Georg Jensen Acorn sterling Nutracker with stainless steel cracker. Sterling handle with stainless "cracker" part.. No damage or significant wear, vintage set. Measurements shown in one of the pictures. No monograms or monogram removals. Designed in 1915 by Johan Rohde, the Acorn sterling silver cutlery pattern represents the early foundation of Georg Jensens organic and timeless design language. In contrast to the Art Nouveau style of the early 1900s, Acorns design captures a classic, understated style where decoration is used to emphasise the form and shape. Regarded as both a sumptuous and noble pattern, Acorn at one time had 220 individual pieces. Todays range totals approximately 75 pieces and remains one of Georg Jensens most exclusive silver cutlery patterns. silverdrawer

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David R Freeland Jr Sterling, Turquoise wolf inlay belt buckle. Weight and measurements in pics. No issues. Alvin & Lula Begay Navajo High grade cobblestone inlay 3pc belt buckle set. 228 grams total weight, the leather belt is very light. Very versatile belt that can be easily adjusted and can be worn as a 3 pc set or two. With the current leather belt this will fit up to a 48" waist, can be easily adjusted to as small as you like. 50 years years ago, as a young boy, David followed his heart and began making jewelry. Today he is well known for his unique style and exceptional designs. David enjoys teaching his art in his home studios in Tucson, Arizona and Atlanta, Georgia.

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Abel Soseeah Zuni Sterling channel inlay sunface concho belt. No issues, 38" total length, can be worn at any size smaller than that. Weight and measurements in pictures. No damage.

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30" c1950‘s Allen Kee (1916-1972) Navajo for White Hogan Shop Modernist sterling concho belt. 30" long where it hooks, appears to have been shortened hence the solder on the end loop. 1.5" wide buckle, 1 1/6" wide conchos. 150.7 grams. Navajo Allen Kee created during his time as a benchsmith at the White Hogan Shop in Scottsdale, Arizona from 1946 to 1962, working beside Kenneth Begay. White Hogan Shops silver jewelry. Lead by mentors, such as Kenneth Begay and the Kee brothers, jewelers working at the White Hogan produced an amazing array of modern designs in jewelry and flatware. Allen Kee worked at the White Hogan during the early years. He was a experienced silversmith that created the desired designs of the White Hogans style of jewelry. 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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6 Large 1850‘s Memphis Tennessee Coin Silver spoons James Edward Merriman. These are really big spoons all in amazing barely used condition. Each 8.75" long with 1 7/8" wide bowls. 366 grams total weight. All with the same monogram, likely an important/historical early Texas family as there were spoons from an early Austin retailer in the same estate with the same monograms.

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Antique Mexican Retablo Painting on Tin, 19th century. 11" x 15" framed. 19th<br>century retablo with tiny hole on top where it once hung on a wall in Mexico,<br>framed in the third quarter of the 20th century. Minor expected wear with no<br>significant issues.

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c1900 Large pr Antique Chinese export Silver pierced boxes. Tested and guaranteed solid high content silver. Very fine quality with no significant issues. Slight variations as they are handmade, but they are a pair. Both with good hinges, both snap shut and stay shut tightly. Each 5.75" x 3" x 2" tall. 410 grams total weight. Each illegibly hallmarked, I didn‘t put time into figuring out the hallmarks. Selling both of the boxes shown.

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Johan Rohde for Georg Jensen Acorn sterling salt cellars 62 w/ 110 spoons. Selling the 8 pieces shown with minor tarnish, two have slight wear to enamel on top rim upon close inspection, the one turned up in the last pic has a spot of enamel as wide as the handle just inside the handle, it was difficult to show in the pics and doesn‘t stand out in person. Spoons 2.2" long, salts 2 3/8" wide with handles. The spoons are Jensen also but a different pattern. I could probably sell either the salts or spoons separately for a reasonable offer. silverdrawer

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Tommy Denetdale Navajo silver cobblestone inlaid Yei belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Great in a lot of ways.

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c1890 Antique silver Dragon Cigarette holder with glass eyes. Tested and guaranteed solid silver, articulating mouth with lever on head to open mouth. Some cracks in original amber mouthpiece, but appears stable. Case rough with broken hinge and missing/brittle leather cover. Dragon in good condition. Dragon with stem 3 3/8" long. trinketdrawer

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Vintage Navajo Nevada Turquoise sterling belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Very large high grade natural American turquoise.

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Antique Ornate Sterling banded agate wax seal w/ 6 pointed star 3.25" long. Very good condition overall with only the slightest wear in a few spots to the beveled agate. Sterling base, extremely detailed, apparenty unmarked. trinketdrawer

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Heavy Vintage sterling brutalist bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 35" total length. No detectable markings. Cord is very old but intact and should stay that way with careful use.

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Large Vintage ERY Navajo silver, turquoise, coral, jet sterling belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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Vintage Massie Zuni sterling channel inlay sunface necklace white mop, No issues, measurements in pics. 20" long necklace. 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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David Rosales Navajo Supersmiths sterling channel inlay dragonfly pendant/pin. Nice contemporary Navajo pendant/pin, no issues. Solid sterling silver with weight and measurements in pictures.

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c1960 c-31 Eldon James Hopi arrowhead form bear head bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 42" total length. No detectable markings. Cord is very old but intact and should stay that way with careful use.

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c1970 Frank Patania jr "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party.“The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

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Milson Taylor Hopi overlay bear pin sterling silver. Solid sterling, weight and measurements in pics with no issues.

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c1960 c-31 Alice Leekya Homer Zuni sterling turquoise fishscale inlay bolo tie, unmarked - attributed. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 40" total length. No detectable markings. Cord is very old but intact and should stay that way with careful use.

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Gary and Elsie Yoyokiei Hopi large sterling bolo tie in overlay style. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. Yoyokie, Gary and Elsie Gary and Elsie Yoyokie live on Third Mesa, Arizona at Kykotsmovi on the Hopi reservation. During their distinguished careers as silversmiths, the Yoyokies have won many awards at major shows and exhibits, including the Santa Fe Indian Market, where their unique jewelry has won dozens of ribbons, including Best of Division awards. The Yoyokies were selected as Fellowship winners by the Southwestern Association for Indian Arts in 1993 in recognition of their beautifully designed and crafted silverwork. They were also honored by the Museum of Northern Arizona, which presented the Yoyokies with the Charles Loloma Award of Excellence. They have won many ribbons, including Best of Division at the Heard Museum Indian Fair and Market, Best of Show at the Twin Cities Indian Market in Minneapolis, as well as awards from the Eight Northern Pueblos Indian Arts and Crafts Exhibit, the Sedona Hopi Show, the Lawrence, Kansas Museum of Anthropopogy Indian Arts Show, the American Indian Art Festival in Dallas and numerous other major shows.

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c1950 Edward Beyuka Zuni Roadrunner carved bolo tie sterling. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 37" total length. Unmarked to the best of my knowledge. I could not lift the cord up in the center without risking damaging it. Attributed as I‘ve seen similar carved later examples that were signed. This one is slightly different, but it‘s also earlier than any I have seen recorded.

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c1950 Navajo silver thunderbird bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. No detectable markings. Cord is very old but intact and should stay that way with careful use.

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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" Early Navajo hand stamped cast silver cuff bracelet. 7" inside circumference including the 1" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver. Unmarked, nice old bracelet from the second quarter of the 20th century.

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c1900 Antique Italian Grand Tour gilt Bronze Micromosaic cross. Nice antique cross, over 100 years old Measurements in pictures, very little if any loss to decoration.

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Retired James Avery Sterling/brass tree pin. Solid sterling, weight and measurements in pics with no issues.

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c1970 William Zunie sterling silver Zuni channel inlay bolo tie. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown, WM Zunie, 40" total length.

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Vintage Zuni inlay thunderbird belt buckle sterling silver. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Unmarked.

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sz7.5 50‘s-60‘s Big Zuni Knifewing sterling ring. Solid sterling silver, weight and measurements in pictures. No markings. Vintage or pre-owned item in good condition with some expected wear as shown in the pictures. Items with significant wear are not offered by me online unless they are extremely old/rare and still desirable in that condition by collectors. Older Native American jewelry (1970‘s and before) is expected to have wear as it was made to be worn. Typically good honest wear is typically considered desirable.

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Vintage Native American sterling sunface belt buckle overlay design. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Picto-hallmarked as shown with sterling mark.

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Modernist sterling nephrite Jade belt buckle Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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Vintage Navajo sterling silver ranger belt buckle set. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. No apparent markings.

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Vintage Navajo silver pendant/pin with nice turquoise rope bezel. Nice old pendant/pin from the third quarter of the 20th century, no issues. Unmarked, solid sterling silver with weight and measurements in pictures.

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40‘s-50‘s Navajo silver Petrified wood pin. Weight and measurements in pics, all solid sterling, unmarked.

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Donald-Dorothy Clark Navajo Wild Horse, lapis, spiny oyster sterling pendant. Nice contemporary Navajo pendant, no issues. Solid sterling silver with weight and measurements in pictures.

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Loren Phillips Hopi overlay bear themed belt buckle sterling silver. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Hopi artist Loren Phillips is not only a master jeweler, but a renowned carver of Hopi Katsinas. He began his career in the 1970‘s.

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32" 30‘s-40‘s Navajo slim silver link concho belt/hatband. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. No apparent markings. Can obviously be linked at any spot, and links can be easily removed.

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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" 40‘s-50‘s Betty and Gillerimo Natachu Zuni knifewing silver cuff bracelet. 6.5" inside circumference including the 1 1/8" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver.

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Leonard Shupla Hopi overlay kokopelli pendant/pin sterling silver. Nice pendant/pin from the last quarter of the 20th century, no issues. Solid sterling silver with weight and measurements in pictures.

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Huge sz9.5 Vintage Navajo silver turquoise cluster ring. Solid sterling silver, weight and measurements in pictures. No markings. Nice old ring from the third quarter of the 20th century. Vintage or pre-owned item in good condition with some expected wear as shown in the pictures. Items with significant wear are not offered by me online unless they are extremely old/rare and still desirable in that condition by collectors. Older Native American jewelry (1970‘s and before) is expected to have wear as it was made to be worn. Typically good honest wear is typically considered desirable.

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Norman Honie Sr Hopi overlay blue gem turquoise thunderbird pendant/pin sterling. Nice vintage (third quarter of 20th century) pendant, no issues. Solid sterling silver with weight and measurements in pictures. Norman Honie Sr. was born in the 1920s at Hano, First Mesa, Hopi Pueblo in Arizona. He learned his craft at the Hopi Silvercraft Cooperative Guild and began making jewelry in the 1960s. He was also a katsina doll carver. He was the recipient of numerous awards including a first place award at the Hopi Show at the Museum of Northern Arizona in 1967. His work is in museum collections and has been published in Arizona Highways (June, 1971). Norman Honie Sr. signed with the sun symbol of the Hopi Crafts Guild on one earring and Honie‘s hallmark of a spider on the other.

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Vintage Navajo sterling/90% silver 1964 Kennedy Half dollar belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Stamped sterling, and LC. Most likely made in 1964 or right after.

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Hand Stamped Southwestern silver trinket box with mother of pearl. Marked and tested silver, very well made. 2 3/8" x 1 5/8" x 1 5/8" tall 43.2 grams, hand stamped. Unsure of maker but it seems Navajo. trinketdrawer

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Manuel Hoyungowa Hopi Large sterling silver dancer pendant in overlay style. Solid sterling, weight and measurements in pics. Fully functional and attractive vintage piece in good condition with no significant issues, but some expected wear. Manuel Hoyungowa (ca. 19532011) Hopi Tribe was from the village of Hotevilla on Third Mesa and has been an active silversmith at Hopi Pueblo since the 1970s. His hallmark is a strong raincloud. Although he has produced some jewelry with coral and turquoise, more in the style of Navajo work, Hoyungowa is a master silversmith which is evident in his traditional Hopi silver overlay technique jewelry. Hoyungowa actually learned silver overlay technique from Preston Monongye (his uncle and another famous Hopi artisan) and the Institute Of American Indian Arts in Santa Fe, New Mexico. More History: The Indian Arts and Crafts Board (a government department) and the Hopi Tribe collaborated on the formation of the Hopi Silvercraft Guild in 1949 and noted Hopi artist Fred Kabotie became the manager. It was then that Hopi overlay jewelry found it acceptance. Hopi overlay technique involves cutting out the desired design in one piece of silver and overlaying that onto another piece that has been incised and oxidized. Polishing is accomplished with steel wool which results in a matte rather than a shiny surface.

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Collection of Antique/vintage sterling silver pill/trinket boxes. Sell all the boxes shown, all sterling, all functional with no issues. Ranging from c1900 for repousse box to the third quarter of the 20th century for the two Mexican boxes. Selling the lot for one price. Measurements and weight in pictures. -anderas

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vintage Frank Patania Thunderbird Shop "Caballeros del Sol" Sterling/turquoise bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 38" total length. In 1927 Italian immigrant Frank Patania Sr. opened the Thunderbird Shop in Santa Fe which sold Native American handmade arts and crafts. Patania, a trained goldsmith and fine jewelry designer, had become enamored with Native American jewelry. He quickly turned his talents to designing and fabricating sterling silver and turquoise jewelry inspired by Native designs, developing a new type of Southwest jewelry, termed “Thunderbird style which combined Mediterranean elegance with traditional Native American materials. He became known for his exquisite craftsmanship and unique jewelry designs which displayed great attention to detail. As his business grew, Patania required assistance in the workshop and in 1932 hired Charles Begay, a skilled Navajo silversmith. He became the first of many Native Americans to work for the Patanias as silversmiths in the Thunderbird Shop in Santa Fe, and later also in Tucson. Some of these artists remained employed until retirement, while others, after becoming versed in the Thunderbird style, departed to work on their own, carrying with them the influence and inspiration of Patania family designs. Those who carried the Thunderbird style into their own successful careers were Lewis Lomay, Julian Lovato, Jimmie Herald and Harry Sakyesva, whose talents and body of work still resonate long after their passing. The history of the Cabaleros Del Sol- As retold by charter members Schuy Lininger and Stub Ashcraft In the mid 1920s, two doctors named Huett and Kline who specialized in the care of tubercular (TB) patients saw the need to begin touting the great dry heat of Tucson as the perfect place to be for people with lung problems. This need along with the desire of Tucson business people to get more people to visit and move to The Old Pueblo eventually evolved into an organization called the Tucson Sunshine Climate Club. Many years later, the visitors & Convention Bureau was added to the professional heading. For the next 37 years (1926- 1963), the Sunshine Climate Club grew as the premier organization to bring and develop new business to Tucson. The organization was funded in part by both the city of Tucson and Pima County. Some of the greatest early “City Fathers of Tucson served this group. As the Chamber of Commerce grew both the City and County decided to quit funding the Sunshine Climate Club as they felt there were some overlapping between the two organizations. So in 1963, two key people- Frank Drachman and Roy Miller convinced the entire Board of Directors of the Sunshine Climate Club to dissolve their Club and become a standing committee in the Tucson Chamber of Commerce. The group would be call the Caballeros Del Sol and Roy Miller (who ran the J.C. Penney store downtown) would become the first El Jefe. They put sunshine in cans, models in cactus “bathing suits and Tucson in the underwood of every travel writer in the country. “Nobody did the things we did to promote tourism says C.L. “Stubs Ashcraft, general manger back in the ‘50s of the old Tucson Sunshine Climate Club. Who else would: : Scoop out the tops of two saguaro cactus arms, fashion them into a “bra, and have the end result modeled by a local high school girl? : Welcome the Cleveland Indians to town with smoke signals from atop “A Mountain? : Get the superintendent of Saguaro National Monument to draw beer from a cactus? How you gonna get “em out to the desert? With sunshine, sex and rootin tootin atmosphere. For 40 years, that was the winning formula used by the Tucson Sunshine Climate Club to bring visitors to town- until a merger put an end to all the good times. It began with a rivalry. “By 1920, Phoenixs population was the larger than Tucsons, says Roy P. Drachman, general manager of the Sunshine Climate Club, 1939- 1945. Naturally says Drachman, this “annoyed a few Tucson businessman. So car dealers Monte Mansfield and L.C. “Jessie James decided to form an organization to promote tourism. In 1922, the Tucson Sunshine Climate Club held its first meeting. Far from feeling usurped, the Chamber of Commerce welcomed the move, says Drachman. “There was a lot of overlap. Many of the same members served on both boards. Money came from local businesses, which bought up memberships, and from the city and county, which helped pay for advertising in publications across the country. Back then, Tucson was still considered a health mecca. “I think we spent more money in the American Medical Association Journal than any other publication, says Drachman. When he took over as manager in 1939, Drachman hired two photographers, Chuck Abbot and Robert Burns, who took pictures of prominent folk visiting the desert and then sent the photos to various news organizations, where they received wide play. “We had a clipping service, says Drachman. “We kept big sheets of brown paper covered with clippings we got back from photos we had sent out. The club also co- sponsored a modeling club, using high school girls, mainly from Tucson High, to sell the Old Pueblo. “Wed put them in a pair of boots, shorts, shirt and a hat and send them out in the desert with Ray Manley, says Ashcraft. “Wed put them up against a cactus or in a field of poppies, anything for publicity. The Clubs finest hour for cheesecake however, probably came during Drachmans reign. “We hollowed the tops out of a saguaro cactus and made a bra, says Drachman.“Then we took prickly pear cactus pads and cut all the thorns off and hung them on wire for a skirt. Then we put a model from Tucson High in that outfit and took her picture. Life magazine printed it, full page. By the time Ashcraft came on board as the general manager in 1952, the publicity machine was in high gear. “I used to lie awake at nights thinking of things to do. Such as passing out cans of “sunshine. Or posing a model in a $ 3,500.00 pair of mink “jeans. Or having the Cleveland Indians pull a stagecoach with their manager on board, cracking the whip. Naturally all of this was photographed for play in the Eastern papers. Ashcrafts golden moment may have come in 1955, when a group of travel writers arrived in town on a junket sponsored by American Airlines. “First thing we did was take them downtown and get them outfitted with jeans, shirts, boots and a hat, says Ashcraft. Then they took them to the Forty Niners Ranch for a party. “The next morning, most of these folks had hangovers like you couldnt believe, says Ashcraft. “Then we got them up on horses for a ride to Saguaro National Monument. By the time we got them there, their tongues were hanging out by a mile. What the writers didnt know was that a chuck wagon filled with draft beer had been set up at the monument. Standing next to the chuck wagon was a mannequin in a squaw dress, and next to the mannequin was a saguaro cactus, with a thin tube running through it. The tube was a conduit, allowing beer to flow from a keg in the chuck wagon to a spigot on the outside of the cactus. “After we got there, we had John Lewis, who was the superintendent of the monument, give this talk on the flora and the fauna of the desert, says Ashcraft. “It was the most boring thing you had ever heard. Then he bent over and the mannequins hand fell on the spigot and the beer started to flow. You should have seen the eyes of those travel writers. As with most of the clubs stunts, this one, says Ashcraft, followed the script “right down to a gnats eyebrow. Such was not the case, however, the day the club welcomed the Cleveland Indians to town with a smoke- signal greeting. “Every year when the Cleveland Indians came to town for spring training, we tried to top what we had done the year before, says Ashcraft. “So I thought, ‘Ah, lets welcome ‘em with smoke signals. “I went down to Indian Village Trading Post. They had an Indian there who did sand painting, and I said, ‘Freddy I dont remember his last name- ‘Do you know how to make smoke signals? He said yes, ‘Sure, so we arranged it. Ashcraft also arranged for American Airlines, which was bringing the team to town, to fly directly over “A Mountain where the signals would be sent. The day arrived. “It was a nasty damn day, recalls Ashcraft. “The wind must have been blowing about 100 miles per hour. And of course we had invited the local press and photographers there. Ray Manley was there and for some reason he had brought along a couple of old tires. It never dawned on any of us the consequences of what we were about to do. “So we got the fire started and Ray threw the tires on it and the black smoke started pouring out. Then the sheriffs car came up the road, its lights blinking. They didnt want to come all the way up, and they were hollering at us to come down. We were scared to death. “Well, people were calling all over. “A Mountain used to be a volcano and people thought it was erupting again. “Anyway, the time came for the plane to come over. Freddy has the blanket. Here comes the plane. Freddy and his friend put the blanket down over the tire- and it burned a hole right in the middle of the damned blanket. “I said, ‘Freddy, what in the hell happened? He said, ‘I forgot. We were supposed to wet the blanket. In 1962, the Tucson Sunshine Climate Club merged with the Chamber of Commerce Industrial Development Board, in an effort to strengthen the chamber and do away with duplication of effort. “That killed the club, says Ashcraft. But not its past deeds. “When we started out, we were getting the tourists, says Ashcraft. “They liked it and came back as winter visitors. Then they decide to retire here. We had businessmen come here, decide to have a convention, then relocate their businesses here. Now, there isnt the Western atmosphere anymore. Asked if perhaps the Tucson Sunshine Climate Club did its job to well, Ashcraft sits and reflects by the pool of a midtown hotel, a hundred feet away from the rush of the traffic along Alvernon Way. Finally, the words come: “If I could do it all over again, I wouldnt do it. I loved the Old Pueblo.

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Heavy Vintage sterling brutalist bolo tie. Solid sterling silver, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. 40" total length. Illegibly signed on back.

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Vintage sterling silver 10k gold Bell Telephone (tested) belt buckle. Solid sterling silver with solid 10k gold bell telephone piece. One stone missing, stones untested (just no time) with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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c1950‘s Modernist silver malachite bolo tie. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Some natural fissures in stone only superficial and not noticeable in real life when worn, fully functional with overall attractive appearance. Sterling tips and bolo slide. 37" total length, unmarked slide but tips marked sterling.

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c1960 c-31 Navajo sterling and turquoise bolo slide with slanted stamped design. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. Sterling tips and bolo slide. 36" total length, No apparent markings.

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c1950‘s small Sterling and turquoise bolo tie. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Fully functional with overall attractive appearance. Sterling tips and bolo slide. 36" total length, slide marked sterling.

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Large Vintage Navajo sterling and green turquoise belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. No apparent markings. Stone secure in bezel with some old fissures that are stable.

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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" 50‘s-60‘s Navajo freeform nugget hand stamped silver cuff bracelet. 6.25" inside circumference including the 1" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver, Marked sterling with no other markings. Mid 20th century. -anderas

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31.5" Vintage Navajo stamped sterling silver link concho belt. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. 31.5" total length, can be hooked anywhere shorter. Sterling hallmark with no other 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. 6.25" Vintage Navajo sterling 3 stone turquoise cuff bracelet. 6.25" inside circumference including the 1 1/8" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver, unmarked bracelet from the 60‘s-70‘s. -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. 6.25" Vintage Navajo Tufa Cast silver cuff bracelet w/corn design feather picto-hallmark. 6.25" inside circumference including the 1" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver, Marked sterling with unidentified feather hallmark. Last quarter of the 20th century. -anderas

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28" Vintage Hand Stamped sterling, turquoise, multi-stone beaded necklace. Solid sterling silver, 28" long with other measurements and weight in pictures. No detectable markings. I believe it‘s Native American made, likely from the 70‘s or 80‘s but not sure who made it.

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58" Large Vintage Sterling and turquoise cluster concho belt. (Solid sterling silver, with typical copper loops) No detectable markings, likely Navajo made from the last half of the 20th century. 58" total length, 53" to the last hole, can be worn shorter of course(there are existing holes around 34-36"), other measurements in pictures 787 grams total weight. Very good vintage condition with no significant issues, no cracks in turquoise stones. 9 Conchos and 1 Buckle (10 total)

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c1900 Large Antique Chinese Silver Wang Hing pierced dragon box 5.75" x 2.75" x 2" tall. Fine antique condition. No issues with hinge, lid fits perfectly. The lid goes does easily and stays shut when the box is turned upside down. Feet don‘t wobble, no breaks to the pierced design. Nice sized table box, perfect for jewelry or potpourri. 215 grams. Solid high content silver. Wang Hing Wang Hing & Co was base at Zetland House, 10 Queens Road, Hong Kong 1 Sai Hing Street, Canton & ShangHai circa 1854-1941. Wang Hing was probably responsible for producing more Chinese Export Silver than any other Chinese retail silversmith. The company was also one of the first to establish a large retail emporium that grew to sell a wide variety of luxury goods. Wang Hing & Co begun just after the 1842 Treaty of Nanking by the Lo Family who lived in Xiguan with Shameen Island in Canton where the 13 Hongs had been situated. In the late 1860s, the eldest son Lo Kit Ping took the helm. It wasnt until the early 1920s that a purpose-built flagship store was decided to be built on the Queens Road, Hong Kong. This store was run by Lo Hung Tong. The Lo family members insisted on designing and overseeing the quality of every item of silver that was made for them and it was from their Hong Kong emporium they fast established the reputation as the place to go to order bespoke trophies and commemorative items that became part of the thriving mens clubs and sporting clubs that became synonymous with Hong Kong.

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JD Massie Zuni sunface sterling belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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Large 30‘s-40‘s Large Navajo silver button/ornament pin. Weight and measurements in pics, all solid sterling. no issues, unmarked. Very old button/ornament later converted to brooch/pin.

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Large Henry Morgan Navajo sterling and turquoise concho pin. Weight and measurements in pics, all solid sterling. no issues.

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sz9 Harvey Mace Navajo silver ring. Solid sterling silver, weight and measurements in pictures. Vintage or pre-owned item in good condition with some expected wear as shown in the pictures. Items with significant wear are not offered by me online unless they are extremely old/rare and still desirable in that condition by collectors.

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Antique European Silver Satyr two piece belt buckle. Tested and guaranteed solid (80%+ silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. No detectable markings, over 100 years old.

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Vintage Frontier Sterling hand engraved square dancers belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Marked on back Frontier Buckles Sterling Hand Engraved.

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c1930‘s William Spratling tin milk pitcher/creamer. No holes or breaks, a few small dents shown. 4 7/8" tall to top of handle, 5 3/8" wide handle to spout. LRshelf William Spratling was born in 1900 in Sonyea, New York. His father was well respected and widely known for his study and writings concerning epilepsy. After the death of both Spratling‘s mother and sister, Wilhelmina, in 1910, Spratling‘s father moved temporarily to his father‘s Alabama home (known as Roamer‘s Roost) with sons William and David as well as older daughter, Lucile. At that time, the three Spratling children became wards of their grandfather. By the end of 1912, the family had moved once more and the children were separated; each went to live with with various aunts and uncles. In 1917 William Spratling attended Auburn University and a year or two later, during his stay at Auburn served as an instructor in architecture. Spratling moved to New Orleans in 1921 where he was an Associate Professor of Architecture at Tulane University. During the following nine years, Spratling published articles in Scribners Magazine, Journal of the A.I.A., Architecture Record, and many other architecture and travel publications. He became an active part of the New Orleans literary colony during those years, and his frequent companions were Natalie Scott, Sherwood Anderson, Oliver La Farge, Frans Blom, John Dos Passos and William Faulkner. Faulkner lived with Spratling for a time, and together they wrote and published Sherwood Anderson and Other Famous Creoles in 1926. 1926 was also when Spratling visited Mexico for the first time. He returned for summers over the next several years, and in 1929, moved to Mexico. Spratling quickly was introduced to and became a welcome participant in the artistic circles of Mexico. His activities in promoting the art of Diego Rivera among New York galleries led to his participation in the first exhibition of Mexican arts held in the United States. The exhibit was funded by the Carnegie Institute and opened at the Metropolitan Museum of Art in New York. Spratling assisted in assembling the exhibit and also lent a number of his own pieces. During this same period, Spratling was working on drawings for the expanding Morrow home in Cuernavaca. Many of these drawings were included in the book written by Elizabeth Morrow, Casa Mañana. Dwight Morrow, the US Ambassador to Mexico, suggested to Spratling in 1931 that Taxco had been the site of silver mines for centuries, but Taxco had never been considered a location where jewelry and objects of silver were designed and made. Subsequently, Spratling hired an experienced goldsmith from Iguala who moved to Taxco and created silver jewelry of Spratlings design. Other craftsmen joined Spratling‘s shop and produced tin ware, copper items, textiles and furniture - all designed by Spratling. These earliest designs were based on pre-Columbian motifs as well as simple themes utilizing rope borders, strap designs and other such basic ideas. The enterprise grew far beyond Spratlings expectations! Because he had created an apprentice system of training young silversmiths many new talented artisans had an opportunity to develop their craft. Over time many of these artisans opened shops of their own all with Spratlings support. During the Second World War, U.S. department stores were unable to import merchandise from Europe, and many retail stores purchased luxury goods in Mexico. In order to meet this dramatic increase in demand, Spratling opened his company to private investors, and by the end of 1944 had lost control of his company. Early in 1946, Spratling y Artesanos was out of business. By this time, Spratling had moved to a ranch he had earlier purchased south of Taxco at Taxco-el-Viejo. He never again lived within the town of Taxco. In 1946, he was asked by the U.S. Department of the Interior to develop a plan for development of native crafts in Alaska, and in 1949, a group of 7 young men from Alaska arrived at Spratling‘s ranch at Taxco-el-Viejo and began their training. Spratling had designed and produced 200 models for that effort, but after the men completed their training and returned to Alaska, the program languished primarily due to lack of government funding. The actual benefits of the program (both for Alaskans and for Spratling) were never realized. The time, however, that Spratling spent studying Alaskan native cultures and visiting all parts of Alaska created great impact as seen in Spratling‘s later silver designs. His design ethic in 1949 was dramatically different from those designs of the 1930s until mid 1940. He also used new materials in combination with silver for many of these later designs. Spratling continued to rebuild his business and had silversmiths fabricating his jewelry and object designs at his ranch. His designs were also produced by the Conquistador Company in Mexico City for a couple of years. Spratling published More Human Than Divine in 1960 and his archaeological interests not only continued but by the early 1960s seemed to take precedence over the creation of new silver designs. He donated collections of his pre-Columbian materials to the National University of Mexico and the National Museum of Anthropology in Mexico City. Spratling has been called by many "a Renaissance Man." Throughout Mexico he is acknowledged as "The Father of Mexican Silver." Certainly the town of Taxco and its economy would be vastly different without the initiative and creativity of this man. He complemented its valuable historic past with a new vitality and spirit which recognized the importance of the indigenous culture. The artistic and economic foundation he established continues to flourish today.

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sz10 Vintage Navajo silver long ring with turquoise twisted wire border. Solid sterling silver, weight and measurements in pictures. One piece of lost matrix in the stone, likely quartz. Vintage or pre-owned item in good condition with some expected wear as shown in the pictures. Items with significant wear are not offered by me online unless they are extremely old/rare and still desirable in that condition by collectors. Older Native American jewelry (1970‘s and before) is expected to have wear as it was made to be worn. Typically good honest wear is considered desirable.

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Running Bear Shop Copper plated Sterling silver turquoise pendant. Solid sterling, weight and measurements in pics with no issues. Copper plated sterling. Vintage "new old stock" condition, never worn.

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Antique European Silver Deer Hunting 2 piece belt buckle. Tested and guaranteed solid (80%+ silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. No detectable markings, over 100 years old.

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Laarge Richard Begay Navajo sterling multistone flush inlay pendant. Solid sterling, weight and measurements in pics with no issues. Richard Begay was born and raised in Navajoland, Arizona. Throughout his art classes in school, he always wanted to create the perfect shape. His first career, however, took him into the Forest Industry. He soon realized that he wanted to follow the yearnings of his heart and create beautiful jewelry. He borrowed jewelry tools from his father-in-law and set to work, learning the demanding craft of silversmithing. Richard was immediately drawn to the intricate inlay work, for which he is known for. As he perfected his craft, Richard explored different techniques of inlaying. He was always searching for the best way, the most beautiful setting, the perfect harmony of material and craft. He also developed an eye for choosing the best stones for his inlay. Turquoise and coral are his favorite, but Richard used a wide variety of stones and shells, including malachite, spiny oyster, and pacific coral. Not limited to the usual in anything he did, he also inlaid opals, sugilite, lapis and other exotic stones into his award-winning pieces. The importance of harmony in his work was echoed in his silverwork, especially his pendants. In these pieces, he incorporated important symbols from his culture. Corn was a significant gift to the People by the Creator--it represents life to the Navajo. The Yei-Be-Che is the personal link between the Navajo gods and mortal man. The Bear, one of the four animals given to the first people, embodies power and wisdom. It was provided for protection and guidance, and to ward off evil. Richard also used the Steppe Design found in the wedding baskets and recreates special times, such as the social dances he goes to. Encircling it all is his extraordinary inlay, adding color and life. The beautiful things Richard looked for exist in his creations. Richard passed away in 2013.

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c1950 Zuni sunface "Indian Chief" sterling channel inlay pendant. Solid sterling, weight and measurements in pics with no issues. Nice sized and quality, possibly a bolo in it‘s former life.

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sz7.25 Orville Tsinnie Navajo silver Royston turquoise ring. Orville Tsinnie: A Luminary in Navajo Artistry In the early 1970s, Orville Tsinnie, a distinguished Navajo artist, embarked on a journey of artistic discovery under the tutelage of his Hopi brother-in-law. This marked the genesis of a career that would see him garner numerous accolades, including the prestigious Lifetime Achievement Award from the Indian Arts and Crafts Association. This honor is reserved exclusively for the crème de la crème of American Indian artists, underscoring Tsinnie‘s exceptional talent. Orville Tsinnie (1943-2017) signs his work with "Orville Tsinnie, New Mexico" along with two stamps of Shiprock. Tsinnie‘s work was a testament to his superior craftsmanship. While he was adept at creating traditional jewelry, his true genius lay in his ability to conceive and execute innovative designs. His meticulous attention to detail and unwavering commitment to precision were the hallmarks of his work, resulting in pieces that were unmistakably his own. Operating from his studio in Shiprock, New Mexico, Tsinnie was a stalwart presence at Santa Fe‘s annual Indian Market. His participation in this yearly event further cemented his status as a luminary in the realm of Navajo artistry. His legacy continues to inspire and influence the world of indigenous art. All precious metals are tested and guaranteed,

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Antique British Sterling hunting scene belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. British sterling hallmarks as shown, over 100 years old.

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c1950‘s Sterling Chevrolet Dealer/Salesman "100 Car Club" Belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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10k/Sterling Sunset Trails Santa Monica Police Potrolman retirement belt buckle. Solid 10k gold plaques top and bottom, quite a bit of gold, probably $300-$400 in gold at current market. The rest is solid sterling silver with weight and measurements in pics. Fully functional with some expected wear as it‘s a vintage item. Engraved as shown since it‘s solid 10k gold it could easily be removed. Any honest jeweler would do it for very little as they can recover the gold that they buff off.

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c1940‘s slim Navajo silver belt buckle w/turquoise. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures. Old fracture in turquoise, secure in bezel.

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Manygoats Navajo Turquoise, lapis, spiny oyster channel inlay silver belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional, with appropriate wear as shown in the pictures.

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c1940‘s Large Navajo silver naja pendant w/nice turquise and stampwork. Solid sterling, weight and measurements in pics with no issues. No damage, very attractive and fully functionsal with appropriate wear as shown in the pics.

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Floyd Namingha Lomakuyvaya Hopi Overlay bolo tie sterling silver. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown. Exremely high quality. From huge collection so well preserved, 40" total length.

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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. 7.25" Wil Vandever Navajo sterling #8 turquoise large cuff bracelet. 7.25" inside circumference including the 1 1/8" gap. Weight and measurements in pics. No Damage or significant wear, really it appears unworn in "new old stock" condition. Will Vandever (1951 - 2018) was a Navajo jewelry artist who worked in sterling silver and high-grade stones. His work was popular in Japan. Known for: Developing his own distinctive style, Using high-grade stones, and Winning awards at shows.

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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" Huge vintage Navajo silver and turquoise slab cuff bracelet. 7" inside circumference including the 1.5" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver, unmarked bracelet from the third quarter of the 20th century. Turquoise is stable with natural fissures/tight hairlines in line with the matrix, stone is secure in bezel.

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Cedric Navenma Kuwaninvaya Hopi Overlay bolo tie sterling silver. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown. Exremely high quality. From huge collection so well preserved, 42" total length.

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Victoria Ukestine Zuni Sunface bolo tie sterling silver channel inlay. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown. From huge collection so well preserved, 38" total length.

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Vintage Native American sterling, turquoise/coral bear paw bolo tie. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). No damage, sterling tips and bolo slide. Hallmarked as shown. From huge collection so well preserved, 41" total length.

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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 7/8" Vintage Navajo large sterling and turquoise cuff bracelet. 7 7/8" inside circumference including the 1 1/8" gap. Weight and measurements in pics. No Damage or significant wear, solid sterling silver, unmarked bracelet from the third quarter of the 20th century.

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Pat Areias Sterling/Jeweler‘s Bronze woven belt buckle. Solid sterling silver and Jeweler‘s Bronze with weight and measurements in pics. Fully functional with some expected wear, good condition with no significant issues. Each piece of Pat Areias‘s artistry is hand rendered, one by one. As such, they may be similar, but they are not the same. “The essence of hand fabrication," Areias says, “is that every piece is made by an artisan as an original." Using a jewelry saw, buckles are cut by hand out of sheet silver and hand forged, then dapped and individually chased and soldered to produce her finished works. Pat Areias Sterling began in 1987 in Cuernavaca, Mexico, with the introduction of a three-piece buckle set which became the foundation of the designer‘s business. Two years later, she added silver jewelry to her collection. Reminiscent of the Art Deco era, her designs are marked by a contemporary style. Though she was born and raised in the San Joaquin Valley to third generation Portuguese dairy farmers, she pursued her interest in the traditions of her Latin descent by studying the Portuguese and Spanish cultures, arts and languages at the University of California at Santa Barbara. While subsequently serving in the Peace Corps throughout Central and South America, she had occasion to apprentice with both silver and leather craftsmen of Ecuador and Mexico. Something inside beckoned her to pursue the artistry on her own. Areias‘s designs are a true reflection of her love and appreciation for both Latin and Scandinavian aesthetics, dating back to an era of silver designers from the 1930s and 1940s which originated in Denmark. As silver became scarce during World War II, argent veins running through Mexico lured Danish designers to the area, where their pure designs and silversmithing finesse were shared with the native craftsmen. "The Danish designers," she says, "have both a sincere affinity for the arts and an eye for contemporary lines which brings out the best of the silver. I have a great love and respect for this style of silversmithing. It is the inspiration for my own creativity which, when forged with the Latin influence of my heritage, emerges in my signature designs." While in Mexico, Areias met and married her husband, Fred Sanchez, a mechanical engineer who has since abandoned his business to become fully involved in Pat Areias Sterling. After more 30 years in business, Pat Areias sterling is not only recognizable in itself, but the name has become synonymous with quality. The provision of fine sterling silver accessories and specialized customer service has proved a successful combination for the growing company.

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Ella Cowboy Navajo sterling and turquoise belt buckle. Solid sterling silver with weight and measurements in pics. Fully functional with some expected wear, good condition with no significant issues.

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c1970 Large Archie Henderson Tufa Cast silver Easter Blue turquoise bolo tie. Solid sterling, weight and measurements in pics. Clip on back is not sterling, tips and slide are sterling. I don‘t know much about Archie Henderson other than he was not very prolific and he he used really high grade natural American Turquoise, he even worked with some Lander Blue. He worked in both silver and gold c1970‘s.

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c1960 c-31 Alberto Contreras Modernist silver/onyx bolo tie w/fancy tips. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Clip on back is not sterling, tips and slide are sterling. Alberto Contreras (1949-1994) was taught silversmithing, by Frank Patania Sr., prior to 1949. In 1949 Alberto Contreras started his silversmithing shop, which would be one of three main, custom silversmithing shops, in Tucson, during that era: 1. Thunderbird Shop - Patania 2. Alberto Contreras 3. Carlos Diaz

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1970‘s Sterling enamel Aztec Warrior hand hammered belt buckle. Given as a gift in 1979 with gift message on back. No other markings. Solid sterling silver with weight and measurements in pics. I believe this was made by an American studio silversmith. Fully functional with some expected wear, good condition with no significant issues.

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Sterling carved beaver belt buckle. Solid sterling silver, marked as shown. Fully functional with some expected wear, good condition with no significant issues. I‘m not sure what the beaver is carved from, really it looks nice, possibly resin.

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c1960 c-31 Huge Navajo silver, turquoise, and coral bolo tie. Solid sterling, weight and measurements in pics (scale tared out with containter, weight shown is just the bolo). Clip on back is not sterling, tips and slide are sterling. Apparently unmarked, some bends to tips.

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c1960‘s Navajo Sterling, turquoise, and coral belt buckle. No apparent markings, old fracture in turquoise stone, secure in bezel. Solid sterling silver with weight and measurements in pics. Fully functional with some expected wear, good condition with no significant issues.

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Huge Navajo Tufa Cast Silver belt buckle. Solid sterling silver, unmarked. Weight and measurements in pics.

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* 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" Retired James Avery 14k/Sterling modernist cuff bracelet. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

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Vintage Gaumers Sterling Tiger‘s Eye belt buckle - Red Bluff CA artist. Solid sterling silver, Marked as shown. Weight and measurements in pics. Nice buckle circa last quarter of the 20th century. Gaumers Jewelry has been in business since 1967. Founded in partnership between Al and Mabel Gaumer and their son John and his wife Terry, the business has continued to grow with the addition of a third generation of jewelers and rockhounds through Bill Gaumer. Gaumers carries a great selection of fine gold and silver jewelry, original hand-crafted jewelry, semiprecious and precious stones, lapidary equipment and jewelry-making supplies. The giftware portion of the business offers books, coasters, vases, unique decorative items and beautiful hand-crafted jewelry boxes. The Gaumer family interest in gems and minerals has been actively pursued for four generations as John O. Gaumer was a gold miner in Northern California for 25 years. His son Al continued the tradition with formal education in the field of mining engineering before returning to gold mining with his father and a lifelong pursuit of prospecting and rockhounding throughout the western United States. The family passion for rocks turned a hobby into a full time business when John and Terry decided to open a store utilizing the familys extensive rock collection and Johns jewelry making skills. This combination served Tehama County until 1993, when Bill came on board and really shook things up. Four years later, the business remodeled, adding an 800 square foot mineral and mining museum and additional retail and manufacturing space. In 1999, Bill finished his course work with the Gemological Institute of America (GIA) and received the prestigious Graduate Gemologist diploma. Gaumers Mineral and Mining Museum showcases over fifty years and four generations of collecting. There are beautiful and rare gem and mineral specimens from around the world, stone carvings, fossils, Native American artifacts, a fluorescent mineral display, and a detailed replica of an old mine tunnel complete with ore car, tracks and mining equipment. The free museum is open to the public during normal business hours. Group tours are available for schools and special interest groups.

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