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

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sz6.75 Vintage Zuni greasy green turquoise snake eye sterling silver ring. Tested and guaranteed solid sterling silver. Nice ring from the mid 20th century. Some expected wear, weight and measurements in pictures.

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Carmen Beckmann mid century Modernist sterling silver necklace, bracelet, ring. Solid sterling silver, extremely high quality as shown 17" necklace, Size 7 ring, 6.5" bracelet. Selling the set shown from the third quarter of the 20th century with no issues. Untouched estate fresh condition, I would be happy to clean up a little upon request before shipping. Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry. Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones. It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece. anderas

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

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sz6.5 Vintage Zuni natural turquoise cluster ring sterling silver 40‘s-50‘s. Tested and guaranteed solid sterling silver. Nice ring from the second quarter of the 20th century. Some expected wear, weight and measurements in pictures.

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Vintage Zuni sterling silver stone inlay thunderbird earrings turquoise/coral. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" Vintage Navajo sterling silver hand chiseled cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. No apparent markings.

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c1970 Navajo Vintage sterling silver large chip inlay turquoise bolo tie. 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.4" c1940‘s Zuni sterling silver big high grade turquoise cluster cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century. No apparent markings.

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

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Vintage southwestern sterling silver 3/4" ranger belt buckle set. Solid sterling silver (tested) with weight and measurements in pictures.. Fits a 3/4" belt. No issues, some expected wear. Ranger belts are typically wider and taper down to 3/4" where the buckle and tip go on.

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6-7.5" Adjustable E Billy Navajo sterling silver chunky turquoise link bracelet. Bracelet fits up to a 7.5" wrist, but will also fit snugly on a 6" wrist. Weight and measurements in pictures, solid sterling silver no issues.. Adjustable toggle bracelet

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Vintage Navajo hand stamped sterling silver large hoop earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century.

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sz10 Vintage Navajo Royston turquoise sterling silver long ring. Tested and guaranteed solid sterling silver. Nice ring from the third quarter of the 20th century. Looks like the stone could have a possible professional repair, not really sure. Great ring, very nice turquoise. It has a sizer in it taking it to size 9, but I believe it would be closer to 10 with the sizer removed.

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40‘s-50‘s vintage Zuni turquoise inlay Butterfly form necklace sterling silver. Circa second quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 17.5" long necklace, other measurements in pictures.

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24.5" c1950‘s Navajo sterling silver link concho belt hatband stamped design. Fits up to a 24.5" hat, but can be linked shorter, fully functional with age appropriate wear. Please look at pictures. Tested and guaranteed solid sterling silver. Circa mid 20th century.

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Vintage Navajo sterling silver 3D ram bust belt buckle with turquoise. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 2" belt. Illegible unresearched hallmark, one stone with old fracture, all secure in bezels.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 1940‘s Navajo sterling silver Royston turquoise chunky cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century. No apparent markings. One spot in center stone with loss to matrix, could easily be filled if it were a distraction.

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33" Vintage cultured pearl necklace on hand knotted silk. Weight and measurements in pictures. Real vintage organic pearls, not plastic. From the third quarter of the 20th century.

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29.5" vintage 1940s Navajo sterling silver stamped link hatband/concho belt. Fits up to a 29.5" hat or waist, but can be linked shorter. Weight and measurements in pictures.

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c1950‘s Vintage Zuni sterling silver turquoise/mother of pearl inlay pin/brooch. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa mid 20th century.

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Vintage Navajo sterling silver, turquoise, coral feather applied belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 2" belt.

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sz10 vintage Navajo sterling silver onyx men‘s ring. Tested and guaranteed solid sterling silver. Nice ring from the 4th quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 30‘s-40‘s Navajo sterling silver 3 stone turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20th century. No apparent markings.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.25" Vintage NS Zuni sterling silver carved spiderweb turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. Unknown artist, attributed to Zuni tribe.

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Johnny Mike Begay Navajo modernist sterling silver belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a .75" belt. No apparent damage. Kenneth Begay was a noted Navajo jeweler who worked at the White Hogan Gallery at Scottsdale. He brought in his brother, Johnny Mike, to work with him. Kenneth is credited with inventing rail bracelets of all types, but it was Johnny Mike who expanded this style. Johnny Mike passed away in 1976, since then others have copied his style

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sz7.5 TB Vintage Navajo sterling silver spiderweb turquoise ring. Tested and guaranteed solid sterling silver. Nice ring from about the third quarter of the 20th century.

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sz6.5 Vintage Navajo sterling silver shadowbox ring with turquoise. Tested and guaranteed solid sterling silver. Nice ring from the third quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.3" Aaron Chischiligi (1923-2001) Navajo tufa cast sterling silver turquoise cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century.

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sz8.5 c1950‘s vintage Zuni sterling silver Mediterranean coral cluster ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6" Vintage Zuni sterling silver flush channel inlay turquoise row cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20th century. No apparent markings.

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sz11.5 Vintage Navajo sterling silver feather embellished ring with turquoise. Tested and guaranteed solid sterling silver. Nice ring from the third quarter of the 20th century. Some wear to stone and bezel. Wayne Wolf Robe Hunt, a full-blood Acoma Indian (1905-1977). Born on the Acoma Reservation, Wolf Robe was the son of Chief Day Break (Edward Proctor Hunt), Chief of the Delight Makers -- a man instrumental in the improvement of relations between the Acomas and whites. His mother, Morning Star, whose own father was Governor of Acoma seven times, was a potter and weaver. Wolf Robe learned silver-smithing from his older brother on the reservation. Wolf Robe achieved recovnition and fame for his jewelry and art work, winning the prestigious Philbrook Art Center‘s Grand Award in 1967. In addition, he was a businessman, with his own arts and crafts store in Tulsa, a lecturer, international traveller, author, and translator for the Bureau of American Ethnology. He assited L. A. White in his extensive studies of the Acoma Indians and made recordings for the National Anthropological Archives. Wolf Robe was particularly interested in the preservation of tribal customs, language and culture, and devoted his own time to this and the encouragement of others in similar efforts. Of his work at BAE he said, "My work there as an interpreter is the highlight of my efforts in trying to preseve all of the rich and wholesome lore of my people."* Not only was the preservation of the ‘old ways‘ important to Wolf Robe, but also the representation and dissemination of his culture to whites, in an effort to promote their understanding and appreciation. He travelled all over Europe and to Australia for the Departments of Agriculture and Commerce, representing the American Indian to an appreciative audience.

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sz7.5 M Begay Navajo vintage sterling silver ling red matrix turquoise ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear.

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sz9.5 Big Vintage Simplicio Zuni sterling silver double turquoise ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear.

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sz12 vintage Navajo sterling silver turquoise/coral 3 stone men‘s ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear. Unmarked, great looking ring.

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6.5"-7" Vintage Navajo sterling silver watch tips w/quartz watches lot/3. Selling the watch bracelets shown, tested and guaranteed solid sterling silver. Weight and measurements in pictures. Tips are sterling, stretchy bands of course are not, watches untested. I‘m sure they at least need batteries.

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Big Vintage Sweet Bird Studio Sterling silver turquoise heart belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa early 21st century. Fits a 1.75" belt. 2 chips to flower petals.

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sz10.5 50‘s-60‘s Vintage Navajo modernist sterling silver turquoise ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear. Apparently unmarked.

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Vintage GG Zuni sterling silver turquoise cluster snake belt buckle 70's-80's. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. Gloria Jean Garcia is the daughter of Effie Calavaza.

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sz11 Heavy vintage Navajo sterling silver Mediterranean coral cluster ring Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear. Some wear to bezels, all stones secure. No apparent markings.

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Vintage Zuni sterling silver turquoise, coral ghan dancers belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa last quarter of the 20th century. Fits a 1.5" belt.

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Vintage EL Navajo sterling silver, turquoise, branch coral Feather belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. No apparent damage.

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sz11.5 Big Navajo Vintage pyrite turquoise sterling silver men‘s ring. Tested and guaranteed solid sterling silver. Selling the ring shown with age appropriate wear.

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Vintage Ted Guerro Navajo sterling silver Onyx bear paw shadowbox belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa last quarter of the 20th century. Fits a 1.5" belt. No apparent damage.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.35" Vintage Navajo hand stamped sterling silver stacker band cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa third quarter of the 20st century. Unmarked.

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Large vintage Navajo sterling silver red spiderweb turquoise earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century.

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c40‘s-50‘s Navajo Tufa cast sterling silver Ketoh form concho belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa mid 20th century. Fits a .5" belt.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6" RJ Scott Navajo sterling silver tufa cast modernist style cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Navajo artist, Raynard J. Taa’itsohii Scott, was born on September 3, 1965 in Los Angeles, California. He is of the kin Yaa’aanii (Towering House People) Clan, and born for the Dzil tl’ahnii (Mountain Recess People) Clan. He is the eldest of four boys and two girls. Although raised primarily in urban areas, it was important for Ray and his siblings to be taught traditional Dine (Navajo) values and beliefs. “One of the most important [beliefs] is that of reciprocity. In this sense I take great care and have the utmost respect for my creations, or my ‘children,’ as they also take care of my family and me. I talk to my ‘children’ and pray as I work with them. Each of these creations has a part of myself in it, and as a result of breathing life into each one, it has a character and soul all its own,” said Ray. Ray’s parents initiated his jewelry-making training at the early age of seven. Ray also acknowledges artists Raymond Yazzie, Boyd Tsosie, and Charles Supplee as prominent figures and inspiration in his life as he learned the ways of jewelry making. “It is difficult to label a ‘style’ of work that I do. I can only describe it as contemporary, layered sculptures. I like building up layers of contrasting textures and designs. The more intricate design or the further from the norm I get, the more enthusiastic I am about working. I also enjoy researching and reading about ancient arts and civilizations. Among my favorites are those of Ancient Egypt, Greek, and classical periods, such as the Renaissance and Victorian eras.” Ray’s pieces have won many awards at several shows, including the Santa Fe Indian Market, the Heard Museum Guild Fair, Red Earth, Eight Northern Pueblos Show, and the Gallup Ceremonial. His work is also included in museums and private collections both nationally and internationally. “It is my wish that each of my creations find a good home: that the person who acquires it will appreciate and have as much happiness wearing it as I did creating it.”

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K Yazzie Navajo heavy vintage sterling silver deep stamped belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa last quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.1" c1930 Navajo sterling silver Cerrillos turquoise whirling logs thunderbird Fred Harvey cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa second quarter of the 20st century. Unmarked.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" Sarah Cly Navajo wide band sterling silver domed cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 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.

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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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.6" 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.

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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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.5" 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.

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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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.2" 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.

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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.

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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.

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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.

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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.

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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.

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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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.4" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.6" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.1" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.2" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.3" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.6" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6" 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.

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

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Michael Horse-Yaqui 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.”

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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.”

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

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

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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.

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

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

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

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

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

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

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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.

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

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.4" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" 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.

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

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.6" 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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.25"-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.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.5" 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.

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