Produk

Waterford Christmas Suite 32 oz Pitcher 1999 6 3/8" tall. This pattern was only produced for christmas 1999, it's all scarce but the pitcher is rare. No cracks, chips, restorations, scratches, or hard water.

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Waterford Crystal Perfume Bottle with Dobber. 4.75" tall. The mark had shown in last pic. It takes holding to the light just right. No chips, scratches, cracks, or other issues.

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Waterford Doug Sanders Celebrity Classic 1986 Golf Trophy. I thought the tournament started in 1988 but it clearly says 1986. Top quality trophy vase. 8" tall cut crystal. A few small nicks on the base edge and two on the rim, very small only noticeable when looking for them and could be easily polished out.

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Waterford Evolution vase. 7" tall x 5" wide with no cracks, chips, or restorations.

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Waterford Glandore 8" Round bowl in like new condition with no cracks, chips, scratches, excellent clarity, never been in a dishwasher, likely never used. Marked on side with Waterford acid stamp as shown in last pic. 8" wide x 3.5" tall. isshelf

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Waterford Kylemore Cut Crystal Claret Wines (5). Each is 6" tall x 3" wide at<br>rim, selling 5 claret goblets for one price. They are all free from cracks,<br>chips, dings, none are ground down, no cloudiness, or scratches. This beautiful<br>pattern was retired in 2017. They are marked as shown, the acid stamps are on<br>the base of the glasses visible on the top of the bases of the second pic if you<br>look closely.<br><br>Blk Crate

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Waterford Kylemore Cut Crystal Water goblets (4). Each is 6.75" tall x 3 9/16" wide at rim, selling Four water goblets for one price with multiple lots available if you change the quantity, selecting two will get you 8 goblets, 3 will get you 12, etc. They are all free from cracks, chips, dings, none are ground down, no cloudiness, or scratches. This beautiful pattern was retired in 2017.Blk Crate

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Waterford Kylemore Cut Crystal Water goblets (6). Each is 6.75" tall x 3 9/16"<br>wide at rim, selling Six water goblets for one price with multiple lots<br>available if you change the quantity, selecting two will get you 12 goblets, 3<br>will get you 18, etc. They are all free from cracks, chips, dings, none are<br>ground down, no cloudiness, or scratches. This beautiful pattern was retired in<br>2017.Blk Crate

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It's unmarked, measures 4" wide x 1.5" tall. No cracks, chips, or scratches on<br>glass.

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Kalung pirus Wayne & Carla Johnson Zuni Petit Point. Kalung kira-kira panjang 18" dengan 3,25" turun 29,5 gram. Tidak ada masalah. Ditandai atau tidak ditandai seperti yang ditunjukkan pada gambar, berat dan pengukuran lainnya dalam gambar. Maaf, tetapi perhiasan saya disimpan di lokasi yang aman dan tidak dapat diakses untuk melihat gambar,video, atau pengukuran lainnya hingga terjual. Jika Anda melihat gambar/deskripsipertanyaan Anda seharusnya terjawab. Terima kasih banyak atas waktu dan pertimbangan Anda!Semua logam mulia telah diuji dan dijamin. Perhiasan penduduk asli Amerika yang disebut "perak" atau "ingot" dijamin setidaknya 90% perak. Gelang difoto pada pergelangan tangan wanita berukuran 6".

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Wayne and Jocelyn Haloo Zuni Dragonfly high grade turquoise/coral/shell pendant/pin Weight and measurements in pics. Solid sterling silver, Really nice materials used in this one. No issues. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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Wayne Muskett - Calvin Begay Canyon collection Sterling Multi-stone inlay cuff bracelet<br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration! If you would like to chat, that would be great, but lets chat about something that isn't answered in this listing that we put so much effort into already :)<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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WB Vintage Native American Sterling/turquoise bolo tie. Bolo and tips are sterling, cord is really cool with no issues. Bolo 1.75" tall x 1.5" wide, 38.7 grams total weight.

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Weaver Selina Hopi Sterling belt buckle. Hallmarked as shown, tested sterling with no issues. Weight and measurements in pics. Hopi jeweler Weaver Selina began his career in 1967 working and studying at the Hopicrafts shop, learning from Bernard Dawahoya and other experienced jewelers. He is from the village of Shungopavi at Second Mesa and now has his own outlet where he sells his creations and those of other Hopi artists.

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Webster American MCM Sterling individual Ashtrays/salts. Selling the set shown with no issues or significant wear. 2.5" long each. They are whatever you want them to be of course, great design. 52.3 grams total tw120

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Webster Sterling Silver Overlay Trivet. Antique early 20th century item with no significant issues, no cracks, no deep scratches or loss. TW80

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Wedgwood Black Basalt President Eisenhower Bust 8.5" tall with no cracks, chips, or restorations, paperwork included as shown. Tw53

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No cracks, chips, or restorations guaranteed. A few discolored areas that may or may not clean. Measures 2" tall without Silverplate lid x 5.25" wide.

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No cracks, chips, or restorations guaranteed. Small worn glaze area on rim of<br>sugar. Sugar Measures 3.75" tall with lid x 5.25" wide. Creamer is 3" tall x<br>5.25" handle to spout.<br>B7

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Wedgwood Gold Florentine Gravy Boat and underplate. This pattern was retired in 1986, these two pieces have no damage or detectable wear, no crazing, no wear to gilding. 6" x 8" underplate. Selling the exact pieces shown. isshelf

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Wedwood Tri Color Heart Shaped Jasperware Box. No cracks, chips, or<br>restorations. 5.5" wide x 2" tall

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Weller Hudson Cherry Blossom Vase. 7.25" tall with no cracks, chips. or restorations. Some crazing with a few light stains. tw212

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West Texas Native American Prehistoric Water Bottle Possibly Caddo Quapaw. Extremely early piece likely 1000+ years old. I know it came with some stuff that was definately found in west Texas. Bunch of arrowheads and pieces, etc. Though it has more of a Incan/Mayan feel to it especially with the effigy on the spout. I'm sure it's not 20th century and it is what it's supposed to be. No restorations or cracks, small chip on rim. just shy of 12" tall x 7.5" wide.TW154

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Western mountain Landscape watercolor Painting Complex and Colorful signed<br>-Hare- 18.25" x 14.25" framed. 7.5" x 12" sight. Clean frame painting, and<br>matting.

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Wilbert Secatero Navajo Sterling turquoise and coral bolo tie Sterling slide and tips, 3" x 2 3/8" slide, 40" long, 79.6 grams. <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, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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Wilbert Verhelst (1923 - 2012) American Bronze freeform figure.<br><br>Measurements<br>height 7 3/4 inches<br>width: 10 1/2 inches<br>depth 2 5/8 inches<br><br>WILBERT VERHELST OBITUARY<br>Verhelst, Wilbert (Bill) Dallas Texas artist established the sculpture program<br>for the Art Department at SMU and headed that program until his retirement,<br>after 20 years of teaching, in 1986 becoming an Emeritus Professor. He was<br>warmly known to his students as "Ver". He is the author of the textbook<br>"Sculpture Tools, Materials and Techniques". He initiated in 1978 the first<br>Texas Sculpture Symposium which was held every two years for many years. His<br>commissioned large scale sculptures can be seen around the country and he has<br>shown many other sculptures in countless exhibitions. He is survived by his<br>wife, artist Susan Lecky, stepdaughter Peggy Savage, stepson John Savage,<br>daughter Bobbi Jo Miller and his sister Wilma Potter.

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Wilbur Musket Navajo stamped sterling - turquoise and coral shadowbox belt buckle. 3 1/8" x 2 5/8", fits a 1.5" belt 57 grams, no issues.Wilbur Muskett Sr. started making jewelry in the 1960's. His son is a Navajo Silversmith, as well. He is referenced in Schaaf's "American Indian Jewelry III" and Hougart's "Native American and Southwestern Silver Hallmarks".All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Wilfred B. Henry Navajo cast silver high grade turquoise pin. No damage or issues, weight and measurements in pics. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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Will Denetdale Navajo sterling Kachina bolo tie. 40" long with no issues.Will Denetdale has grown to be one of today's most sought after silversmiths in the Navajo Community. His jewelry pieces typically feature intricate detail with fine silver work and exceptional stones. He loves to use uncommon stones and often incorporates contemporary designs with a traditional flair that reflects his personal style and expertise. He grew up in Fort Defiance, Arizona and attended high school in Gallup, New Mexico where he learned the silver smithing trade. He now lives in Arizona where he works from home constantly striving to elevate his already masterful artwork in silver and stone.

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Will Denetdale Navajo Sterling malachite pendant. High quality pendant with no issues. Weight and measurements in pics. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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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7.75" tall x 6.75" wide. No cracks, chips, or restorations. It is possible there<br>was once an additional lid, and there's wear to Gilding on top.

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William Lawrence deMatteo (1923-1988) Hand Hammered Sterling silver leaf dish<br>6.5" x 4.5" x 114.5 grams with no issues.<br><br>William Lawrence deMatteo (12 October 1923–14 May 1988), silversmith and master<br>craftsman, was born in New York City and was the son of Elizabeth Rommelman<br>deMatteo and William Gaitano deMatteo, an accomplished silversmith who<br>immigrated to the United States from Acciaroli, Salerno, Italy, with his family<br>when he was a boy. William Lawrence deMatteo grew up in suburban Bergenfield,<br>New Jersey, and attended schools in nearby Tenafly, all the while observing and<br>absorbing his father's skillful work. DeMatteo began studying sculpture and fine<br>arts at Columbia University in 1941, but after the United States entered World<br>War II he joined the navy in November 1942 and served in the Pacific theater as<br>a torpedo er pilot. On 14 November 1946, in Asbury Park, he married Jayne<br>Walpole, a painter who later cofounded an art gallery. They had three daughters<br>and one son. DeMatteo resumed his apprenticeship with his father and may have<br>continued his studies at Columbia before being recalled to active duty with the<br>navy during the Korean War. He was discharged in 1953.<br><br>Bill deMatteo, as he was usually known, visited the restored capital of colonial<br>Virginia while he was still in the service and asked to see the silversmith's<br>shop. Told that Colonial Williamsburg had none, he saw an opportunity for<br>himself. Soon after deMatteo left the navy, he returned to Williamsburg and in<br>July 1953 joined the staff as a silversmith. He created the entire silversmith<br>program and was responsible for the James Geddy Silversmith's Shop, where he<br>trained shopkeepers in interpreting craftsmanship to visitors, instructed and<br>supervised apprentices in all kinds of metalworking, and handcrafted<br>reproductions of eighteenth-century silver items for sale in the shop. DeMatteo<br>also revived colonial silversmith James Craig's Williamsburg shop, "At the Sign<br>of the Golden Ball." In January 1963 deMatteo was promoted to Staff Master<br>Craftsman and Master Silversmith.<br><br>In accord with Colonial Williamsburg's motto—that the future may learn from the<br>past—deMatteo spent much of his time in educational and advertising efforts.<br>Working from a research report that Colonial Williamsburg staff member Thomas K.<br>Bullock had prepared, in 1956 deMatteo published The Silversmith in<br>Eighteenth-Century Williamsburg–An Account of his Life & Times, & of his Craft,<br>a short history of silversmithing and techniques used in colonial days. DeMatteo<br>also provided much of the information for a 1971 video program, Silversmith of<br>Williamsburg, and the accompanying manual. In the film he demonstrated every<br>stage of making an eighteenth-century silver coffeepot, beginning with receiving<br>silver coins or scraps to be melted, discussing details of the commission with a<br>customer, methods and design, and shaping the piece with his hammer and<br>burnishing the completed coffeepot. In 1971 and 1972, deMatteo studied design,<br>silversmithing, and methods at Sir John Cass Department of Art of the City<br>London Polytechnic, and with professional London silversmiths; in 1975 he became<br>the first American craftsman to be elected an honorary foreign associate of the<br>Worshipful Company of Goldsmiths, in London.<br><br>As his skill became apparent to staff and visitors, deMatteo received many<br>requests to design and craft commemorative gifts. A town-crier's bell that he<br>made for Colonial Williamsburg to present to Sir Winston Churchill in 1955<br>appeared in a picture of Churchill on the cover of Life magazine the following<br>year. DeMatteo designed presentation pieces for the White House Correspondents'<br>Association annual presentations to Presidents John F. Kennedy, Lyndon B.<br>Johnson, Richard M. Nixon, Gerald R. Ford, and Jimmy Carter. He designed<br>numerous handcrafted gifts for visiting presidents, queens, kings, and prime<br>ministers, and the Department of State commissioned deMatteo to craft silver<br>trays for presentation to Egyptian president Anwar Sadat and Israeli prime<br>minister Menachem Begin at the Camp David Accords in 1978.<br><br>For a commission from the American Telephone and Telegraph Company in 1976 in<br>recognition of the centennial of Alexander Graham Bell's invention of the<br>telephone, deMatteo produced an abstract silver piece, a departure from his<br>colonial-style masterpieces, inscribed with Bell's first words transmitted over<br>his telephone. Despite his finesse, he was a modest man who insisted that he was<br>a craftsman, not an artist. DeMatteo was content to make beautiful utilitarian<br>objects that he believed did not rise to the level of imagination and required<br>of an artist. His devotion to excellence was acknowledged by the American<br>Institute of Architects, which in 1960 gave him its craftsmanship medal for high<br>achievement in industrial arts.<br><br>After twenty-six years with Colonial Williamsburg, in 1979 deMatteo left and<br>moved with his family to Alexandria. Together with his son, Chip deMatteo, and<br>Philip Thorp, a colleague at Colonial Williamsburg, he opened Hand & Hammer<br>Silversmiths. DeMatteo continued to explore and extend his range beyond<br>eighteenth-century forms. He was an affable man, noted for his disarming smile.<br>He was an intense perfectionist who was deaf to his surroundings while sitting<br>at his bench shaping precious metals with his hammer. He was also a resourceful<br>artisan who was known to make his own hammers when he failed to find suitable<br>ones in the market. DeMatteo once remarked that "being a silversmith is just a<br>delightful, lovely way to go through life" and that while he was not fully<br>satisfied with his silver work he was "very satisfied with the life I lead."<br>William Lawrence deMatteo died of leukemia at an Alexandria hospital on 14 May<br>1988. His son, who continued to work at the Hand & Hammer Silversmiths,<br>preserved his ashes.

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William Spratling mixed metals sun and moon pin" wide with no issues. c1940'sSpratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and exploring. He sought out remote villages in the state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling Silver Dome screw back earrings, no issues. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling silver modernist sterling screw back earrings sphere 18 grams, measurements in pics, no issues. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling silver modernist sterling screw back hand earrings, a rare variation in all sterling. These are all one piece, typically they have an amethyst tulip. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Amethyst pre-columbian style pin 1 5/8" tall x 1 1/16" wide.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Aztec style pin 1.5" wide with no issues.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Aztec style pin 1/7/8" wide with no issues. c1940'sSpratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Bird pin with amethyst 52.7 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Feather fur clip with amethyst 22.5 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling Sterling Fish abalone pins pair, measurements in pics. Selling the two pins shown for one price. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling fur clip 14 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling Sterling Pan American buttons (4) c1940's .75" x 1" each. I think these go in open button holes, maybe on a shirt pocket back in the days. I think they were to celebrate a special Pan American 50 year thing in the 1940's. Selling all 4 shown for one price. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Bird pin with amethyst 20.9 grams, other measurements in pics. Stone intact and structurally sound with what appears to be natural fissures.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling abalone fish cufflinks. No issues. William Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New Orleans, came to Mexico in the late 1920s and settled in the city of Taxco. Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling Amethyst cufflinks 18mm<br>wide 12.9 grams. William Spratling(1900-1967) Spratling, an architect and artist<br>who taught at Tulane University in New Orleans, came to Mexico in the late 1920s<br>and settled in the city of Taxco. Having developed an interest in Mesoamerican<br>archaeology and culture from his colleagues at Tulane, he traveled to Mexico for<br>several summers lecturing and exploring. He sought out remote villages in the<br>state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the<br>Aztec language, was spoken. Spratling collected artifacts and contemporary<br>indigenous crafts. Spratling made a fortune manufacturing and designing silver,<br>but his true life's work was to conserve, redeem, and interpret the ancient<br>culture of his adopted country. He explained for North American audiences the<br>paintings of Mexico's modern masters and earned distinction as a learned and<br>early collector of pre-Columbian art. Spratling and his workshop gradually<br>became a visible and culturally attractive link between a steady stream of<br>notable American visitors and the country they wanted to see and experience.<br>Spratling had the rare good fortune to witness his own reputation -- as one of<br>the most admired Americans in Mexico -- assume legendary status before his<br>death. William Spratling, His Life and Art vividly reconstructs this richly<br>diverse life whose unique aesthetic legacy is but a part of its larger cultural<br>achievement of profoundly influencing Americans' attitudes toward a civilization<br>different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 22mm square, 12.7 grams. William Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 20mm wide, 14.7 gramsWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling Frog in pool cufflinks,<br>fully functional with no issues. 16mm x 12mm x 16.5 grams. William<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling stone inlaid cufflinks,<br>fully functional with no issues. 27mm wide, 17.4 gramsWilliam<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling cufflinks 30mm both ways,<br>10.8 grams. Fully functional with no issuesWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling mixed metal cufflinks.<br>Each side 18mm x 14mm, 15.3 grams. William Spratling(1900-1967) Spratling, an<br>architect and artist who taught at Tulane University in New Orleans, came to<br>Mexico in the late 1920s and settled in the city of Taxco. Having developed an<br>interest in Mesoamerican archaeology and culture from his colleagues at Tulane,<br>he traveled to Mexico for several summers lecturing and exploring. He sought out<br>remote villages in the state of Guerrero, 110 miles from Mexico City, where in<br>some places Nahuatl, the Aztec language, was spoken. Spratling collected<br>artifacts and contemporary indigenous crafts. Spratling made a fortune<br>manufacturing and designing silver, but his true life's work was to conserve,<br>redeem, and interpret the ancient culture of his adopted country. He explained<br>for North American audiences the paintings of Mexico's modern masters and earned<br>distinction as a learned and early collector of pre-Columbian art. Spratling and<br>his workshop gradually became a visible and culturally attractive link between a<br>steady stream of notable American visitors and the country they wanted to see<br>and experience. Spratling had the rare good fortune to witness his own<br>reputation -- as one of the most admired Americans in Mexico -- assume legendary<br>status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Zunie (Zuni, 1938-1983) Channel inlay bolo tie 38" long with 2.25" tall x 2" wide slide. 32.1 grams.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist, rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Willie Shaw Navajo Mother of pearl channel inlay sterling bracelet. Fits up to a 6 5/8" wrist, no issues. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver belt buckle 2" x 1 5/16" x<br>22.5 grams with no issues. Fits a 1" belt.<br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver pins (2) Largest 2", 18.9 grams total weight. <br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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Wilson Jim Navajo silver and turquoise pendant. Measurements in pics.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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Wilson Navajo Sterling Heavy stamped cuff bracelet. No damage or significant wear.

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Wilson Padilla Navajo Sterling and Multi-Mine Specimen turquoise belt buckle. Appears possibly unworn, high quality speciman stones from what I believe to be American turquoise mines. Bottom center and right appear to be Bisbee. No issues, measurements in pics. Wilson Padilla is a Native American Navajo Silversmith creating unique sterling silver settings for specialty stones like White Buffalo Turquoise, Candelaria Turquoise and Apache Blue Turquoise. His work is highly regarded and a favorite of Native American jewelry enthusiasts.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more<br>pictures, videos, or measurements until sold. If you look at<br>pictures/description your question should be answered. Thank you so much for<br>your time and consideration!<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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