Gioielli di design nativi americani/del sud-ovest

sz4.75 Gibson Nez (1947-2007) Jicarilla Apache and Navajo Mediterranean coral silver ring 1.5" long face, 20.3 grams. <br><br>Gibson Nez, Jicarilla Apache and Navajo, is known throughout the Indian arts<br>industry and by collectors worldwide as the master of stampwork. No other<br>craftsman comes close to the expert precision of his sharp, clean, impossibly<br>close stamps. Parallel lines, a hairs-breadth apart, encircle bolos and<br>bracelets like radiant energy, drawing your eye to the extraordinary, gem-grade<br>stone Gibson hand-picks to feature in the center. Stampwork of Gibson’s caliber<br>requires extreme patience and an eye for balance. “What is important to me is to<br>make one nice piece, not a lot of mediocre pieces,” said Gibson.<br><br>Gibson’s pieces have won ribbons and awards at all the major competitions,<br>including Gallup Ceremonial, Santa Fe Indian Market, the Heard Museum, the All<br>Mankind Jewelry Competition in Washington, D.C., and Casa Grande in Arizona.<br>Asked what makes him most proud in his work, Gibson said, “I simply try to make<br>a piece that highlights the stone.”<br><br>Gibson’s work embodies unrelenting attention to detail. Each hand-struck stamp<br>adds and builds on the last. Single, meticulously placed lines are, together,<br>the power to Gibson’s work - a complete harmony of silver and stone.<br><br>Gibson sadly passed away on December 1, 2007, but his work will be cherished for<br>years to come. Long after those who knew him are gone he will still be<br>remembered through his powerful jewelry.<br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<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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sz6,5 Frank Patania Sr (1899-1964) Anello modernista in sterline e turchesi del sud-ovest. Attualmente alquanto regolabile. Probabilmente più vicino a un 6 se messi insieme. qualsiasi gioielliere competente può risolvere questo problema. Ho scelto di lasciarlo così com'è perché mi viene sempre chiesto se un anello può essere ridimensionato e ovviamente sarebbe frustrante risolvere questo problema solo per ridimensionarlo. Quindi è stato tagliato sulla base, niente di grave, $ 20-$ 30 aggiustati presso il tuo gioielliere locale e a questo punto è più facile ridimensionarlo con la coscienza pulita, IMO. 9,6 grammi.Tutti i metalli preziosi sono testati e garantiti, si garantisce che qualsiasi gioiello dei nativi americani denominato argento o sterlina contenga almeno il 90% di argento (moneta) e possibilmente un contenuto superiore. Tutto ciò che è contrassegnato è garantito per essere ciò che è contrassegnato, la maggior parte dei braccialetti sono fotografati su un polso da 6" (non peloso), gli anelli fotografati sul dito della misura appropriata quando possibile. Con i braccialetti, se la misura non è fornita nella descrizione, viene mostrata la circonferenza interna dove il metallo incontra il numero sul metro a nastro di stoffa.Frank Patania Sr. emigrò a New York City nel 1908. Le leggi sul lavoro minorile impedivano al giovane di lavorare come artigiano, ma dopo la prima guerra mondiale era abbastanza grande per essere assunto come designer per un'importante azienda di gioielli. Nel 1924 contrasse la tubercolosi e l'azienda lo mandò in un sanatorio a Santa Fe, nel New Mexico. Patania fu sedotto dall'attiva colonia artistica e dal clima salubre, e scelse rimanere nel sud-ovest anche dopo che la sua salute è migliorata. Il suo lavoro riflette sia la sua formazione europea sia la sua esposizione ai gioielli Pueblo e Navajo. L'eredità lasciata da Frank Patania, Sr. deriva dall'integrazione di due persone nettamente diverse tradizioni: una europea e l'altra nativa americana. Da un lato, Frank Sr. attingeva da una lunga storia di spirito creativo italiano, combinando competenza tecnica e fantasia artistica. Ha instillato nella sua famiglia l'impegno italiano per l'artigianato raffinato, nonché la consuetudine italiana di creare legami aziendali familiari.Questa tradizione unicamente italiana può essere fatta risalire fino al Rinascimento e fornisce una struttura in cui ciascuno membro di una famiglia di artigiani ha un lavoro da svolgere che contribuisce all’impresa familiare. Questo sistema familiare di controllo ed equilibrio è stato una potente risorsa per il continuo standard di eccellenza della famiglia Patania nel corso degli anni. Ma lo stile di Frank Sr. venne drasticamente trasformato quando negli anni '20 venne introdotto al lavoro dei gioiellieri dei nativi americani del sud-ovest.La sua ispirazione era multiforme; iniziò a lavorare in un nuovo mezzo, argento e turchese, nonché in scala maggiore e utilizzando nuove tecniche. Il riuscito connubio di queste due tradizioni disparate è diventato il fondamento su cui ogni generazione ha mantenuto la tradizione di eccellenza nell'artigianato e nel design che è diventata nota come lo stile "Patania Thunderbird".

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Preston Monongye (Hopi) (1927-1987) Bracciale con intarsio a canale in oro rosa fuso in tufo. Si adatta a polsi fino a 6 3/8", si assottiglia da 20 mm a 30 mm di larghezza. Bracciale unico nel suo genere, estremamente raro esempio in oro. Preston Monongye non ha lavorato con molto oro, pochissimi pezzi sono mai arrivati ​​sul mercato, quando lo fanno sono pazzescamente costosi. Personalmente ho fatto testare questa macchina su una macchina XRF da $ 30.000 e oltre e varia dal 40 al 43% di oro (in media circa 10k), il che in realtà ha perfettamente senso. Dal momento che P Monongye non ha lavorato con molto di oro, le volte che lo ha fatto erano probabilmente in qualche modo sperimentali. In questo caso è abbastanza ovvio che ha fuso dei rottami d'oro, probabilmente alcuni che gli erano stati portati da un cliente o un amico per realizzare questo che probabilmente era un pezzo personalizzato. L'immagine con il contenuto di oro più basso che abbiamo effettuato mostrava 48,13% di rame, 40,08% di oro, 8,18% di argento, 3,49% di zinco e 0,12% di nichel.Preston Monongye (1927-1987) fu un influente sostenitore di ciò che chiamò “la nuova arte indiana”. Ha scritto: "Possiamo utilizzare vecchie tecniche, insieme a vecchi disegni presi da cocci o pittogrammi, ma poi li ridisegniamo o aggiungiamo innovazioni di nostra proprietà".Preston ha avuto un percorso non convenzionale e tardivo verso la creazione di gioielli. in due guerre, lavorò nelle forze dell'ordine e fu impiegato presso il Bureau of Indian Affairs. Più tardi nella vita decise di dedicarsi a tempo pieno alla creazione di gioielli, che ricevette numerosi premi. Aveva sempre sperimentato con i gioielli e artigianato, ma non ricevette consensi finché non si dedicò completamente alla sua arte. Preston si occupò principalmente della lavorazione dei metalli e del design dei suoi pezzi, lasciando che il suo amico e acclamato artista lapidario Lee Yazzie facesse l'intarsio, e in seguito permettendo a suo figlio Jesse Monongye di fare il suo lavoro lapidario. I suoi pezzi sono esposti a livello nazionale.Nato a East Los Angeles, California, da genitori messicani e indiani missionari, Monongye è stato adottato da una famiglia Hopi all'età di sette anni. È cresciuto Hopi, parlando la lingua Hopi e partecipando nella Società Katsina. All'età di nove anni, Monongye iniziò l'apprendistato con suo zio, il maestro argentiere e pittore Gene Pooyama. "Mi ha insegnato a vivere alla maniera Hopi", ha ricordato Monongye. Nel corso della sua carriera, i colori e le immagini Hopi sono stati prominenti nel lavoro di Monongye.Ma Monongye era fermamente convinto che i gioielli nativi non fossero legati al passato, spiegando: "Un vecchio pezzo di filosofia donatomi da mio padre e altri uomini degli Hopi Mesas è: "Se puoi progredire senza danneggiare la tua tradizione o la tua religione, dovresti farlo". Nato nel 1927, a Los Angeles, fu abbandonato a Hopi all'età di sette anni e adottato da un'importante famiglia Hopi. Monongye frequentò le scuole delle riserve e divenne un partecipante a pieno titolo alla vita religiosa e sociale Hopi. Dopo aver prestato servizio come paracadutista nella seconda guerra mondiale, Monongye divenne un pittore Kachina, lavorando occasionalmente per il commerciante Roman Hubbell e la Fred Harvey Company. Monongye si arruolò nuovamente durante la guerra di Corea e in seguito lavorò nelle forze dell'ordine per il Bureau of Indian Affairs pur continuando a dipingere e realizzare gioielli in argento. Dopo aver lasciato il lavoro in favore della creazione di gioielli all'inizio degli anni '60, Monongye fu rapidamente riconosciuto come designer e tecnico innovativo, immergendosi nella "nuova arte indiana", utilizzando tecniche e motivi tradizionali per creare un'arte contemporanea nuovo look. Era meglio conosciuto per l'argento fuso con pietre che spesso venivano tagliate dal suo amico Lee Yazzie e più tardi da suo figlio Jesse. Monongye ha insegnato la sua arte in varie scuole e laboratori e ha tenuto numerose conferenze sul design nativo contemporaneo. Ha vinto numerosi premi in mostre e concorsi e i suoi gioielli compaiono in collezioni museali come il Museum of Northern Arizona a Flagstaff e il Wheelwright Museum a Santa Fe.

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sz9.25 Frank Patania Sr (1899-1964) Anello modernista in corallo sterling sudoccidentale e turchese 8,8 grammi.Tutti i metalli preziosi sono testati e garantiti, qualsiasi gioiello dei nativi americani denominato argento o sterling è garantito come un minimo del 90% di argento (moneta) e possibilmente un contenuto superiore. Tutto ciò che è contrassegnato è garantito per essere ciò che è contrassegnato, la maggior parte dei braccialetti sono fotografati su un polso da 6" (non peloso), gli anelli fotografati sul dito della misura appropriata quando possibile. Con i braccialetti, se la misura non è fornita nella descrizione, viene mostrata la circonferenza interna dove il metallo incontra il numero sul metro a nastro di stoffa.Frank Patania Sr. emigrò a New York City nel 1908. Le leggi sul lavoro minorile impedivano al giovane di lavorare come artigiano, ma dopo la prima guerra mondiale era abbastanza grande per essere assunto come designer per un'importante azienda di gioielli. Nel 1924 contrasse la tubercolosi e l'azienda lo mandò in un sanatorio a Santa Fe, nel New Mexico. Patania fu sedotto dall'attiva colonia artistica e dal clima salubre, e scelse rimanere nel sud-ovest anche dopo che la sua salute è migliorata. Il suo lavoro riflette sia la sua formazione europea sia la sua esposizione ai gioielli Pueblo e Navajo. L'eredità lasciata da Frank Patania, Sr. deriva dall'integrazione di due persone nettamente diverse tradizioni: una europea e l'altra nativa americana. Da un lato, Frank Sr. attingeva da una lunga storia di spirito creativo italiano, combinando competenza tecnica e fantasia artistica. Ha instillato nella sua famiglia l'impegno italiano per l'artigianato raffinato, nonché la consuetudine italiana di creare legami aziendali familiari.Questa tradizione unicamente italiana può essere fatta risalire fino al Rinascimento e fornisce una struttura in cui ciascuno membro di una famiglia di artigiani ha un lavoro da svolgere che contribuisce all’impresa familiare. Questo sistema familiare di controllo ed equilibrio è stato una potente risorsa per il continuo standard di eccellenza della famiglia Patania nel corso degli anni. Ma lo stile di Frank Sr. venne drasticamente trasformato quando negli anni '20 venne introdotto al lavoro dei gioiellieri dei nativi americani del sud-ovest.La sua ispirazione era multiforme; iniziò a lavorare in un nuovo mezzo, argento e turchese, nonché in scala maggiore e utilizzando nuove tecniche. Il riuscito connubio di queste due tradizioni disparate è diventato il fondamento su cui ogni generazione ha mantenuto la tradizione di eccellenza nell'artigianato e nel design che è diventata nota come lo stile "Patania Thunderbird".

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c1978 Frank Patania Jr Southwestern modernist sterling bolo with turquoise and100 peso Mexican coin. Bolo is 94 grams without the box of course. Comes with original Thunderbird shop box (3 out of 4 corners are split on box top. Bolo slide is 2.5" tall x 2 3/8" wide 38" long. I think this piece had to have been made in 1978, the year the coin was issued, a year or two later at the most.The training Frank Jr. received was a breath of fresh air in the history of contemporary American craft. To understand the importance of this instruction, one must look to Frank Sr., who came to America with his experience of the apprenticeship system from Italy in the wake of the Industrial Revolution. This had a lasting effect on the handmade tradition. Mass production became apart of everyday life. The need for the services of skilled, educated artisans declined, as did the apprenticeship programs that trained them. It was accepted that mass production pieces were in general of better quality than what most people could make. Many craftsmen were forced to close shop and join in the factory ranks as designers.The effect of mass production on jewelry design is evident with a glance of any "Sears and Roebuck" catalogues of the early 20th century. Since these products were being made for the masses, designs were often "dumbed down", reflecting "safe" motifs repeatedly rooted in past trends. Reproduction became the national aesthetic. There were however, "pockets" within the United States that were exceptions. The Kalo Shops and Roycrofter, for example, were teaching apprenticeship programs, but they were small factors compared to the overwhelming impact of mass production.Like many first generation American children, Frank Jr. was encouraged to follow a formal education. Interestingly, he did not choose applied arts, but rather American History, with a minor in Anthropology. Reflecting on his choices, he believes his father would have thought a degree in applied arts would have been "a waste of time," because nothing could compare to the crafts education he had already imparted to his son.By the time Frank Jr. joined the shop full-time, the climate towards crafts had undergone a major change. Postwar America witnessed an explosion in the development of architecture, industrial design, and the handcrafts. For the first time in decades, craft was enjoying a newfound appreciation, much of which was due to en masse support of craftsmen through universities and crafts schools. An indication of the health of the contemporary jewelry movement can be seen in the surge of important exhibitions during the 40s and 50s. The Museum of Modern Art in NYC took an important step by promoting the first major exhibition of contemporary jewelry in 1946. Magazines like Design Quarterly and Craft Horizon (now American Craft) devoted full sections to design and contemporary jewelry.By the 1950s, a number of people were making contemporary jewelry on a professional scale. That same year, The American Craft council held its first conference, attended by over 450 crafts men and women from 30 states. During the three day conference they addressed many concerns of the young craftsman, including: 1) the craftsmen's relationship to society in economics and social aesthetics; 2) design importance as it related to techniques; and 3) problems in professional practices in the small business. While many young craftsmen in the United States were just addressing these issues for the first time, The Thunderbird Shop of Tucson and Santa Fe had already found resolution in regards to these problems and had implemented them in to a system that allowed the creativity of the shop to flourish while maintaining financial success.Today, Frank, Jr. and his wife Donna travel between Tucson and Santa Fe. Frank, Jr. says he is grateful for the life he has been given, acknowledging his joy in being able to do what his loves for a living and finally arriving at a place in which he can create the pieces he chooses without the pressures of the market. (Fig 25-27) He looks to his son, Sam, to carry on the family name and traditions, recognizing the struggle of a young designer with a family and the pressures to meet payroll while still maintain ones own inimitable style.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise, coral, and Jet<br>scary monster bracelet. 1 11/16" (44mm) wide, 1 1/8" (29mm) gap, fits up to a 6<br>3/16" (157mm) wrist. 92.5 grams. Incredible design, quality, and . A work of art<br>by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise and coral<br>cobblestone inlay bracelet. 1 7/8" (48mm) wide, 1 1/8" (29mm) gap, fits up to a<br>6.25 " (159mm) wrist. 125.2 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Multi-stone intarsia<br>inlay/coral corn row bracelet. 1 5/8" (42mm) wide, 1 1/8" (29mm) gap, fits up to<br>a 6.75 " (172mm) wrist. 88.5 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece.<br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Spiderweb turquoise<br>bracelet. 1 5/16" (33mm) wide, 1 5/8" (42mm) gap, fits up to a 6 7/8" (175mm)<br>wrist. 82.6 grams. Incredible design, quality, and . A work of art by anyone's<br>standards, one of a kind piece. <br><br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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6.25" Norbert Peshlakai Navajo 14k Sterling, coral, jet, and shell bracelet and<br>ring set. Selling the set shown, purchased in Santa Fe in 1979. 6.25" bracelet<br>and size 9 ring. Both of the finest quality with no issues. 104.9 grams total<br>weight<br><br>Norbert Peshlakai, Diné of the Navajo Nation Jeweler<br>+ Add Artist to My Preferences<br>Artist Hallmark Signature of Norbert Peshlakai, Diné Silversmith.Diné of the<br>Navajo Nation artist Norbert Peshlakai is respected as a top award-winning<br>contemporary jeweler. He is a master goldsmith and works in silver. He uses only<br>the best natural gemstones. A circle with a middle dot over an X is part of<br>Peshlakai’s hallmark. His distinctive hallmark rests on the surface of the<br>bracelet rather than on the inside.<br><br>Norbert Peshlakai (1953- ) is Diné of the Navajo Nation, Towering House Clan. He<br>is active ca. 1972-present: contemporary jewelry, container, paintings. Norbert<br>is the great-grandson of Asah ĺ chei / Asant Chee; material grandson of Bessie<br>Steven and Fred Steven; paternal grandson of Billy Roanhorse, Margaret<br>Peshlakai; son of Ben Peshlakai and Lydia Peshlakai; bother of Leta McBride,<br>Calvin Peshlakai, Clifford Peshlakai, Hattie Peshlakai, Victoria Peshlakai<br>Venagas, Jasper Peshlakai, and Frieda Peshlakai; husband of Linda Peshlakai;<br>father of Aaron and Natasha Peshlakai.<br><br>Awards:<br>1978, 3rd; 2006, Most Creative Use of Stamp Work, 1st; 2010, 1st, Indian Market,<br>Santa Fe; 1st, (2), 2nd; SWAIA Fellowship; 1984.<br><br>Reference: American Indian Jewelry III: M-Z 2,100 Artist Biographies by Gregory<br>and Angie Yan Schaaf.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Jolene Eustace (Cochiti/Zuni) 18k/14k/sterling Carved Turquoise, coral, and<br>shell necklace. Jolene is an extremely talented artisan, the galleries that<br>carried her work seem to be mostly out of stock. I believe she has always been<br>quality over quantity, producing a very limited amount of jewelry as you can<br>tell she invests a lot more time/skill/money into her pieces than a large<br>percentage of todays Native American artisans'. Amazing piece as shown. Bottom<br>piece has 18k, 14k, and sterling(marked and tested), two side pieces 14k and<br>sterling. Approximately 17" total length, 144.6 grams total weight.<br><br>Jolene A. Eustace-Hanelt is respected as a master jeweler. She comes from a<br>family of jewelers and potters. She grew up helping her parents. In a cover<br>story for Indian Artist Magazine, Jolene shared: "I was eight when I made my<br>first piece. I got an order to do 100 tie tacks...That was over 100 bucks." She<br>bought a 10 speed bike with the money. She added, "Then I realized I could be<br>self-sufficient with my work as an artist...My work is my release. My work is my<br>meditation. It's a way of going back to Mother Earth." (Zuni/Cochiti, active<br>1985=-present: contemporary, gold, silver leaf, set stones jewelry, alabaster<br>sculptures)<br><br>(A note from Keishi Jewelers a retailer of her wearable art) Sharing our Keshi<br>"Jolene" story: Jolene is (obviously) quite a beautiful woman, and the staff of<br>Keshi commonly referred to her as "the jewelry dess." One day, someone fessed up<br>and told Jolene what she'd been nicknamed, and her reply was "I'm not the<br>jewelry dess, I MAKE jewelry FOR desses!" That response certainly endeared her<br>to us even more!<br><br>Jolene is a daughter of well-known artists Ben and Felicita Eustace. Ben, from<br>Zuni, was a jeweler who, in turn taught his Cochiti wife Felicita the art of<br>jewelry making. Felicita is also a potter, specializing in traditionally made<br>storytellers. The Eustaces passed their demand for quality on to their 13<br>children, including Jolene.<br><br>Jolene was educated at the Institute of American Indian Arts in Santa Fe. She<br>learned jewelry making from her parents and Hopi jeweler Duane Maktima. She has<br>been fabricating jewelry since the mid-80s.<br><br>Always seeking challenges, Jolene relocated to Essen, Germany in the mid-1990s<br>with her German-born former husband and infant son. Several times a week, she<br>commuted by train between her home and Europe’s renowned art school, the<br>Künstakadamie, in Düsseldorf. There she studied frawing and painting. Jolene is<br>a recipient of a fellowship from the Southwestern Association for Indian Arts<br>(SWAIA) and has worked with SWAIA’s mentor program, teaching jewelry techniques<br>to Native students.<br><br>Jolene’s jewelry is characterized by the quality of materials and its striking<br>individuality. She says, “Whoever said you have to play by the rules? I want my<br>jewelry to say something. It cannot be just jewelry. In my jewelry, design and<br>fabrication have to deal with personal experiences and traditional values<br>conflicting and collaborating with present society.”<br><br>Jolene’s parents once said to their children, “If you’re going to do jewelry at<br>tall, you have to do it our way, the right way.” It wasn’t the designs they were<br>talking about, it was the technical aspects of their work: setting stones,<br>welds, and engravings. From the time of their training, the Eustace kids learned<br>a respect for materials and techniques of their art.<br><br>Jolene’s hallmark is a stamped “JAE” and a trademark design which represents<br>sage that was designed by her Dad long ago.<br><br>Tribal Affiliation<br>Cochiti/Zuni<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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c1970's Lander Blue Turquoise Native American Silver bracelet. Fits up to a 6.5" (165mm) wrist including the 1" gap 1.7" or 43mm wide. Center stone approx 23mm x 14mm, smaller stones approx 16mm x 9mm. 80.2 grams total weight in which I think approximately 15 grams(75 carats) could be in stones very easily. This bracelet came from a significant collection of c1970's Native American jewelry. There was nothing extremely old in the collection and also nothing modern. While I don't know the story on the formation of the collection, my hypothesis is it was formed on a vacation or two to New Mexico during the 70's. All of the items were high quality. While anyone with eyes can see this is amazing, this bracelet would not have broke the bank in the 70's. It would have been appreciated at the time, but a very small fraction of the appreciation it would receive today. There were other pieces in this collection from the same era with values in excess of 10k, there were 5 Preston Monongye bracelets in theis collection.This bracelet has no artisan or purity markings whatsoever which would be appropriate for the early to mid 70's when i believe this bracelet was made. I believe it was made before the rarity of the stones was understood. Obviously it's a well made bracelet with obviously beautiful stones. I feel less than half of the artisan's of this period were marking their work.I was born in 1975, I didn't mine these stones, nor have I owned any other Lander Blue that I know of as it's extremely rare. It's the type of thing you could look your whole life for and never find. I have compared it to other stones I have including Chinese Hubei spiderweb turquoise which wasn't introduced to the US until the 80's. It's significantly different. I have ran this by some people which a lot more experience than me, people that have had/seen Lander Blue in person and the consensus was it's Lander Blue. I've spent much time myself looking over Charles Loloma's and other documented pieces that are without a doubt Lander Blue and I'm convinced.Unconditional guarantee no questions asked return privileges, also I would be happy to facilitate an in person inspection.Have you heard of Lander Blue Turquoise, the rarest turquoise in the world?In 1973, Rita Hapgood, a Blackjack dealer from the battle mountain, Nevada, went hiking with her sisters. While out hiking, she found some really fine-looking turquoise rocks. She then went back and filed a mining claim along Indian Creek, which borders the Lander ranch and Lander county.Rita then sold the claim to Marvin Simes and Hank Dorian, who then brought in Bob Johnson to work the mine.A "Hat" MineThe land of mine turned out to be a hat mine, which is a way of saying that the mine was so small that you could cover it with your hat.Only about a hundred pounds of high-grade Turquoise were extracted. Lander Blue Turquoise is now considered to be the finest and most rare turquoise in the world. It is known for its beautiful medium to deep blue spider webbing pattern against a dark, almost iridescent-looking matrix.

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6 7/8" Harry H Begay Ingot Silver and coral heavy stamped bracelet. Fits up to a<br>6 7/8" wrist, very well made and substantial bracelet with no issues.<br><br>Harry H. Begay began his jewelry making career in the early 1970s. He is widely<br>recognized as reviving traditional Native American silver smithing by building a<br>piece of jewelry out of ingot sterling silver. He heats the ingot and anneals it<br>prior to hammering out the desired shape. He then pulls the wire to be used in<br>the piece through an iron block with different sized holes to create different<br>gauges. Harry’s work is significant in that the resulting piece is so thick and<br>heavy that it could not have been purchased from sheet and wire at a commercial<br>supply store. This process is so labor intensive that it takes many times longer<br>to create a piece. It is for this reason that he only uses the finest turquoise<br>on the market. This includes the classic mines from Nevada, including Lone<br>Mountain, Pilot Mountain, Red Mountain, Royston, Candelaria, Carico Lake and<br>Godber Burnham. Harry’s contribution is so significant that he ranks as one of<br>the most collectible Navajo silversmiths of the twentieth century. With over<br>forty years of fine jewelry making behind him, we are proud to carry his work in<br>the twilight of his career.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Turquoise, Coral, shell and Jet<br>freeform bracelet. 45mm or 1.75" wide, fits up to a 6 3/8" (163mm) wrist<br>including the 1 1/8" gap 112.3 grams with no issues. Incredible design, quality,<br>and . A work of art by anyone's standards, one of a kind piece.  <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Michael Perry High grade turquoise Sterling tufa cast bolo tie. Bolo slide is 3<br>1/8" x 2 1/8" 174.7 grams total weight. Clean with no significant wear, no<br>damage to stones.<br><br>Michael Perry is an outstanding Navajo artist whose jewelry has taken the Native<br>American art world by storm. Born in 1972, Michael creates stunning contemporary<br>jewelry combining overlay, inlay and tufa cast techniques. He uses the very<br>finest natural turquoise and the deepest oxblood Mediterranean coral to create<br>his masterpiece bracelets, bolos, buckles and concho belts. His work has won<br>numerous awards.<br><br><br>Michael’s parents were silversmiths in the 1970’s. He grew up around a large<br>number of Native American artists who worked with his mother and father. Years<br>later, he picked up his parents tools and began to experiment. Influenced by<br>many of his contemporaries, he developed his own techniques and designs and,<br>several years ago, became serious about creating jewelry. Today, his jewelry can<br>be found in some of the finest Native American jewelry galleries in the world.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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1950's Frank Patania Sr(1899-1964) Modernist southwestern Sterling RC Bolo tie.<br>2" wide bolo slide 37.7 grams with no issues. Rare possibly one of a kind, Frank<br>Patania and his studio did a lot of custom pieces. This is obviously the RC Cola<br>logo but at this point I have no way of knowing if it were made for say a<br>company exec or someone with the initials RC. Shouldn't really matter, it's very<br>cool.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.<br><br>Frank Patania Sr. immigrated to New York City in 1908. Child labor laws kept the<br>young man from working as a craftsman, but after World War I he was old enough<br>to be hired as a designer for an important jewelry firm. In 1924 he contracted<br>tuberculosis, and the firm sent him to a sanatorium in Santa Fe, New Mexico.<br>Patania was seduced by the active art colony and healthy climate, and chose to<br>remain in the Southwest even after his health improved. His work reflects both<br>his European training and his exposure to Pueblo and Navajo jewelry.<br><br>The legacy left by Frank Patania, Sr. came from the integration of two<br>distinctly different traditions-one European, and the other Native American. On<br>the one hand, Frank Sr. drew from a long history of Italian creative spirit,<br>combining technical expertise and artistic imagination. He instilled in his<br>family the Italian commitment to fine craftsmanship, as well as the Italian<br>custom of family corporate bonding.<br><br>This uniquely Italian tradition can be traced back as far as the Renaissance,<br>and provides a structure in which each member of an artisan family has a job to<br>perform that contributes to the family enterprise. This familial check and<br>balance system has been a powerful asset to the Patania family's continued<br>standard of excellence through the years. But Frank Sr.'s style was drastically<br>transformed when he was introduced to the work of southwest Native American<br>jewelers in the 1920s.<br><br>His inspiration was multi-faceted; he began to work in a new medium-silver and<br>turquoise-as well as in increased scale, and using new techniques. The<br>successful marriage of these two disparate traditions has become the foundation<br>upon which each generation has maintained the tradition of excellence in<br>craftsmanship and design that has come to be known as the "Patania Thunderbird"<br>style.

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Rare 1970's Carol Kee Zuni Multi-stone Inlay Mickey Mouse bolo tie. Bolo slide<br>3.5" x 1.75" x 45 grams total weight, no issues. Carol Kee was a Zuni Native<br>American Artisan active in the 60's and 70's, the did other work but is most<br>famous for her extremely collectible character pieces. She made a lot less<br>bolo's than she did rings. Some of her character pieces have brought 2-3k at<br>auction and a few even more.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Gibson Nez (1947-2007) Jicarilla Apache and Navajo, Multi-stone inlay cuff bracelet. 6 1/16" including the 1 1/16" gap. No damage, very clean with hardly any wear whatsoever. Tapers from 9/16" to 7/8" 89.4 grams.Gibson Nez, Jicarilla Apache and Navajo, is known throughout the Indian arts industry and by collectors worldwide as the master of stampwork. No other craftsman comes close to the expert precision of his sharp, clean, impossibly close stamps. Parallel lines, a hairs-breadth apart, encircle bolos and bracelets like radiant energy, drawing your eye to the extraordinary, gem-grade stone Gibson hand-picks to feature in the center. Stampwork of Gibson’s caliber requires extreme patience and an eye for balance. “What is important to me is to make one nice piece, not a lot of mediocre pieces,” said Gibson.Gibson’s pieces have won ribbons and awards at all the major competitions, including Gallup Ceremonial, Santa Fe Indian Market, the Heard Museum, the All Mankind Jewelry Competition in Washington, D.C., and Casa Grande in Arizona. Asked what makes him most proud in his work, Gibson said, “I simply try to make a piece that highlights the stone.”Gibson’s work embodies unrelenting attention to detail. Each hand-struck stamp adds and builds on the last. Single, meticulously placed lines are, together, the power to Gibson’s work - a complete harmony of silver and stone.Gibson sadly passed away on December 1, 2007, but his work will be cherished for years to come. Long after those who knew him are gone he will still be remembered through his powerful jewelry.

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