6.5" Gilbert & Mildred Calavaza Zuni inlay sunface sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century, No issues.

Lesen Sie Mehr Weniger

40's-50's Lambert Homer Sr. Zuni sterling silver turquoise channel inlay earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Unmarked, circa second quarter of the 20th century. screw back earrings.   Unmarked, attributed to Lambert Homer Sr. Homer, Lambert Sr. Biography (1917-1972)Widely recognized as a fine lapidarist, Lambert Homer collaborated with other artists who worked with trader C. G. Wallace. He is perhaps best known for pieces featuring intricate mosaic inlay on spiny oyster shell that closely resemble shell inlay work found at prehistoric Southwestern sites. After removing the spines from these distinctively coral-colored shells, Homer inlaid them with white shell, turquoise and jet, creating vibrant geometric patterns. Some of his most spectacular pieces are belts with conchas of inlaid spiny oyster shell. Homer also made inlaid Knife Wings and Rainbow Gods, and he is credited with the first use of the Gan dancer as a jewelry design motif. 

Zuni artists with whom Lambert Homer collaborated include Dan Simplicio, Leo Poblano, Ida Poblano, and his son Lambert Homer, Jr. He also worked with Navajo silver-workers Roger Skeet and Charlie Bitsui. Lambert, who was married to Juanita Homer, and his brother Bernard, who was married to Alice Homer, worked closely with their wives, both of whom were daughters of Leekya.

Lesen Sie Mehr Weniger

6.6" c1950‘s Zuni sterling silver carved turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. unmarked.

Lesen Sie Mehr Weniger

Vintage 40‘s-50‘s Zuni sterling silver turquoise petit point cluster necklace. Circa second quarter of the 20th century to mid 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings. 19" long with weight and other measurements in pictures.

Lesen Sie Mehr Weniger

6.6" N Navajo vintage sterling silver spiderweb turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the century, no issues..

Lesen Sie Mehr Weniger

6.5" c1950‘s vintage Zuni cobblestone inlay turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa mid 20th century, all stones secure with some fissures.

Lesen Sie Mehr Weniger

7.5" Huge Vintage Navajo sterling silver cast cuff bracelet w/ lizards. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, super heavy/sturdy.

Lesen Sie Mehr Weniger

Vintage 40‘s-50‘s Zuni sterling silver multi-stone inlay antelope necklace. Circa second quarter of the 20th century to mid 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings. 14" long with weight and other measurements in pictures.

Lesen Sie Mehr Weniger

6.75" Vintage Navajo sterling silver Peyote Bird Chip inlay watch cuff bracelet. Selling the watch bracelet shown, tested and guaranteed solid sterling silver. Weight and measurements in pictures. Takes a large sized watch, very big wacth cuff. Apparently unmarked.

Lesen Sie Mehr Weniger

7.2" Big Harrison Jim Navajo sterling silver Kingman turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, high grade natural American turquoise. This bracelet is a prime example of his earlier work. 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.

Lesen Sie Mehr Weniger

Native American Lone Mountain turquoise modernist sterling silver pendant/pin. Solid sterling silver tested and guaranteed with weight and measurements in the pictures, circa third quarter of the 20th century. some surface wear to stone, unidentified hallmark.

Lesen Sie Mehr Weniger

Vintage Navajo sterling silver waterweb turquoise, coral, shell belt buckle, fits up to a 1.5" wide belt. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. All stones secure, two with old fractures.

Lesen Sie Mehr Weniger

40‘s-50‘s Art Lewis Choctaw sterling silver turquoise pin/brooch stamped dangly. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa mid 20th century. (Art Lewis 20th century, Choctaw) Although cited by both Barton Wright and Gregory Schaaf in their publications revealing American Indian jewelers, relatively little is shared about Art or Arthur Lewis, whose hallmark is an arrow and tepee. Lewis‘ Choctaw name was Neetha Loosa, which translates to Black Bear. He worked as a silversmith from 1929 forward.

Lesen Sie Mehr Weniger

1940‘s Navajo sterling silver concho pin with turquoise nice stampings/repousse. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa mid 20th century.

Lesen Sie Mehr Weniger

Vintage Navajo overlay sterling silver belt buckle with deer overlay, fits up to a 1.5" wide belt. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa last quarter of the 20th century. Unknown hallmark.

Lesen Sie Mehr Weniger

c1950‘s Small vintage Zuni sterling silver turquoise nugget cluster belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. All stones secure, three with old fractures. Fits up to a .75" belt.

Lesen Sie Mehr Weniger

Vintage Navajo overlay sterling silver belt buckle with deer overlay b, fits up to a 1.5" wide belt. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa last quarter of the 20th century. Unknown hallmark.

Lesen Sie Mehr Weniger

6.5" Vintage Navajo/Zuni sterling silver turquoise needlepoint row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, most likely Navajo or Zuni, illegible hallmark.

Lesen Sie Mehr Weniger

6.5" Vintage Navajo sterling silver 1 stone twisted wire bezel cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, most likely Navajo unmarked.

Lesen Sie Mehr Weniger

6.4" Vintage Navajo sterling silver freeform turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century with no markings.

Lesen Sie Mehr Weniger

6.6" Vintage Zuni sterling silver Mediterranean coral needlepoint cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. No detectable markings.

Lesen Sie Mehr Weniger

6.1" Big Navajo sterling silver spiderweb turquoise cuff bracelet quartz matrix. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Hallmarked as shown, unidentified by me.

Lesen Sie Mehr Weniger

7.2" Jerry Roan Navajo Big Vintage sterling silver turquoise/coral cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Jerry Roan (1919-1977) Navajo tribal native Jerry Roan (1919-1977) had a productive life as a silversmith and jewelry maker. He began actively working at silversmithing around 1968. In 1969, a year after he began smithing, he on a 1st Award at the Navajo Tribal Fair in Arizona. Roan was included in the 2002 exhibit “Jewels of the Southwest” at the Museum of Indian Arts and Culture, Santa Fe. His work is included in the collections of the Smithsonian National Museum of the American Indian, Washington, and the Yellowhorse Museum in Paradise Valley, Arizona.

Lesen Sie Mehr Weniger

6.3" 1950‘s Vintage sterling silver Fred Harvey Royston turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, most likely Maisels shop with no markings other than sterling.

Lesen Sie Mehr Weniger

6.75" 1950s Ondelacy family Zuni sterling silver turquoise cluster cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. No detectable markings.

Lesen Sie Mehr Weniger

6.6" Vintage Labradorite Navajo sterling silver T feather design cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa fourth quarter of the 20th century. Unknown maker, marked as shown.

Lesen Sie Mehr Weniger

6" Preston Monongye Hopi Tufa Cast sterling silver turquoise inlay cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Amazing bracelet in clean condition with no issues other than possibly one stone missing close to the gap on one side. Impossible to know for sure. Monongye, Preston (1927-1987) Biography Preston Monongye was a leader in the “The New Indian Jewelry” movement of the 1960s and 1970s. Born in 1927, in Los Angeles he was abandoned at Hopi at age seven and adopted by a prominent Hopi family. Monongye attended reservation schools and became a full participant in Hopi religious and social life. At age nine, Monongye began apprenticeship with his uncle, the master silversmith and painter Gene Pooyama. Following his service as a paratrooper in World War II, Monongye became a Kachina painter, working occasionally for trader Roman Hubbell and the Fred Harvey Company. Monongye re-enlisted during the Korean War and later worked in law enforcement for the Bureau of Indian Affairs while continuing to paint and make silver jewelry. After leaving his job in favor of jewelry making in the early 1960s, Monongye quickly became recognized as an innovative designer and technician, immersing himself in “the new Indian art,” using traditional techniques and motifs to create a contemporary new look. He was best known for cast silver set with stones that often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye taught his art at various schools and workshops and lectured widely on contemporary Native design. He won many awards at shows and competitions and his jewelry appears in museum collections such as the Museum of Northern Arizona in Flagstaff and the Wheelwright Museum in Santa Fe.

Lesen Sie Mehr Weniger

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.”

Lesen Sie Mehr Weniger

Michael Horse-Yaqui Sterling silver inlay Kachina pendant beaded necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Turquoise, sugilite and a few different types of high grade coral. This necklace though not signed by the artist was made by him. 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.”

Lesen Sie Mehr Weniger

Michael Horse-Yaqui Sterling silver intarsia inlay Kachina pendant/necklace. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Turquoise, sugilite and many other high grade stones. This necklace though not signed by the artist was made by him. I have a gold one of similar construction from the same collection holding a Michael Horse gold pendant. 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.”

Lesen Sie Mehr Weniger

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.”

Lesen Sie Mehr Weniger

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.

Lesen Sie Mehr Weniger

Vintage Zuni sterling silver snake eye turquoise Naja form dangle earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Unmarked, circa third quarter of the 20th century.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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.”

Lesen Sie Mehr Weniger

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.”

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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.

Lesen Sie Mehr Weniger

c1970 Big J Quam Zuni Native American sterling silver bluebird inlay bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 37" long with no issues. Tray is tared out, so weight shown is just the bolo of course.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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.”

Lesen Sie Mehr Weniger

6.35" Ric Charlie Navajo Tufa Cast sterling silver storyteller cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century, collected and possibly never worn. Fantastic bracelet as shown. Ric Charlie is the most innovative jeweler of our time, utilizing the ancient technique of Tufa Casting. Ric creates multi-level dimensional jewelry by meticulously cutting the designs with flawless precision. Each design is hand cast, formed, filed, sanded, and polished to perfection. Finally, diamonds and semi-precious gemstones are set to accent each piece for sale to the discriminating collector. Ric Charlie is noted for his fine tufa cast work. His jewelry often has added colorful patinas in shades of gold, rust, red, purple, blue, and green, achieved by adding liver of sulfur to the silver. His pieces use Navajo landscape scenes, Yei Bi’Ci’s spiritual figures, and sand painting designs. The fine lines in his jewelry are accomplished by incising the tufa stone with the dental tools Ric has used for over 20 years. He uses a wide range of techniques, including mosaic, channel inlay, and set natural stones. Ric is also a painter and sculptor. Born in Tuba City, Arizona in 1959, Ric is of Tsi’naa’jinii’ (Black-Streaked-Wood-People) and Ta’baahi’ (Edgewater) Clans. Growing up under humble circumstances with his grandparents in the sun streaked red cliffs, Ric learned the traditional ways while watching the old ones slowly adjust to new technology and world ideas. He began experimenting with jewelry making and learned the basic techniques while in high school. He attended Arizona State University in Tempe and the University of Arizona in Tucson with sports scholarships. There, he formally studied jewelry making and design. However, in the area of tufa casting, Ric is largely a self-taught artist. The technique he uses was not part ofdio art curriculum. He apprenticed to other jewelers whose work he admired and set himself a goal of making his college stu the lines fine and clean. Ric has been a practicing jeweler since the early 1970s. Today, in addition to pursuing and perfecting his own career, Ric teaches and advises young Native artists from around the world on his distinctive tufa stone casting methods. During his lifetime, Ric has had a strong sense of being a part of Monument Valley and has felt like it was him home. So a lot of his work has the Monument Valley scenery. “Every time I feel down, I always think about my place in life, and I feel that I have something to give into this world…”

Lesen Sie Mehr Weniger

7.25" c1940‘s Navajo sterling silver hand stamped turquoise link bracelet. Bracelet fits up to a 7" wrist. Weight and measurements in pictures, solid sterling silver no issues.. The bar with turquoise is old from the second quarter of the 20th century, possibly made into a link bracelet later.

Lesen Sie Mehr Weniger

6.4" Mary Matt for Atkinsons Trading Post vintage sterling silver turquoise/coral redbird cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Amazing bracelet in clean condition with no issues.

Lesen Sie Mehr Weniger

6.75" 40‘s-50‘s Navajo sterling silver variscite cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century to mid 20th century. Unmarked.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

6.6" 2 Vintage Navajo Tahe Twisted wire sterling silver stacker cuff bracelets. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last half of the 20th century. One marked Tahe, other older and unmarked. Selling both for one price.

Lesen Sie Mehr Weniger

6.25"-6.5" Vintage Navajo sterling silver hand stamped stacker cuff bracelets. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last half of the 20th century. Selling all three, no apparent markings unless shown in pictures.

Lesen Sie Mehr Weniger

6.5" 40‘s-50‘s Navajo sterling silver spiderweb turquoise arrow cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century to mid 20th century.

Lesen Sie Mehr Weniger

6.3" Danny Romero Yaqui - Smoky quartz, turquoise, black jade inlay sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Amazing bracelet in clean condition with no issues. The shadows play tricks in these pictures, so please look at all of them. “I construct each piece with sheet and wire first. My inspiration for design comes from many sources. The purple hues and angular shapes of the desert and mountains, a Frank Lloyd Wright building, petroglyphs, Mibres pottery, or the pyramids of Mexico are all examples of what may influence my art,” says Danny Romero. Danny, who initially set out to become a medical doctor, began experimenting with jewelry design as a hobby. He quickly discovered he had a natural talent and decided to pursue jewelry making as a career. He never regretted his choice. Danny, who was Yaqui, acknowledged that many of his sterling silver cast pieces were inspired by prehistoric petroglyph carvings and Hispanic religious symbols. Danny was also a recognized master of intricate inlay design. Working in both silver, 14k and 18k gold, he would often include up to 1,500 individually cut pieces of precious and semi-precious stones in his one-of-a-kind pieces. Painter John Nieto launched Danny in a new direction when he asked him to create an inlay version of one of his portraits. Danny explored the idea of portraiture in jewelry, using his artwork and the work of others for inspiration. “I like E.S. Curtis photographs,” he says, referring to the turn of the century photographer and the ethnographer who documented more than 80 native American tribes. “I go through magazines then I start drawing and go from there.” From those sources, Danny produced detailed portraits in stones. “Lapis will be the darker colors, and yellow or red will be where the light is hitting. Pipestone out of Minnesota, which is a pottery kind of color, can be the shading, and pinks are the highlights. I enjoy bringing the colors of the earth to light."

Lesen Sie Mehr Weniger

7.5" Huge J Quam Zuni Vintage Bighorn Sheep sterling silver inlay cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Amazing bracelet in clean condition with no issues.

Lesen Sie Mehr Weniger

6.4" Mary Matt for Atkinsons Trading Post vintage sterling silver spiderweb turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Amazing bracelet in clean condition with no issues.

Lesen Sie Mehr Weniger

27.5" Artie Yellowhorse vintage Sterling silver Navajo pearl necklace w/tube beads. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. Marked on tag, unknown, 27.5" long.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

c1940‘s Navajo sterling silver stamped bug pin with Blue Gem turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa second quarter of the 20th century.

Lesen Sie Mehr Weniger

Vintage Hopi or Navajo Overlay long ring sterling silver. Tested and guaranteed solid sterlong silver with weight and measurements in pictures. Nice ring from the last quarter of the 20th century. Clean with no issues. Illegible hallmark.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

c1940‘s Zuni John Gordon Leak/Leekity sterling silver dragonfly pin inlaid. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa second quarter of the 20th century. No loss to inlay but possible old fractures, all secure (see pics) A lovely rare pin by famous Zuni artist John Gordon Leak Leekity. His work was prominently featured in the 1975 Sotheby‘s auction of the C.G. Wallace collection. John Gordon Leaks was most well-known for his knifewing and dragonfly images. This pretty pin is a perfect example of his work.

Lesen Sie Mehr Weniger

Vintage Tommy Singer Sterling silver chip inlay bowtie/Butterfly pin/brooch. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

Lesen Sie Mehr Weniger

c1930‘s Navajo sterling silver heavily tooled large pin/brooch with turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa second quarter of the 20th century.

Lesen Sie Mehr Weniger

Big vintage Zuni sterling silver turquoise, coral, shell roadrunner pin/brooch. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa mid 20th century.

Lesen Sie Mehr Weniger

Vintage Navajo sterling silver squash blossom necklace with center turquoise. Circa third quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. Unmarked, 24.5" long. Turquoise stone appears to have been glued to the previously plain cast naja.

Lesen Sie Mehr Weniger

Vintage Native American sterling silver bolo tie w/cloud overlay and coral. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 38" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Apparently unmarked.

Lesen Sie Mehr Weniger

6" Vintage Navajo sterling silver turquoise/coral stamped cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century,

Lesen Sie Mehr Weniger

6.1" c1930‘s Navajo sterling silver twisted wire cuff bracelet with turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century,

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

6.4" Vintage Navajo sterling silver watch cuff bracelet Hamilton Automatic. Selling the watch bracelet shown, tested and guaranteed solid sterling silver. Weight and measurements in pictures. Nice high grade spiderweb turquoise, watch appears to work but not tested or guaranteed for accuracy.

Lesen Sie Mehr Weniger

Vintage southwestern sterling silver enamel wolf howling at moon bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 44" long with no issues. Tray is tared out, so weight shown is just the bolo of course.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

Big c1960 c-31 Navajo sterling silver spiderweb turquoise/coral bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 42" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Apparently unmarked.

Lesen Sie Mehr Weniger

Teme Southwestern sterling silver turquoise/mother of pearl necklace/earrings. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 17" necklace. Other measurements in pictures.

Lesen Sie Mehr Weniger

6.25" Vintage Navajo sterling silver watch cuff bracelet turquoise/coral with Timex windup. Selling the watch bracelet shown, tested and guaranteed solid sterling silver. Weight and measurements in pictures. Watch appears to work but not tested or guaranteed for accuracy.

Lesen Sie Mehr Weniger

7" Osavio Crespin Santo Domingo sterling silver intarsia inlay cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century,

Lesen Sie Mehr Weniger

6.65" B Soce Navajo sterling silver heavy stamped watch cuff bracelet. Selling the watch bracelet shown, tested and guaranteed solid sterling silver. Weight and measurements in pictures. Watch needs a battery.

Lesen Sie Mehr Weniger

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.

Lesen Sie Mehr Weniger

6.6" c1940‘s Navajo sterling silver turquoise wide hand stamped cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No damage or significant wear, circa second quarter of the 20th century, unmarked.

Lesen Sie Mehr Weniger

6.6" Michael Kirk Isleta/Navajo sterling silver modernist freeform cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century,

Lesen Sie Mehr Weniger

Retro Tiffany Sterling silver bookends. Approximately 480 grams for the pair, one shown on scale. They‘ve been in the bags pretty much all their lives, no significant wear. Slight tarnish to one of the logo plaques, I can polish before shipping. Didn‘t check before I gave them to the photographer and there is no extra time for more pictures. Selling the pair shown, super clean condition.

Lesen Sie Mehr Weniger

6.75" 1930‘s fine Navajo Lone Mountain turquoise sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century, unmarked. Amazing stampwork and stone quality, likely made by a historically famous silversmith. No apparent markings, stones secure, two with fractures.

Lesen Sie Mehr Weniger

6.1" c1940‘s Fred Harvey Zuni snake eye turquoise double row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century, Unmarked.

Lesen Sie Mehr Weniger

7" Peter Johnson Navajo sterling silver large turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No damage or significant wear, circa third quarter of the 20th century.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

6.6" Vintage Navajo sterling silver woven cuff bracelet with turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, Unmarked.

Lesen Sie Mehr Weniger

6.25" Richard Little Yellowhorse Navajo sterling silver modernist cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century,

Lesen Sie Mehr Weniger

6.4" Vintage Navajo sterling silver green turquoise wide cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, unmarked. Stone secure with fracture.

Lesen Sie Mehr Weniger

6.2" Joe Chavez Santo Domingo sterling silver white buffalo cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century.

Lesen Sie Mehr Weniger

20" QT Shop Southwestern sterling silver pillow bead necklace w/stamped designs . Solid sterling silver beads tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

Lesen Sie Mehr Weniger

6.25" Vintage Tahe Navajo sterling silver twisted rope silver wire cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century,

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

6.1" Vintage Navajo sandcast sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century, unmarked.

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger

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

Lesen Sie Mehr Weniger