Vintage Navajo sterling silver hand stamped barrette/hair clip. Solid sterling silver bar with base metal clip. Weight and measurements in pictures, circa third quarter of the 20th century.

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Vintage Navajo sterling silver comb and hair barrette collection . Fully functional, appears unused. Marked as shown, 50 grams total weight, measurements in pics. anderas

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1960‘s Vogt Sterling/10k hand engraved horse hair barrette. Fully functional, appears unused. Solid 10k gold horse on solid sterling back. This has been put up for 60 years or so untouched, I left it in that condition but it will clean up nicely with ease. I could polish before shipping upon request. anderas

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c1950 Zuni cast silver and turquoise Hair Barrette. No Damage, solid sterling silver, unmarked. Weight and measurements in pics.

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c1970 Michael Sockyma Silver Hopi Overlay large Hair Barrette . No Damage, solid sterling silver. Weight and measurements in pics. Michael Sockyma Sr. Michael is from the Hopi village of Hotevilla. He learned the art of overlay at Hopicraft and later worked for them. He is a member of the Corn clan. He has won multiple awards for his outstanding overlay jewelry. Was born in 1942 and began his career in 1965.

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c1940‘s David Taliman (Navajo-Cochiti) silver barrette Hair clip. Old fracture in stone, secure in bezel, no other issues. Signed on the back, solid sterling with brass clip. Weight and measurements in pics. David Taliman (1902-1967), was born near Ganado, Arizona in the eastern part of the Navajo Reservation of a Navajo father and a Cochiti Pueblo mother. He subsequently attended Riverside Indian School in southern California after which he began his silversmithing career as an apprentice to the extraordinary Navajo silversmith, Fred Peshlakai, son of Slender-Maker-of-Silver and one of the true giants in the history of Navajo silversmithing, at Peshlakais shop in nearby Los Angeles in the 1920s. Taliman subsequently moved to New Mexico in the late 1920‘s where he worked as a benchsmith in various prominent Indian trading post shops such as Maisels in Albuquerque, Spanish and Indian Trading in Santa Fe and Julius Gans Southwest Arts and Crafts also in Santa Fe where he worked alongside such Navajo silversmithing luminaries as Mark Chee and Ambrose and Sam Roanhorse before going on his own in the late 1940s. In 1953, after marrying a Santa Clara Pueblo woman, Taliman moved to Santa Clara Pueblo 30 miles or so north of Santa Fe where he continued making silver and also taught silversmithing until his death in 1967.

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Vintage Navajo sterling silver high grade red turquoise collar tips. Weight and measurements in the pictures. Solid sterling silver, with no issues.

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Antonio Pineda (1919-2009) Taxco 970 silver photo holder keychain. All info in pics, stays shut with catch loop. Holds .5" x 1" pics.Antonio Pineda (1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Retired James Avery Class of '04 Keychain in sterling, Expected overall wear..<br>No issues, weight and measurements in pics. I cannot provide any additional<br>measurements, videos, or pictures that aren't provided as my jewelry is stored<br>at a separate secure location until it ships. Thank you so much for taking the<br>time to look and your consideration.<br><br>anderascoll<br>James Avery founded his company in 1954, initially crafting jewelry in a two-car<br>garage in Kerrville, Texas, with just $250 and a desire to create lasting value<br>for others. Mr. Avery believed that meaning is what makes life more beautiful<br>and this concept continues to drive how we design jewelry to this day. In 2007,<br>53 years after he first founded the company, James Avery officially stepped down<br>as CEO and passed the reins on to his sons, Chris and Paul.<br>Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself<br>and others. With a focus on creating straightforward designs and a core belief<br>of integrity in all things, his jewelry became more than precious metals and<br>gemstones. Guests came to him with their stories—their special moments—so he<br>could craft them into pieces they would wear with pride for a lifetime. From<br>writing letters to greeting Customers, Mr. Avery prioritized developing lasting<br>relationships with each person who connected with his designs.

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Vintage Sterling silver St Christopher Keychain. Wonderful keychain solid sterling with 14k gold overlay medal, well made with no issues. 15.5 grams.

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c1940 Capitol Chevrolet Austin Texas Keychain. As shown vintage used condition with broken snap. Possibly from the 30's, you be the judge. tw208

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Vintage collection cufflinks money clips, tie clips, etc. Selling the lot from the third quarter of the 20th century, most cufflinks have mates, a few don't. Please no questions as the lot will be inaccessible after listing until sold. Some gold filled, some sterling, nothing with any significant wear or damage, dog money clip has a pocket knife an nail file. If you're thinking "Why didn't he take 10 pictures of this in every picture imaginable then spend twenty minutes describing each item?" The answer is I would have had to charge twice as much for it if I did that and I would rather sell this for a good deal. It has to be a good deal at this price.

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6 Vintage Southwestern sterling silver button cover set End of the Trail Cow skull. One cow skull and 5 End of the Trail as shown.. Weight and measurements in the pictures. Solid sterling silver fronts with base metal backs as always with these. All functional with no issues.

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Vintage Southwestern sterling silver button cover set. Weight and measurements in the pictures. Solid sterling silver fronts with base metal backs as always with these. All functional with no issues.

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9 Vintage Southwestern sterling silver button covers Navajo basket patterns . Selling the 9 shown, solid sterling silver fronts with base metal backs which is always the case with these. No issues. Weight and measurements in the pictures.

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5 Sterling button covers with heartline bears. Sterling fronts, the clip mechanism isn‘t sterling, never is. Weight and measurements in pics. These are made to clip on your existing buttons.

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6 Sterling button covers with concho designs. Sterling fronts, the clip mechanism isn‘t sterling, never is. Weight and measurements in pics, no issues. These are made to clip on your existing buttons.

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Fritch Bros 10k/Sterling Saguaro Cactus 1.5" Collar tips. Each marked inside Top lip Fritch Bros Sterling. Cacti are tested and guaranteed solid 10k gold. They don‘t show well in the pics but are very gold. These are in "New old Stock" possibly unworn condition. Current retail for these is $405 from Fritch Bros website. Fritch Brothers Silversmiths was founded in 1940 by Philip w. Fritch as an Iconic brand in the western industry in Hollywood, CA and has always been a family business continued on by his son Robert Fritch and his son Jeff Fritch. It all starts with raw materials and handcrafted into a work of art. All merchandise has always been handmade in CALIFORNIA. Over the last 75 years we have continued to improve our designs yet maintain the look of the Old West. All our items are handcrafted from Sterling Silver and or Gold.

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6 vintage Southwestern sterling button covers m, great with no issues. Backs are steel as always.

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9 vintage Southwestern sterling button covers with lizards, great with no issues. Backs are steel as always.

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large Vintage Native American Sterling button covers. Sterling fronts, the clip mechanism isn't sterling, never is. These are a little larger than average, compared to US penny for scale. Selling the 5 shown.

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6 Vintage Navajo Stamped Sterling button covers, great with no issues. Backs are<br>steel as always. 7/8" wide at front. 22.5 grams total weight.<br><br>anderas

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Vintage Engraved Sterling Collar tips with horseshoe accents. Very nice quality marked and tested sterling. Measure 1.75" long x 1.75" wide at rear. 31 grams total. tw208

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c1940's Navajo Stamped Silver and turquoise ashtray 4 5/8" x 3.75" with no<br>issues.<br><br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Large Vintage Navajo Sterling and onyx barette. Fully functional, appears unused. Clip is metal made in France. Main part is sterling and marked. All precious metals are tested and guaranteed,

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2 Vintage Navajo Baby Spoons, unmarked or marked as shown. If a mark isn't shown<br>then it isn't marked which is common with pre 1970's Native American jewelry<br>that isn't from one of the larger trading posts.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Vintage Navajo Sterling and turquoise hair piece. Main silver piece is 3" x 5/8"All precious metals are tested and guaranteed,

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver David Tsikewa fetish jar.   4.75" tall x 3 5/8" wide x 716 grams.   4 very well carved fetishes on the exterior of the box, one loose fetish as shown inside the box, and one fetish inside the lid.   I was told by an extremely reliable source that these fetish's should be attributed to David Tsikewa (1915-1971), which makes perfect sense.  These are amazing, I‘ve sold millions of dollars worth of Native American jewelry and never once suggested one belonged in a museum.   This is 100% a museum piece.   Amazing piece likely from the third quarter of the 20th century.    This is originally from Manny Goodman's private collection, owner of Covered Wagon Trading Post, Albuquerque, NM on Old Route 66, he had been dealing in and collecting Native American art since the 1940's.  I have no paperwork to verify this but would stake my life on it's authenticity. Preston Monongye, Hopi Pueblo Jeweler Hopi Pueblo artist Preston Monongye hallmark signature."Preston Monongye‘s jewelry is among the most sought after and highly valued of all Native American jewelry, rivaled only by his neighbor Charles Loloma, Lee Yazzie, and a small circle of other top artists. "His birth in 1927 remains shrouded in mystery. In 1934 during the Great Depression, his birth mother, reportedly a California Mission Indian woman from Los Angeles, visited the Hopi village of Hotevilla on Third Mesa. For some unknown reason, she left little Preston with a powerful Hopi Wutsim Priest, David Monongye, and his wife Nora. They adopted Preston and raised him as a Hopi. Grandfather David once explained to me. ‘Hopi is a philosophy, a way of life, meaning the ‘People of Peace.‘ You may be red, white, yellow, or black-it doesn‘t matter-if you‘re ‘Person of Peace‘-you‘re Hopi. In this spirit, Preston was raised in a very traditional Hopi family who were fine artists: jewelers, textiles weavers, basketmakers, and wood carvers. In 1934, at the age of seven, Preston Monongye moved from Los Angeles to Hopi Pueblo. His father was Hispanic. His mother was a California Mission Indian. A Hopi family from Hotevilla, AZ, Nora and David Monongye, highly respected traditional elders, adopted him. Living in Hopi Pueblo was a dramatic change from being in urban LA during the great Depression. They supported themselves by growing vegetable gardens. Young Preston was introduced to the world of Kachina and ceremonial dancers, which had a profound influence on his art. By age nine, he became an apprentice to his uncle, Gene Pooyama, a master silversmith, and painter. Preston also learned much about traditional Hopi lifeways. For a decade he enjoyed this peaceful way of life. "As a child, Katsinas gave little Preston a bow, arrows, and a lightning stick, like other Hopi boys. Preston was initiated into the Hopi Katsina Society. While sitting in Grandfather David‘s kiva, he learned to carve and weave by watching Hopi priests. Preston was nine when he helped Grandfather David melt silver coins to make jewelry. He learned traditional techniques of Hopi silversmiths practiced by David and their neighbors, Ralph Tawangyawma, Dan Katchongva, and Allen Pooyouma. They were known for silver ingot, hand wrought, heavy stampwork and twist wire jewelry set with high quality, natural turquoise. Preston emerged in the mid-60s and 70s as a top designer of what he dubbed, "The New Jewelry." Preston made many contributions to the Indian art world. In 1970, he served on the Board of the Inter-tribal Indian Ceremonial in Gallup, NM He lectured widely at schools, organizations, and conferences. Preston won many awards at Indian art shows. Lee Yazzie, the respected Navajo Jeweler, and collaborator with Preston, concluded: "Preston was a true artist."As a teenager, Preston left Hopi Pueblo to serve in the US military during World War II and was a Paratrooper and served as a medic in the South Pacific. Later he served in Korea."Preston‘s uncle, Gene Pooyouma, devoted the most time to helping him to make his first jewelry." Preston, born in 1927, died in 1991 at the age of 64 years. David Tsikewa (1915-1971) brought a previously unseen delicacy to the art of fetish carving. His pieces have a sweet, gentle quality that distinguishes them from the works of his contemporaries. Tsikewa came from a relatively small family by Zuni standards.  Lugya, his father and mother, had three other children, Lorna Quam (sister-in-law to famed jeweler Annie Gasper Quam), Ida Eriacho, and Sadie Epaloose.  Tsikewa and his wife Mary had eight children of their own: Bill, Delano, Lavina Kaskalla, Jennie, Rudolph (Rudy), David Jr., Marvin, and Annette. Born in 1915, David passed away from a heart attack in 1970. Tsikewa learned silversmithing from the renowned Horace Iule in about 1937 and appears on John Adair's 1940 census as a silversmith under the name David Siaekewa. He made inlay butterflies and by the late 1940s was known for special order items, particularly bolos and buckles, in which he used turquoise to work customers' names in channel inlay. Dude Kirk, Gallup, NM Indian trader, marketed most of Tsikewa's work at that time. In the mid-1940s, Ruth Kirk asked him to carve birds to be strung on necklaces, which was the beginning of Tsikewa's beautiful and delicate fetish necklaces. Although he never gave up silversmithing completely, and in later years did inlay for Hopi/Mission jeweler Preston Monongye, by the mid- to late­-1950s Tsikewa emphasized carving. He continued to make jewelry for Dude Kirk and Charles and Pat Kelsey, while also stringing and carving free-standing fetishes for Leon and Ruth Ingraham, the Kirks, C. G. Wallace, and Joe Tanner. In 1959 Tanner, who considers Tsikewa to have been his best friend at Zuni Pueblo, commissioned him to make the pieces for a chess set. One of Tsikewa's most elaborate creations ever, the set includes a board with inlaid squares of white shell and turquoise by Francis Leekya, the son of Leekya Deyuse. In 1966 Tanner organized the Heard Museum's Zuni Show, which featured Tsikewa's work. Tanner bought stringing fetishes from Tsikewa for a dollar apiece and had them custom-made into necklaces for buyers at the show. Tsikewa's daughter Lavina maintains that no one specifically taught him to carve, but his son Bill says that he was influenced by father-in-law Teddy Weahkee. Tsikewa at first worked with hand tools, but quickly converted to electric tools which enabled him to achieve the delicacy for which his carvings are known. Tsikewa earned his living almost exclusively through his art. According to his son he sometimes signed his fetishes with his cattle brand, a "spear D." A silver tag stamped "David" often adorned his fetish necklaces. David Tsikewa's fetishes range from fairly simple to quite detailed. His strung fetish birds display a unique angle to the wing that distinguishes them from birds made by the rest of his family. His four-footed creatures give the impression that they are coming to a quick stop. Most have darkened, drilled eyes and few have bundles. In almost all cases, Tsikewa's approach is exemplified by beautiful polishing. He also carved animals that were uncommon for the time, producing probably the largest menagerie of any carver in his era. On rare occasions Tsikewa, like some of his peers, created detailed human figures. Today, David Tsikewa's family continues his tradition. His wife Mary made fetishes until her death in 1986. Their children all carved fetishes, and some even bested their father's work in juried art shows. This proud family heritage remains with Bill, Lavina, Jennie, and Annette, who still produce diverse, top-quality work. vbcrosby-consignment

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