Meissen Rose Pink Chamberstick and Carl Thieme Dresden Trinket dish. Selling<br>both pieces with no damage for one price. Meissen has two lines through mark but<br>I can find no flaws. Chamberstick is 2.5" tall, leaf is 4". Both hand painted,<br>high quality.<br>B61

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Piatto Meissen Rose Pink Bone Finiture in oro menta 8" (diversi disponibili) ne vendiamo uno con più disponibili, tutti senza crepe, scheggiature, graffi, screpolature, macchie, difetti o segni di usura dell'oro.

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Meissen Rose Pink Gold Rimmed Large Oval Tureen 14.75" x 11" tall. No cracks, chips, scratches, crazing, stains, flaws, or gold wear.

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Meissen Rose Pink Gold Rimmed Soup Bowl 9 3/8" Mint (multiple available) selling one with multiple available, all with no cracks, chips, scratches, crazing, stains, flaws, or gold wear.

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Meka Denmark Red Enamel gilt sterling silver 6.5" bracelet 15" Choker necklace with clip on earrings. No detectable damage to enamel or clasps. Overall good condition with no issues. Strong springs on clip-on earrings.

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Mel Benally Navajo Sterling Opal, and Charoite channel inlay earrings 2.25" long with hooks x .5" wide with no issues 8.9 grams. Mel Benally is a 28 year old Navajo jeweler from Gallup, New Mexico. He was introduced to silversmithing by his older brother when he was 17. He enjoyed creating art through metal and soon learned to do other techniques such as inlay and working with gold. He uses the style called “fuzzing” where he solders silver saw dust to give it a rough texture. Mel loves making jewelry that others will enjoy and be able to share with their friends.!

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Melesio Villareal Taxco Vintage Sterling silver Necklace, Bracelet, and earrings. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No issues whatsoever, very clean set. 8" bracelet, approx 17" necklace.

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Melvin Francis Navajo Sugilite Sterling Dragonfly pin. No issues, weight and measurements in pics.

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Men's 1960's Elgin Electronic 105 with calendar band. Very cool and unique watch approx 37mm case, untested. Good condition, likely just needs a battery. The Junghans movement came out around 1967 and was the first German transistorized movement.

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Metal/Bronze Medallion collection Cowtown Warriors US/Australian Mateship, Bush Cheney. This is from the living estate of U.S. Diplomat Penne Korth Peacock. Selling the collection shown, some bronze, some other metals, bottom right is plastic. Penny shown in second pic for scale. kitshelf

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Mexican modernist sterling silver cat pin/brooch . Weight and measurements in pics, all solid sterling.

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Mexican Plateado Silver Wobbling flamingo on Onyx ball. cool vintage piece tilts back and forth, side to side, front and back. It was sold to me as sterling but I believe it plate.3" tall x 2" long. tw199

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Mexican Sterling Grape Necklace and ring set. No issues, adjustable ring will comfortably fit most sizes, right now it's about an 8 without stretching or making smaller. Necklace is approximately 18". Both marked and tested sterling. 58.3 grams total

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Mexican Sterling Silver trinket box. 21.3 grams, no damage or issues. trinket drawer

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

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

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

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

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

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

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

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

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Michael Sockyma Hopi Overlay bolo tie sterling bear paw 43" long, weight and measurements in pics, solid sterling. Hopi artist Michael Sockyma Sr. Michael is from the Hopi village of Hotevilla. He learned the art of overlay at Hopicraft and later worked for them. He is a member of the Corn clan and his hallmark is a corn plant, often with his connected initials MS. He has won multiple awards for his outstanding overlay jewelry. Was born in 1942 and began his career in 1965.

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Michael Tahe Navajo sterling sunface 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.

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Mid Century Austrian Roulette wheel cufflinks. High quality cufflinks, I believe brass or gold filled, no damage. They each have functional roulette wheels with center knob that spins them..

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Mid Century Burmese art glass miniatures/toothpicks. Both the highest quality,<br>hand blown. Either Murano or Pairpoint. Tallest 2.5", both glow under<br>blacklight. These are both mid 20th century or older with no damage whatsoever,<br>no flaws.<br>toothpickdrawer

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Mid Century Cuernavaca Mexican Sterling screw back earrings. 1.5" x 1 7/8" 14.5 grams total weight. tiny dents in top ball, no other issues.

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Mid Century Danish Sterling enamel Leaf pin by Jemax Denmark. No damage to<br>enamel 5.3 grams. 1.75" wide.

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I really don't try to talk things up very often, but this is a really nice<br>piece. This piece has a really nice patina all over front and back. It's never<br>been to an auction house or online ever. I really don't know whether it's from<br>the thirties or the sixties. I don't think it's 19th century. It's good quality<br>with a nice patina. It's the kind of piece that would stand out in any<br>environment and match at the same time. It's made out of no telling how many<br>thousands of wooden matches. You have to examine really closely to see any<br>traces of glue, I'm talking like 6". At that distance you can definitely tell<br>the wood and the glue are at least 50 years old. Everything about the back says<br>it's old. Old rope, old nails, slight old patinated rust. It'd be way more<br>trouble to fake this than it's worth. That's probably enough matches to give<br>three people cancer. It's extremely intricate, I've seen other matchstick stuff<br>that was like jailhouse stuff from the 70,'s. Nothing even close to this. All<br>the work that went into this, this guy would've had to have a life sentence. The<br>woods are really nice, the back board looks like balsa wood, I don't know if<br>this is African or American. I assume it would be one of the two, but really<br>know nothing about it other than it's old and has the name Damala on it and of<br>course that it's in Austin and freshly exposed. It measures 33.75" x 25 15/16 to<br>outside of frame. No damage to report, it's old and there's some minor wear on<br>the frame, but it's clean. I don't know if DAMALA is the artist or the person<br>being depicted.

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Mid Century French Enamel Abstract Trinket Dish. 3 3/8" x 2.75" with no damage whatsoever. Possibly a signature to the left in gold by the dress. Great vintage piece of impeccable quality.

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Mid Century Frigast Gilt Sterling Guilloche enamel demitasse/sugar spoon set. Selling the boxed set shown, possibly unused with no detectable wear or damage. (6) 3.75" demitasse spoons and one large 5.75" long sugar spoon. silverdrawer

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Mid Century Gem Silica sterling modernist cufflinks. Very attractive and rare stones. One swivels freely with no spring to catch it, one with back pointing in weird direction but appears to be made like that. Both solid sterling, unmarked

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Mid Century 835 Silver Modernist cufflinks. No issues. 16.4 grams.

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Mid Century Hector Aguilar Taxco 940 silver bracelet. Fits up to a 7" wrist, the<br>way it's made it naturally tapers with the wrist 1.25" wide, 58.1 grams with no<br>issues.<br><br>Who was silversmith Hector Aguilar?<br>Hector Aguilar was a master silversmith, jewelry maker, and the first graduate<br>from William Spratling’s famous apprenticeships in Taxco, Mexico. He met<br>Spratling almost by chance while bringing a load of tourists to Taxco from<br>Mexico City in the 1930s. Aguilar was one of Spratling’s best pupils, who often<br>worked with close-to-pure silver (rated at 980 instead of the 925 of sterling<br>silver on the silver scale). Aguilar was also a great businessman who only<br>stayed at Spratling’s workshop for three years before finding investors for his<br>own workshop, Taller Borda.<br><br>Aguilar’s Taller Borda became a huge success in 1943, when they secured a<br>contract with an American jewelry company, Coro. They produced several notable<br>designs for Coro throughout the 1940s. Hector kept Taller Borda running until<br>1966 when he closed up shop and enjoyed a nearly 20-year retirement, his place<br>in the firmament of great Mexican silversmiths already secured.<br><br>What kind of art did Hector Aguilar make?<br>Hector Aguilar was a silversmith, jewelry designer, and artist whose work helped<br>popularize Mexican silver in the 1940s and 1950s. His workshop’s pieces for the<br>retailer, Coro were instrumental in this endeavor. That relationship lasted<br>nearly a decade and produced some of Aguilar’s most vital work. As with most of<br>the Mexican silversmiths from this time, these designs were heavily inspired by<br>pre-Columbian artifacts and the folk art of Mesoamerica. Aguilar’s work<br>continued to innovate over the next several decades, bolstered the quality of<br>his pieces, which often used much more pure silver than his competitors. These<br>days Aguilar’s jewelry is highly sought after for his mastery of the craft of<br>silversmithing as well as its extremely high silver rating.<br><br>How did silversmith Hector Aguilar get started?<br>Hector Aguilar was born in 1905 in Mexico City. Not much is known of his early<br>years, but a chance encounter with William Spratling in the early 1930s set him<br>on a silversmithing career that would span three decades. Aguilar brought<br>tourists from Mexico City to the small town of Taxco, a place that as fate would<br>have it also was where Spratling was starting his silver workshop. Aguilar<br>worked for several years as the shop manager for Spratling while also becoming<br>an apprentice silversmith. After three years, Aguilar left to start his own<br>workshop, Taller Borda. That workshop would create countless beautiful pieces,<br>with unceasing quality up until its closure in 1966.

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Mid Century Italian Murano Glass Ducks Sun colored amethyst 13.5" tall with no damage or wear. One red, one blue, a good old set. Definitely Murano, unsure of the company/artist. Estate fresh and they were in a window with tons of dust around where they were sitting. I'm 95% sure they were originally clear one with blue the other red highlights and they clear part turned purple from prolonged exposure to UV light from the sun. This happens when glass has Manganese in it. I realize this black background doesn't highlight the beautiful purple but I just didn't have time to change the background. Selling the pair shown. issshelf

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Mid Century Japanese 950 silver cocktail stirring spoon set. Really fun set 7 3/8" long in apparent mint unused condition with some minor wear to 60-70 year old box. silverdrawer

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Mid Century Japanese Sterling Crystal Star screw back earrings. Very cool pair of earrings Highest quality what I assume to be crystal rather than stone. 7/8" wide possible minute wear to a few of the tips. No large chips, no other issues.

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Mid Century Korean Brass wall plates. Really great, largest 11.5". No bends or dents, no surprises. I had to cut the pics down due to the files being too large and not having time for new pics. All three stamped Korea in small letters on reverse side. Selling all three. b3

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Mid Century Los Ballesteros Secret compartment Chrysocolla and sterling pendant<br>3" tall x 2 1/8" wide with no issues. Really cool, the secret door snaps shut<br>very tightly to the point of possibly being waterproof. 38.4 grams.

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Mid Century Margot De Taxco Sterling silver pin. No damage or significant wear,<br>1.5" x 1.75" x 8.9 grams. -Anderas-<br><br>Margot Van Voorhies was born in 1896 in San Francisco, California. By the time<br>she left her native country for good, she had survived the death of her father<br>in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the<br>hands of a er in 1931 and the end of her first marriage in 1936.<br><br>Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways<br>she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van<br>Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the<br>path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the<br>design, crafting, and production of silver objects, in particular jewelry and<br>housewares.<br><br>Soon, Castillo would become Margot’s second husband. At the time, Castillo was<br>working for William Spratling, a pioneer in Mexican silversmithing. He brought<br>Margot into the business as a designer, helping her to transform her paper<br>creations into three-dimensional forms in silver. In 1939, the pair, along with<br>other members of Castillo’s family, opened shop as Los Castillo Taller [Taller<br>is Spanish for “Workshop”], with Margot as the top designer.<br><br>After ten years, the marriage between Castillo and Van Voorhies dissolved, as<br>did their professional association. Margot went on to open her own shop in 1948,<br>taking the name Margot de Taxco, by which she is best known today. Seven years<br>later, enamel was added to many of her pieces, and this is where Margot found<br>her legacy.<br><br>At the peak of her career, Margot, who designed each piece herself, had two<br>dozen silversmiths and a dozen enamellists in her employ to execute her vision.<br>The men performed the duties as silversmiths; the women did the enamel work,<br>using tiny brushes to bring the watercolor drawings to life. To ensure the<br>accurate rendering of her jewelry designs, she compiled a book of instructions<br>and drawings, detailing the construction and finishing of each. Margot attracted<br>talented craftsmen who later went on to cement their own reputations, such as<br>Sigi Pineda, Miguel Melendez, and Melecio Rodriguez.<br><br>Many contemporary Hollywood celebrities were clients of Margot, including John<br>Wayne and Lana Turner, who visited her shop every year.<br><br>Tragedy struck in the form of a fire in 1960. Forced to move her studio, she<br>never again regained her prior success, and the business folded in 1974. Margot<br>granted several of the silversmiths in her employ permission to use her molds to<br>create pieces on their own, in return for debt forgiveness. As a result, many of<br>Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and<br>Geronimo Fuentes, bearing their hallmark rather than hers.<br><br>Margot passed away in 1985. But her talent as a designer and her influence as an<br>artist have continued to gain recognition since the time of her death.<br><br>Margot’s shop produced some repousse silver (a technique where a raised or<br>relief design is hammered in from the reverse side of the piece). But she is<br>best known for her champlevé enamel work. Champlevé is created by carving,<br>etching, striking, or casting troughs or cells into the surface of a piece and<br>filling it with vitreous enamel. In Margot’s jewelry, the designs were<br>die-struck, a process that was detailed and critical to the final product.<br><br>Margot produced many suites that included necklaces, brooches, bracelets, and<br>earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized<br>for its elegance, femininity, and variety.<br><br>There were many areas of influence that can be found in Margot’s work. Her fish<br>and wave motifs celebrated her love of Japanese art. The ornate swirls and<br>floral motifs were reminiscent of the Art Nouveau style. Mischievous<br>pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck<br>graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts.<br><br>Margot de Taxco pieces are distinguished by the stamp that includes her name,<br>Eagle 16 (or Eagle 1, for her earlier works), along with a production number.<br>Issued by the government, the eagle stamp was a way to identify th

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Mid Century Meka Danish Sterling cobalt enamel Master salt and spoon set. Selling the set shown with no apparent damage, measurements shown..

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Mid century Mikimoto Pearl/silver screw back earrings. Great vintage condition with no issues. 1 1/16" tall 7.5 grams.

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Mid Century Modern Carved Wood Lacquered Bowl. 10 3/8" wide, old tag on back says it was a gift from someone when they were in Japan, likely after ww2. Doesn't look very Japaneezy though. It's wood, it's hand carved, has some good age on it like at least 50 years and it's in good condition. TW131

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Mid Century Modern Marquetry plaque with Kings holding goblets. This is really fabulous, estate fresh period MCM from the 60's or 70's. Likely one of a kind, no identifying marks that I could find. One small blemish in queen to the right's neck, looks like an adams apple. 21.75" x 12.75"I'm fairly confident this was originally a drink tray due to the size/subject matter. But judging from the patina of the hooks and wire on the back in the 70's or even 60's they decided they wanted to look at it rather than spill drinks all over it. And while there are trays from this era with a more intricate design this is by far the coolest one I've seen.This is showing up really orange on my other monitor, It's not orange, it's "regular" wood colors. More typical colors, not pumpkin orange.

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Mid century modern sterling cufflinks. They appear either Scandinavian or Native<br>American :). They are really cool, circa mid 20th century, each marked sterling<br>inside bars. Selling the pair shown

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Mid Century Modern Taxco Mixed Metals and Chip inlay cufflinks. A great amount<br>of time was invested in creating these unique pieces. It is a very interesting<br>composition all hand made, one you must have in your collection. The clips are<br>in excellent working condition. Each one measures: 1 X 1 in . They are fully<br>marked as follows: CP, STERLING , 925, TAXCO , MEX,<br><br>No damage or issues, as clean as they come.

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Mid Century Modernist Los Ballesteros Sterling and Cat's Eye bracelet. Very cool<br>bracelet from the third quarter of the 20th century with no issues or detectable<br>wear.<br><br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible.

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Mid Century Modernist Los Ballesteros Sterling and Onyx bracelet. Very cool<br>bracelet from the third quarter of the 20th century with almost no issues or<br>detectable wear. One very small "chigger bite" on the outside rim of one of the<br>stones, not noticeable whatsoever.<br><br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible.

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Mid Century Modernist Los Ballesteros Sterling and Onyx pin. No damage.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.

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Mid Century Modernist Niels Erik From Denmark Sterling Pin.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.

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Mid Century Modernist sterling and wood cufflinks. Both marked sterling with no<br>other markings, great pair of possibly one of kind cufflinks from the third<br>quarter of the 20th century.

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Mid Century Modernist Sterling horse head cufflinks. These are about as cool as<br>cool gets and very well made. No identifying marks other than sterling. They<br>appear to be horses or dragons, or something of that sort. 27.6 grams.<br>anderas

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Mid century modernist sterling pin 2 1/16" x .75" with no issues.

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Mid century Murano Controlled bubbles silver foil bowl. Great piece from the third quarter of the 20th century with no damage. 7" x 3" tall in deep amethyst color. Nice freeform piece with large slots for a cigar ashtray if desired. tw129

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Mid Century Murano Cranberry Murano bowl. Great period mcm bowl from about the 1950's. Cased glass with clear outside of cranberry, ground pontil, unmarked. 6.5" wide x 2.75" tall. isshelf

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Mid century Musical toy candy container in the form of candlestick telephone. Original candy, no damage, slight oxidation to metal. 4 3/8" tall. isshelf

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Mid Century San Antonio texas Advertising ashtray. No damage 3.5" wide. blkcrateredbag

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MId Century Southwestern Modernist sterling, turquoise, and coral pendant 3" tall with bail x 1.8" wide, throwing in the sterling 24" necklace. 33.4 grams total weight. All precious metals are tested and guaranteed,

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Mid Century Spain 915 Silver Fighter Roosters Table Ornaments. 9" long, tallest<br>8 5/8", x 4" wide. 663 Grams total weight. No damage or issues, gold gilt over<br>silver, very detailed tested over 90% silver with hallmarks indicating 91.5%<br>purity. Selling both, exact two shown, circa mid 20th century.<br>B3

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Mid Century sterling and amber brooch. Nice pin with sterling and natural amber<br>about 50-60 years old. 12.2 grams 2 1/8" wide.

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Mid Century Sterling Cat and Owl Brooch Signed. Selling both, they are both<br>signed, both great with no significant issues. I'm not sure who made either. Owl<br>is 1.75" tall and cat is 1.75" wide.

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Mid Century Taxco Modernistic Hinged Bracelet. Very cool bracelet with no issues or damage. Marked and tested sterling Fits up to a 6 3/8" wrist.13/16" wide at widest point. 55 grams

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Mid Century Venetian Latticino Glass Ewer 10" tall with labels intact, no damage.

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Mid Century Vintage Whiting and Davis Mesh handbag with Rhinestone top. Likely from the 50's or 60's but looks like new with no damage or detectable wear. 6" wide frame, 9.25" wide at base, nice functional size in a beautiful black enamel mesh with an uncommon rhinestone encrusted goldtone top. kitshelf

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Miguel Martinez Rancho Alegre Sterling silver turquoise Chile pin 2.5" wide x 1.25" tall x 14 grams with no issues. Martinez started his career designing for Emma Melendez in Taxco in the early 1950s before becoming the head designer at Rancho Alegre in the mid 1950s to the late 1960s, and he has continued to design great things ever since. He is a designer not a silversmith, so his pieces can have marks from several different workshops. Often, not always, his pieces are also marked "Miguel", but many of his pieces from the 1950s from Rancho Alegre don't have the extra designer mark. However, his pieces are readily recognizable by the strength of the design!

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Nice large piece 9.5" wide x 4" tall. some very tiny chigger bite flakes on base<br>rim. No large chips, cracks, dents, or other damage to enamel.<br>TW69

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Miguel Pineda Mid century Mexican Enamel on copper bowl. One of the tiniest flakes on top rim, no other issues, no cracks, in enamel. Please excuse the glare. 5" wide x 1 5/8" tall. b13

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Vintage Navajo sterling silver and turquoise deep stamped earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century. This hallmark is attributed to Dan Simplicio Zuni, but I don‘t believe that‘s correct. They are very nice.

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Mike Platero Navajo Sterling spiderweb turquoise clip-on earrings. No issues, weight and measurements in pics. High quality sterling clips with good springs. 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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Mikimoto sterling silver modernist pearl pin/brooch. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa last quarter of the 20th century.

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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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Milson Taylor Hopi Sterling/14k/peach agate pin. 1 7/8" x 1.5", Solid 14k gold bezelMarked 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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Ming Chinese Brown Stoneware Jar 3" tall x 3.5" wide from a collection of mostly<br>Ming Chinese ceramics put together in the mid 20th century. No cracks, chips, or<br>restorations.<br>tw132

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Ming Chinese Brown Stoneware Jar with handles 4" tall from a collection of<br>mostly Ming Chinese ceramics put together in the mid 20th century. One restored<br>chip to rim and one restored handle. No other issues.<br>TW32

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Ming Chinese Celadon Plate with Lotus Motif. Lots of heavily carved decoration, heavily potted. 10.5" wide. 3 Hairlines as show with old restoration at one. No chips. Nice early Ming barbed edge plate. TW132

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Ming Chinese Porcelain Bowl with blue underglaze decoration. 5.5" wide x 2.75" tall with no cracks, chips, or restorations. Some crazing all of which doesn't go through to other side, the bowl rings well, it's not cracked just over 300 years old. I believe this is a Wanli shipwreck piece. tw158

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Ming Chinese Porcelain Bowl with blue underglaze decoration. 5.5" wide x 2.75" tall with no cracks, chips, or restorations. Some crazing all of which doesn't go through to other side, the bowl rings well, it's not cracked just over 300 years old. I believe this is a Wanli shipwreck piece. tw158

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Ming Dynasty Chinese Barbed Edge Celadon Bowl with incised Lotus Decoration 7.5"<br>wide x 3" deep. There is a section about 6.5" wide that was broken and later<br>restored long ago. It is still very attractive and genuine, I believe a<br>competent restorer could do a better job with modern technology. No other<br>cracks, no chips, no restorations. From a collection I'm helping disperse that<br>was put together in the 1950's and 60's by a woman who is now 96.<br>TW130

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Ming Dynasty Chinese Bronze Tripod Censer with Greek Fret Rim. 5.5" tall to top<br>of handles x 5.3" wide. Nice original patina likely never polished, very old<br>restoration to part of one handle, slight dent towards the bottom of and hole in<br>the bottom of one foot. No other issues, several hundred years old and Chinese<br>guaranteed.<br>B31

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Ming Dynasty Chinese Celadon plate with incised Floral Motif 7 5/8" wide. There<br>is crazing throughout and it difficult to tell, but some of it may be a<br>fracture. Regardless it's stable and no chips, or restorations. I was told it's<br>15th century. From a collection I'm helping disperse that was put together in<br>the 1950's and 60's by a woman who is now 96.<br>TW130

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Ming Wanli Chinese Blue underglaze Dragon bowl. 5" wide x 2.5" tall, various<br>flaws, one glaze flake on footrim, no chips, cracks, or restorations.<br>chinadrawer

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Ming/transitional period Chinese porcelain bowl with blue underglaze decoration. Very nice 17th century Chinese porcelain bowl 4.75" wide, described in detail on 1984 appraisal which will be included and a pic of is included in the attached pictures. Jo Ann Adams was a very well respected, thorough, and knowledgeable appraiser that specialized in Asian antiques. And as you most likely know if you're reading this Chinese porcelain is one of the few areas of Antiques/Collectibles that have proven to be an excellent investment in the last 38 years since these appraisals were done.Tiny glaze frits on top and bottom rim, no cracks, chips, or restorations. isshelf

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Mini Travis County Austin Texas arrowhead found in 1943 with letter 21.25mm x<br>11mm converted to a tie tac long ago without damaging it. Very nice point, this<br>was found by me with the note tucked away as part of one of most interesting<br>persons estates I've had the pleasure of dealing with in ages.

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Miniature Antique Bronze Buddha and Guanyin Bodhisattva. Both about 3" tall, heavy solid bronze, 19th century. Fine casting and natural patina. TW239

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