreite, die den Polarhimmel blenden, es ihm aber nicht gelang, alle Felsen zu zertrümmern und eine Reihe von Labradorit-Edelsteinen zurückzulassen, die wir sammeln, dann schnitzen, polieren und bis zum heutigen Tag bewundern können. isshelf

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13pc 1930's Little Orphan Annie nodder Walt Disney Bisque collection cartoon characters Made in Japan. Selling the lot shown mostly Disney, most if not all with Character name on back. Some paint loss, Sleepy elf with chip on foot. All made in Japan, most if not all marked so. Tallest 4.25". tw198

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