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

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

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

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

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

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

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

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

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.1" retro 14k gold/Sterling silver Emerald/Amethyst modernist cuff bracelet. Tested and guaranteed solid sterling silver, with weight and measurements in pictures, circa last quarter of the 20th century. Unknown artist. While I'm happy to answer any questions or concerns, I beg you to take the time to look through all of the photos as they should answer them. There should be around 10 photos. If no marking is mentioned or photographed please assume that it's unmarked as is common with Native American jewelry of this era.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.25" Kyle Leister modernist 14k gold/Sterling silver cuff bracelet. Tested and guaranteed solid sterling silver, with weight and measurements in pictures, circa last quarter of the 20th century. While I'm happy to answer any questions or concerns, I beg you to take the time to look through all of the photos as they should answer them. There should be around 10 photos. If no marking is mentioned or photographed please assume that it's unmarked as is common with Native American jewelry of this era.Leister's influences include the observation of natural phenomenon: Like the growth and deterioration of plants, and the effects of time, fire and water on man-made objects. In order for the natural world to persist it has to constantly adapt and change. Leister carries this same philosophy into her view of humanity, and the constant need and ability to adapt and change, regardless of what field we are in.

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sz9 Calvin Peterson Navajo 14k gold/Sterling silver eagle overlay ring. Tested and guaranteed solid sterling silver, circa last quarter of the 20th century. Some expected wear, weight and measurements in pictures.

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

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

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14k gold/Sterling silver Norbert Peshlakai Navajo Italian coral belt buckle. Tested and guaranteed solid sterling silver, solid 14k gold bezel, 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 last quarter of the 20th century.. Fits up to a 1.25" belt

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6.3" Heavy 14k gold/Sterling silver modernist Edison Cummings Navajo. Tested and guaranteed solid sterling silver with solid 14k gold accent bars, with weight and measurements in pictures, circa last quarter of the 20th century. Unmarked, attributed. The previous owner said she acquired it from Edison Cummings.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.5" Bruce Morgan 14k gold sterling silver heavy inner stamped cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures, circa last quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.1" Orville Tsinnie Navajo 14k gold/Sterling silver Wild Horse jasper cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Overall expected wear circa last quarter of the 20th century. Solid 14k gold accent beads and bezel.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.

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7.4" Vintage Chinese gold gilt sterling silver filigree amethyst link bracelet. Weight and measurements in pictures, solid high content basically sterling silver (tested and guaranteed) No damage or significant wear.

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

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sz5.5 14k gold/Sterling silver Alvina Quam Zuni carved turquoise ring. Tested and guaranteed solid 14k gold shank, bezel, and top, sterling silver back plate, circa third quarter of the 20th century. Some expected wear, weight and measurements in pictures.

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Robert and Bernice Leekya Zuni 14k gold/Sterling silver turquoise bolo tie. Tested and guaranteed solid 14k gold tips, border, and leaves covering stone. Back plate is solid sterling silver. Weight and measurements in pictures. Great bolo, 40" long with no issues. Weight shown is the entire bolo. Exported By ExportYourStore Listed with ExportYourStore.comExported By ExportYourStore

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14k gold/sterling silver Hollywood classics Texas star hand engraved belt buckle . Tested and guaranteed solid sterling silver, solid 14k gold star, 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 last quarter of the 20th century.. Fits up to a 1 1/8" belt

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Retro Sydney Lynch Sterling silver Druzy quartz gold overlay earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century.

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Vintage 1960's 10k gold on engraved sterling silver Mexican belt buckle. Tested and guaranteed solid 10k gold pieces on sterling silver with 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 .75" belt.

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sz7.5 Lagos Caviar 18k gold/Sterling silver black onyx retro ring. Tested and guaranteed solid 18k gold accents on sterling silver. Weight and measurements in pictures. No issues, some minimal wear as shown.

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Nelson Walley 14k gold/sterling silver/turquoise southwestern watch tips Selling the watch tips shown, New old stock. as shown, tested and guaranteed solid 14k gold beads, bezels, edges, and tubes to hold watch pins. Back plate sterling silver. . Weight and measurements in pictures. I believe this was a Native American artist active circa 1980's. This price is about a 30-40 year old price back when gold was about 1/20 what it is now.

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Buddy Lee Mossman Choctaw 14k gold, sterling silver lapis, fossilized coral pin. Solid 14k gold feather and center accent bead, solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, Circa last quarter of the 20th century. 37 grams Buddy Lee Mossman, a Santa Fean and one of the most unique artists of the Southwest, was born in Missouri, and, he claimed, of Choctaw descent. His creative forces began to emerge in the 1980s at which time he began teaching himself the art of silversmithing. Buddy drew from the works of three late great artists: renowned Chiricahua Apache sculptor, Allan Houser (Haozous), Master Hopi Silversmith. Charles Loloma and Spanish Great, Pablo Picasso. While his pieces mirror the Sacredness of Houser, the Decorativeness of Loloma and the Surrealism of Picasso, Mossman was an artist in his own right. Buddy considered his Jewelry sculptures. The smallest simplest ring to the biggest ornamental Kachina Bolo was sacred.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.5" Heavy Bruce Morgan Navajo 14k gold/sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with age appropriate wear.. 7.5" Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Very high quality, unknown/unresearched artist due to time limitations.

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1970‘s Alvina Quam Zuni 14k gold bolo tie carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel clip on the back. 40" long with weight and measurements in pictures, circa third quarter of the 20th century.  I was told by what I feel is a reputable source that when Alvina Quam first started she used her mothers hallmark before she made her own stamp. Known to sign her work "Alvina Q. Zuni", Alvina Quam began to make jewelry in the 1970's.  The granddaughter of Doris Ondelacy and Wayne Ondelacy; daughter of Alice Quam and Duane Quam, Alvina was taught to make jewelry by her mother.  She is listed in Gregory Schaaf's Jewelry III:M-Z book.The stones are quality American turquoise which would of course be sold by the carat even if they were not carved by Alice Quam or possibly her daughter working under her. The stones are worth more than gold, the leather and clip on the back can‘t be that heavy.  This is Historic Zuni jewelry that would improve the quality of any collection/wardrobe.Alice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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

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1970‘s Alvina Quam Zuni 14k gold belt buckle carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel bar to catch the belt. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. I was told by what I feel is a reputable source that when Alvina Quam first started she used her mothers hallmark before she made her own stamp. Known to sign her work "Alvina Q. Zuni", Alvina Quam began to make jewelry in the 1970's.  The granddaughter of Doris Ondelacy and Wayne Ondelacy; daughter of Alice Quam and Duane Quam, Alvina was taught to make jewelry by her mother.  She is listed in Gregory Schaaf's Jewelry III:M-Z book. Alice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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sz11 Vintage Morenci Turquoise, Diamond, 14k gold, sterling silver men‘s ring. Nice ring from the last quarter of the 20th century. Apparently unmarked. Some expected age appropriate wear, weight and measurements in pictures, tested and guaranteed solid 14k gold and solid sterling silver. Any marks present will be shown in the pictures, if there are no marks shown in the pictures or it isn‘t attributed to a specific maker then please assume it is unmarked which is very common with older Native American silver jewelry.

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

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Rare 2013 Bohlin 14k gold/Sterling silver Lone Ranger belt buckle Disney 59/80. Tested and guaranteed solid sterling silver and solid 14k gold. Weight and measurements in pictures, One of 80 made, new old stock, unworn condition. Retailed for $4500 in 2013, not currently available for any price.   The prices for new Bohlin items have gone up about 30% or more since then.   This would retail for about 6k directly from Bohlin if it were available today which it isn't.   Fits a 1.5" belt, other weight and measurements in pictures. The beautiful designs of Edward H. Bohlin, one of America's greatest craftsmen, are a treasured part of American history and are highly sought after by museums and other collectors. Bolen items are currently produced by skilled artisans in Dallas, Texas, recreating their beautiful curves and ornamentation. Not only are each pieces exquisitely crafted, but the stories behind the buckles and motifs continue to fascinate people as more than just decorative objects. This limited edition buckle was specially produced by Bohlin to commemorate the release of the film "The Lone Ranger." The Lone Ranger, originally aired as a radio drama in 1933, was adapted into a television series in the late 1940s, a popular series that ran for about 10 years, and also aired in Japan from the late 1950s. This popular American work has since been adapted into a film several times, and in 2013, Walt Disney Pictures will release a new version with an all-star cast, including executive producer Jerry Bruckheimer, director Gore Vabinski of the "Pirates of the Caribbean" film series, and Johnny Depp as Tonto. Bolen, which has a deep historical connection to The Lone Ranger and has produced decorative items for the TV series, has been given special permission by Disney to create buckles featuring the most memorable scenes and motifs from the show. This special model, released in a limited edition of only 80 pieces worldwide, marks the 80th anniversary of the radio drama's first broadcast.

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3/4" 10k gold/Sterling silver Sunset Trails vintage ranger belt buckle set m Vintage set with some expected wear but no significant issues. Has Sunset Trails Logo but for some reason the Sunset Trails appears to be scratched off the back of the buckle. Fits up to 3/4" ranger belt. Ranger belts are wider and taper down at the buckle/keepers/tip. Selling the buckle set shown, giving the belt for free. Belt fits up to a 39.5" waist with existing holes. Hole placements shown on tape measure, Could be cut a little shorter, possibly another hole added.

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1992 Jerry Hill 4/25 Northwest Coast Sterling silver/gold abalone necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. 20.5" long, no issues. Gold medallion is untested, may be gold filled, may be solid. Extremely complex design with a smaller limited number than most of his designs of this era. Jerry Hill is one of a handful of white artists who have been recognized for accurately representing and contributing to the resurgence of Pacific Northwest Coastal First Nations art. As a student at the University of Washington in the 70s, Jerry studied under renowned expert Bill Holm. After studying with Holm, Jerry began making Northwest Coast style jewelry and made significant contributions to the movement to preserve and grow recognition and understanding of Northwest Coast art. In the mid 1980s, Jerry was invited to teach at the University of Alaska, Juneau, guiding both native and non-native student artists. His deep respect for Pacific Northwest Coast First Nations peoples and art has led to commissions from a variety of First Nation tribes, families, and people. His work has also been displayed and sold in many First Nation owned galleries throughout the region.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. This is really big, either upper arm cuff or for a huge wrist.8.5" Dina Huntinghorse 14k gold/sterling silver Native American cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century to early 21st century with age appropriate wear.. Clean condition, pics don‘t do it justice. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. The bears are solid 14k gold, looks way better in person.Wichita jewelry designer Dina Huntinghorse incorporates a blend of traditional and contemporary jewelry techniques to create masterful works of wearable art. Although gold and silver work is rarely seen among the tribes of the Great Plains, Dina‘s life experiences introduced her to the craft, and inspired her to develop her own unique style.Raised in southwestern Oklahoma, Dina‘s first love was of horses, and she learned to reproduce their likeness in pencil sketches and paintings. She was later taught the traditional art of beadwork by an aunt, and became known for her beaded deerskin purses. In 1989, her interest in jewelry was piqued when her late husband, Navajo jeweler Herbert Taylor, taught her to cut beads and do inlay work. Dina began making jewelry on her own in 1996. Her work is featured in galleries throughout the southwest, and she is a regular participant at the Heard Museum Market and the Santa Fe Indian Market.Along with her respect for the horse, Dina is also known for her affection for the wolf. Through many of her designs, Dina honors her tribal teachings of the wolf‘s legendary hunting abilities and their human-like regard for the family (pack).

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.3" Jerome Begay Navajo sterling silver/14k gold turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with age appropriate wear.. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Almost all bracelets that don‘t have inlay work should be adjustable by at least .25", please refer to pictures for the gap size to see if it would work if slightly adjusted as the gap would change. Super sturdy bracelet will be difficult to adjust. Solid 14k gold beads on each side of turquoise row.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.3" Bennett Kagenveama Hopi sterling silver/14k gold storyteller cuff bracelet . Tested and guaranteed solid sterling silver with weight and measurements in pictures. Thick layer of solid 14k gold on top of the decoration as shown. Circa last quarter of the 20th century with age appropriate wear.. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap. Hallmarked with artists hallmarks and no other markings. Bennett Kagenveama was an extraordinarily talented Hopi overlay silversmith, born in Shungopavi, Hopi Second Mesa Arizona. His parents, Richard and Gladys Kagenveama, were very prominent artists. His mother, Gladys is considered one of the top Hopi coil basket weavers. Bennetts jewelry exudes a level of intricate detail not seen in other Hopi overlay jewelry. He created his jewelry by overlaying multiple layers of silver and finished with delicate oxidation and intricate hand texturing. This interesting contrast in the textures of his silverwork is what really makes his work stand out. Bennett specialized in the Kachina designs, including dance scenes with kivas and pueblos in the background. Bennett passed away in 2025. Beyond being a wonderful artist, he was a friend who we will greatly miss. Bennett was a soft spoken, humble, and very kind man. He was very well thought of by his peers and his work garnered praise from collectors all over the world.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Jefferson Brown Navajo 14k gold accented sterling silver lapis cuff bracelet. Tested and guaranteed solid 14k gold beads, the rest sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Bracelets are shown in the photos with a tape measure inside the bracelet, other photos will typically show the gap size. The size at the beginning of the title includes the gap.

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

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Retired James Avery 14k gold/Sterling silver beaded lattice earrings Great earrings with no issues, (replacement backs) tested and guaranteed solid sterling silver and solid 14k gold beads, any marks detected, weight, and measurements will be shown in the pictures.

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LB Southwestern sterling silver 24k gold accents cross pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, fairly modern.

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Douglas Magnus 14k gold on Sterling silver 3/4" ranger belt buckle set. Vintage set with some expected wear but no significant issues. Fits up to 3/4" ranger belt. Ranger belts are wider and taper down at the buckle/keepers/tip. Selling the buckle set shown, giving the belt for free. Belt fits up to a 46" waist with existing holes. Hole placements shown on tape measure, It‘s on a nice alligator belt shown in pics with some expected wear.

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" Mike Begay Navajo sterling silver 14k gold bezel lapis cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Fits up to a 6.75" wrist.

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

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Hollands San Angelo #205 10k gold sterling silver rubies ranger 5/8" belt buckle set. Solid 10k gold accents on hand engraved sterling silver with factory rubies. Vintage set with some expected wear but no significant issues. Fits up to 5/8" ranger belt. Ranger belts are wider and taper down at the buckle/keepers/tip. These also make great hardware for a super duper hatband. Vintage set, this model number with rubies current retails for $3700 directly from Hollands. Hollands Fine Jewelry has been a prominent contributor in the West Texas community for over 100 years. The family owned business began its story in 1918 when Chase Holland, Sr. purchased a jewelry store from Mr. C. C. McBurnett and renamed the business “Hollands Jewelry. Prior owners can, however, be traced to 1891. In addition to traditional jewelry and watches of the period, Hollands Jewelry was widely recognized for its extensive inventory of fine silver, china, and crystal. The Hollands Spur Clip was created and patented in 1936. With the country emerging from the difficult years of the Depression, Mr. Holland designed a miniature sterling silver spur tie clasp as a symbol of recognition, given to someone who had “earned their spurs. Two of these first “Spurs Clips were presented to President Franklin Roosevelt and Vice-President John Nance Garner. Over the years, many other celebrities, politicians, and dignitaries have been presented spur jewelry as gifts of both accomplishment and gratitude. The spur clip marked the genesis of Hollands Jewelrys debut into the world of jewelry manufacturing, specializing in hand-crafted buckles, spur jewelry items, and a variety of other hand-made, hand-engraved specialty pieces, many of which are still in production. The family owned business grew quickly. Chase Hollands son, Chase, Jr. began his work in the business after completing his service in the Army Air Corps during WWII. Chase Jr., with his wife Virginia, began management of the company in 1960. Many of our clients still remember working with Mrs. Virginia, who was a major staple in the community. With the help of the store manager Mr. George McCormack, and her two sons Chase III and Bill, the company grew into the successful establishment that it is today. Brant Horner of Brownwood, TX joined the company in 1985. After graduating with an accounting degree from Angelo State University, he continued to progress at Hollands Jewelry and quickly worked his way to Master Jeweler. Aside from his fine craftsmanship as a jeweler, Brant brought a new age of tailored jewelry making to Hollands. He specializes in die making, hand carving and modern rapid prototyping for custom jewelry, stone setting, and hand engraving. In 2012, Brant became business partners with the Holland brothers. After celebrating the 100th year for the company, Bill Holland joined Chase Holland III in retirement and Brant Horner took over ownership and management of the company. The family operated tradition continues with Brant Horner and his daughter, Evyn Horner Higgins, who began working at Hollands in 2011. Hollands Jewelry is a member of The American Gem Society, Jewelers of America, Jewelers Vigilance Committee, Better Business Bureau, and many other trade organizations. For over 100 years, Hollands has been committed to providing professional, knowledgeable service while offering quality diamonds, jewelry, gemstones, watches, and exclusive gift items. anderas

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" 14k gold/Sterling silver Gemset cuff bracelet, earrings, pendant set. Bracelet fits up to a 6.75" wrist. Weight and measurements in pictures, solid 14k gold accents on sterling silver no issues.. No apparent markings, gemstones untested but I believe they are all natural as it‘s a quality set. anderas

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7" Delbert Delgarito Navajo 14k gold/Sterling silver turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century to early 21st century. Nice sturdy cuff bracelet with solid 14k gold bars down the center inlaid in solid sterling silver.

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Shiebler 14k gold/Sterling silver Art Nouveau woman 2pc belt buckle set. Tested and guaranteed solid sterling silver with thick 14k gold overlay in center, weight and measurements in pictures with some expected wear, fully functional. Circa first quarter of the 20th century. Rare to find with the original second part, i personally removed it from an old degraded belt.

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

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Michael Horse-Yaqui 14k gold, diamond, emerald, ruby, sterling silver necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold 24" long necklace, solid 14k gold top plate on pendant overlaid on top of sterling silver backplate, solid 14k gold bezels for feathers with sterling silver back plate. Weight and measurements in pictures. Natural Diamond, Emerald, and Ruby. Michael Horse, of Yaqui, Mescalero Apache, Zuni, European and Hispanic descent, was born Michael Heinrich Horse in a place he calls “near Tucson”. He moved to Los Angeles,“the biggest urban Indian community in the U.S.,” when he was ten. There, Navajo, Cheyenne, and Sioux families surrounded him. He participated in the ceremonial dances at intertribal powwows from an early age. Not surprisingly, given his network of resources and diverse tribal bonds, Horse turned out to be a “polymath”, mastering several traditional artistic disciplines. He learned jewelry-making from his uncles. His mother trained him in the flat style of painting promoted by Dorothy Dunn at the Santa Fe Indian School. She was also a potter and a kachina carver. As a young man, he studied at the Institute of American Indian Arts in Santa Fe with the painter Fritz Scholder, the stone sculptor Allen Houser, and the potter-turned-jewelry-maker Charles Loloma. Horse built a successful career as a sculptor and jewelry-maker himself, working the fairs, markets, and Native American arts festivals. Michael learned how to make jewelry from family and other native artists who were kind enough to teach him. He had seen jewelry being made from the time he was a child. He says, “In my early silversmith career, I liked to make larger pieces, large silver bolos, horse bridals, and actual handmade silver sculptures. Someday, I hope to have time to go back and reexamine these pieces and do similar work again.” “As long as I have been doing this,” Michael says, “I still never run out of inspiration or innovation in what can be done with this art form. Nature and spirituality are constant influences in my work. I am also inspired by non-Native artists such as Picasso and Michaelangelo, and I am inspired deeply by political artists, those who use their work to inspire others such as Diego Rivera.” “I’m finding now that from my travel among other native cultures that I am starting to use images that I did not grow up with. I am inspired by other tribal artists. From the plains to South America to Africa, I’m finding that there are similar patterns among indigenous people around the world and that it is indeed a very small place. It is a place with similarities among us indigenous people that don’t seem to be accidental. Michael had always been moved by the older kachina jewelry that had been made in the 1940s. These older pieces have inspired him to make amazingly detailed kachina bolos, earrings, and pendants. During the Southwest Museum’s 20 year retrospective of his work, he realized that had not taken many photos of his work over his career. He had to try to round up pieces from collectors for the show. Upon seeing the body of his work, he realized the subtle changes it was going through as the years passed. He was also surprised to realize that some of his early work was as interesting as his new work. “I go back and forth in my work, from the traditional to the contemporary, and I learn on this journey how the both are connected. One of the most rewarding aspects of being a jeweler is when I meet someone for the first time who owns a piece of my art, and they tell me how much they enjoy it and how many compliments they receive when they wear it. To me, that is a feeling like no other.” Then, Horse made a discovery that shifted his orientation as an artist: ledger art. “I have always been into arts. The acting was something that I had an opportunity to do. Art is my passion; it‘s my life. I grew up doing jewelry. I used to work for the Heye Foundation at the Museum of the American Indian in New York and when no one was looking I used to go sneak and look at stuff. That was where I first found this tribal art, the ledger art that I do. I was fascinated that first time I saw it and thought this is my history. Even though this was a plains style I knew that this was the way that all of us had recorded our history at one time. I used to just do this because I was a fan of the art form but now I am pretty much an authority on this art form. The last few years of doing this I thought to myself wherever you physically and culturally repressed people, this art exists. I am trying to put together an exhibition for the Smithsonian about the artwork that comes out of internment camps. The Museum of Tolerance in Los Angeles has a lot of drawings, similar to the ledger art, from the concentration camps. Similar works also exist from times of slavery in the South, on Angel Island, and now from Darfur. In this country, the name itself hints at the history of this art form, which originated in the 1800s. Plains Indians, confined to reservations and deprived of the animal hides that served as supports for traditional painting, continued to make paintings using whatever materials they could find. Discarded sheets from the ledger books in which the white men kept track of their accounts were in abundant supply. These pages served as surfaces on which to preserve traditional stories and record contemporary events. As a painter Michael Horse has brought reinvigorated inspiration to the traditional Native American style of “ledger art.” In the reservation era, as the practice of painting on buffalo hides became impossible, any “canvas” readily available took its place with various scrap papers such as book pages, old letters, maps and ledger books becoming background for visual recollections of heroic battles, scenes of ceremony, hunting and daily life. Newer implements such as crayons, colored pencils and water-colors allowed for a new breadth of detail. This traditional folk art was very free-flowing, Michael Horse points out, incorporating symbols and movement, almost like a film scene with images leading right off the pages in a very uncontained style. Having had the opportunity to see many of the old, original ledger drawings through his work with museums, Michael Horse explains its pull on him: “I knew this was my history book, coming from my point of view.” Moved by the creativity and resourcefulness of his ancestors under such oppressive conditions, Horse undertook to reconceive ledger art as a contemporary genre. He continues to work in silver and stone, but his study of ledger art and output in the genre has made him a leading figure the field of contemporary painting and a source of inspiration for other artists and cultural producers. “I don’t copy,” he clarifies, “or imitate traditional material.” Rather he employs a traditional formal vocabulary to speak about the past in the present tense and shed light on cultural continuities. He tracks down old documents to use as canvases: maps, marriage certificates, pages from ledgers and hymnals. He outlines his figures in black against this background and fills in the outlined forms with bright planes of color. A rider gallops astride a green horse amidst a herd of buffalo. Warriors charge into battle. Clans gather to celebrate a feast day. The figures are stylized and iconic. The dynamic compositions have an uneasy relationship to the page, as if resisting containment within its bounds. Man and beast are inscribed against a ground signifying extinction and interment — but they are light, swift, full of vitality. Many of the paintings bear biting titles: We Are Still Here, Don’t Take My Picture, This Land Is Your Land. He is very proud of the paths that Native art have taken, as well as the path that it is moving toward with younger artists. He himself was inspired by some of his peers, and hopes that someday younger people might learn from and be inspired by some of his work. A true modern day renaissance man, Michael is a jeweler, actor, stunt man, sculptor, painter and activist. As an actor, he has appeared in many movies and on television, including Twin Peaks, Passenger 57, Lakota Woman, and the CBC Canadian series, North of 60. His works of art have been shown in galleries throughout the world, and are currently available at the Southwest Museum in Los Angeles, the Autry Museum of Western Heritage in Los Angeles, the Eiteljorg Museum in Indiana, Kiva Fine Art Gallery in Santa Fe, and Gathe Tribes Gallery in Albany, California. He says that, “If somebody asked me how I would like to end my career, I would say I would like it to end with inspiring younger artists. I’m very interested in our youth. In the last few years, I’ve become involved with working with inner city and rural native youth, hoping that I might be able to steer them toward a more positive and creative path.”

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

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

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

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

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

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

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sz5.75 Lagos Caviar 18k gold/Sterling silver Topaz ring. Guaranteed authentic with no damage and minimal wear. Buying the exact ring shown. Weight and measurements in pictures. size 6 ring Sorry I didn‘t clean before photos, there is no time for more photos, but I can clean upon request if purchased.

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sz7 large vintage 14k gold high grade turquoise ring sterling silver back. Tested and guaranteed solid 14k gold bezel and band with sterling silver back plate. Nice ring from the last quarter of the 20th century. No apparent issues. Marked 14k with no other apparent markings.

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

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

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

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

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.9" Dawn Lucas Navajo sterling silver 14k gold heavily stamped cuff bracelet. Tested and guaranteed solid sterling silver and solid 14k gold center band with weight and measurements in pictures. No damage or significant wear, circa last quarter of the 20th century.

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Vintage Goldberg Kirschman "Old Crest" Sterling silver faces link bracelet. Selling the bracelet shown in clean condition with no issues. Circa third quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6" Kabana Southwestern 14k gold/Sterling silver onyx cuff bracelet. Tested and guaranteed 14k gold accents on solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century with appropriate wear. Good condition, fits up at a 6" wrist, 30 grams.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.6" Bennett Kagenveama Hopi 14k gold/Sterling silver Kokopelli cuff bracelet. Tested and guaranteed thick layer of solid 14k gold on top of the figures on solid sterling silver with weight and measurements in pictures. Good condition, circa last quarter of the 20th century with no issues. Marked with Artists hallmark and no other markings.   No sterling or 14k gold markings.Bennett Kagenveama was an extraordinarily talented Hopi overlay silversmith, born in Shungopavi, Hopi Second Mesa Arizona. His parents, Richard and Gladys Kagenveama, were very prominent artists. His mother, Gladys is considered one of the top Hopi coil basket weavers.Bennetts jewelry exudes a level of intricate detail not seen in other Hopi overlay jewelry. He created his jewelry by overlaying multiple layers of silver and finished with delicate oxidation and intricate hand texturing. This interesting contrast in the textures of his silverwork is what really makes his work stand out. Bennett specialized in the Kachina designs, including dance scenes with kivas and pueblos in the background. Bennett passed away in 2025. Beyond being a wonderful artist, he was a friend who we will greatly miss. Bennett was a soft spoken, humble, and very kind man. He was very well thought of by his peers and his work garnered praise from collectors all over the world.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" Retro Bill Blass sterling silver/18k gold cuff bracelet/earrings set. Weight and measurements in pictures, solid sterling silver with solid 18k gold accents. Marked as shown with no damage. anderas

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sz9 Sterling silver/14k gold Retro Brutalist baroque pearl ring/earrings set. Tested and guaranteed solid sterling silver with solid 14k gold accents on the ring. Weight and measurements in pictures. Illegible/unresearched makers marks, estate fresh. anderas

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

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

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

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1991 Navajo sterling silver Golden Eagle trading company bolo concho bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 39" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Illegibly signed.

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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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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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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. John Atencio 18k gold/Sterling silver modernist amethyst clamper cuff bracelet . Tested and guaranteed solid sterling silver with solid 18k accent beads. Weight and measurements in pictures. Some expected wear with no damage. Stamped J.A. SS 18K, guaranteed authentic. No wear or chips to stones, strong spring on clamper. Pre-owned with little to no signs of wear.

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John McCabe 10k gold hand engraved sterling silver rubies Ranger belt buckle set. Fits a 1" belt, no damage to rubies. Tested and guaranteed solid 10k gold and sterling silver. Lots of hand engraving, solid 10k gold hand engraved scrollwork appliques, solid 10k gold rope edges on all pieces, rubies. A comparable set would cost about 10k new. Engraved center piece could easily be polished out, it‘s not very deep of an engraving, likely worn as this is a vintage set. Circa third quarter of the 20th century. Weight and measurements in pictures. Throwing in the belt shown with holes at the measurements shown in the pictures. Selling the 1" ranger set, belt is free.

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Harris Joe Navajo sterling silver 14k gold ranger belt buckle set 1". Tested and guaranteed solid sterling silver and 14k gold, fits a 1" wide belt. No issues, Unworn condition, new old stock. Weight and measurements in pictures.

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

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

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

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James Reid Santa Fe 18k gold Texas Lone Star on sterling belt buckle. Solid 18k gold star on sterling silver (tested) buckle with weight and measurements in pictures.. Fits a 1.5" belt. No issues, marked as shown. Rare belt buckle from a retired very high end Santa Fe silversmith/goldsmith/retailer. Unworn condition with the slightest wear from likely spending 20 years or so in a drawer.

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

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1940‘s Mexican 935 Sterling silver 10k gold ranger belt buckle set . Solid sterling silver (tested), solid 10k gold embellishments with weight and measurements in pictures, no issues... Fits a 3/4" belt. No issues, marked as shown.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.1" Victor Hicks Navajo Sterling silver 14k gold carinated cuff bracelet. Solid sterling silver (tested) with applied 14k gold, Circa last quarter of the 20th century... No damage extremely high quality vintage bracelet with the artists hallmark shown.

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1999 Sterling silver/10k gold rubies ranger belt buckle set J initial Monogram. Solid sterling silver and 10k gold (tested) with weight and measurements in the pictures. Fully functional with age appropriate wear, no damage unless noted. Fits a 1" belt The flowers are solid 10k gold, but the border is brass or gold filled, and I believe the J is gold filled.

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Gene Pooyouma Hopi 14k gold sunface Sterling silver belt buckle in overlay style. Solid sterling silver and 14k gold(tested) with weight and measurements in the pictures. Fully functional with age appropriate wear, no damage unless noted. Marked as shown, fits up to a 1" belt.

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c1960‘s Vogt Solid 10k gold on Sterling silver Horse trophy style belt buckle. Solid sterling silver and 10k gold(tested) with weight and measurements in the pictures. Fully functional with age appropriate wear, no damage unless noted. Marked as shown, fits up to a 1.5" belt. The prong that goes in the belt loops at one point was replaced with a screw. It‘s functional, but could likely be "fixed" in a few different ways if one felt it was necessary. This is really thick applied solid 10k gold on this buckle with nice fancy engraving. A comparable modern buckle would likely cost 4-5k.

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sz7.5 14k gold Bezel Sterling Sugilite Black Opal amazing ring. Weight and measurements in pictures. Solid 14k gold bezel, sterling ring. High quality natural Opals, fracture through center of each large stone, extremely high quality sugilite, the two corners an extremely dark purple natural sugilite. Illegible hallmark.

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

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

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