Herman Vandever Navajo 14k gold coral/sugilte beaded necklace/pendant. Circa last quarter of the 20th century with no apparent issues. Tested and guaranteed solid 14k gold (pendant and all hardware/findings on necklace) with weight and measurements in pictures. 22" long necklace Herman Vandever (1964- ) Diné – Navajo Nation. He belongs to a family of well-known silversmiths and it seems only natural that he would follow in their footsteps. He turns traditional methods into contemporary styles with fine, natural stones, coral and even sea shell. He often makes his own ingot silver jewelry by melting his silver to roll it out into handmade sheet silver.

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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 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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Sam Patania 18k gold, Platinum-high grade Bisbee turquoise necklace/earrings set. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold and platinum. No apparent issues. 23" long necklace, other measurements in pictures. A set like this would retail for around 30k directly from Sam Patania or another high end gallery that represents him.Sam Patania - Third Generation Artisan in JewelrySam Patania, as the third generation of Patania artisans, has followed in the footsteps of his father and grandfather (Frank Patania, Sr.) before him. In 1969, at the age of ten, he began his apprenticeship at the Tucson Thunderbird Shop. For the next decade, his after-school training would be a major part of his daily routine. But Sam followed his own path, having sought instruction outside the traditions of the shop.

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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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sz10.5 Albert Jake Navajo 14k gold high grade Carico Lake Nevada turquoise ring. Tested and guaranteed solid 14k gold with weight and measurements in pictures. Nice ring from the last quarter of the 20th century. Clean with no issues. Albert Jake is a distinguished Navajo silversmith. He was born at Zuni Pueblo in 1959 and has made his home in the beautiful village of Ramah, New Mexico for over 50 years. Albert’s parents taught him the many steps to fine Navajo silverwork, which includes both cluster jewelry as well as beautiful stones in classic Navajo settings. He has been professionally making beautiful traditional jewelry since 1987. Albert is renowned for the precise detail and execution of his work, including intricate stamping and applique/ He is also known for the fine natural stones which he always employs in his pieces. Albert is a multi-talented artist, as he is also a sandpainter and potter. During the summers, he works as a forest firefighter. He signs his pieces A. Jake.

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10k/14k gold large vintage deep carved pink shell cameo pendant/pin. Bail likely a later addition, marked and tested 14k gold, body unmarked (tested and guaranteed) solid 10k gold. No damage, very high relief beautiful cameo.

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7.2" vintage solid 14k gold multi-stone carved Scarab link bracelet . Weight and measurements in pictures Marked, tested, and guaranteed solid 14k gold with semi-precious stones. Circa third quarter of the 20th century with no issues.

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Vintage 14k gold/diamond carved moss in snow Jadeite Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite, natural diamond.

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Vintage 14k gold carved moss in snow Jade pendant. Estate fresh, tested and guaranteed solid 14k gold bail and ornamentation on top. Guaranteed authentic jadeite.

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7.25" vintage solid 14k gold multi-stone carved Scarab link bracelet . Weight and measurements in pictures Marked, tested, and guaranteed solid 14k gold with semi-precious stones. Circa third quarter of the 20th century with no issues.

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Antique Victorian 9ct gold and turquoise pin/brooch . Tested and guaranteed solid 9ct gold. It XRF‘s at just over 9ct 37.7% gold. No issues, circa late 19th century to turn of the last century. Weight and measurements in pictures, unmarked.

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Antique 14k gold Signed Hardstone cameo Agate screw back earrings Victorian. Illegibly signed, circa last half of the 19th century. The main bodies are tested 14k gold+, the screw backs were added later and are gold filled. No detectable markings on the gold. Very good condition. Measurements and weight in pictures.

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Antique 14k gold Signed Hardstone cameo pendant/pin w/pearls Victorian. Illegibly signed, circa last half of the 19th century, tested 14k gold+. No detectable markings on the gold. Very good condition. Measurements and weight in pictures.

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NSS Southwestern 14k Gold pendant with green turquoise hand chiseled/ rope bail. Tested and guaranteed solid 14k gold with weight and measurements in the pictures. No detectable issues. Any markings detected will be shown in the pictures. Great piece from large collection of Native American jewelry purchased in the last quarter of the 20th century and never worn for the most part.

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sz6.75 14k gold micro-webbed Nevada Blue turquoise vintage Navajo ring. Weight and measurements in pictures. Unmarked, tested and guaranteed solid 14k gold. No issues. Vintage ring circa 1970‘s which I believe was the last time this turquoise was readily available.

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Boyd Tsosie Navajo 14k gold, diamond, opal, and coral beaded necklace. All of the metal on this necklace is tested and guaranteed solid 14k gold, weight and measurements in pictures. No issues, circa last quarter of the 20th century. Natural Opal and Mediterranean coral beads and inlay outside the pendant. My monitor is off, but these pics look really bad to me. It‘s gold, it‘s beautiful. Boyd Tsosie is a jeweler who draws inspiration from the rich heritage of his Navajo traditions. Born in 1954, he has been making jewelry since he was sixteen years of age. In 1979, Boyd Tsosie was only 23. He was already among the top echelon of Southwestern jewelers / silversmiths (both past and present). Boyd was featured in Arizona Highways along with other greats like Jesse Monongye, his brother Richard Tsosie, Gibson Nez, James Little, and Larry Golsch. These Navajo silversmiths all would go on to build fine reputations and set the standards you see today for Southwest jewelry. Kenneth Begaye, a teacher at the Navajo Community College on the Navajo Reservation, inspired Boyd at a young age. Boyd gives credit to Kenneth for teaching him his trade. Kenneth Begay has been deemed the father of modern Navajo jewelry. Before Kenneth Begay, Navajo Indian Jewelry was much like it had been for the past 100 years. Navajo jewelry had a strong Spanish influence. Which is entirely understandable since it was a Mexican silversmith (who learned from the Spanish) that taught the first Navajo to work silver. Boyd considers Kenneth Begay a major influence and carries on today the work of Kenneth Begay. Boyd Tsosie continues to move Navajo jewelry forward and he, like Kenneth Begay, generously shares his knowledge with other silversmiths. Boyd, working with his brother Richard, first gained widespread recognition for his soldered flower and leaf designs. Later, he moved his jewelry designs to a more complex, contemporary look. Over the years Boyd has developed a contemporary style of work primarily in 14K gold combined with turquoise, coral, lapis, and sugilite. Boyd feels that he is creating “tomorrows tradition in Navajo jewelry by being given the rights and prayers by his elders to create his special pieces. He is featured in Navajo Indian Jewelry and Enduring Traditions by Jerry and Lois Jacka and North American Indian Jewelry and Adornment by Lois Dubin. In recent years, Boyd and his son have given back to the Navajo Nation with a nonprofit to give counsel and help to those with substance challenges.

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c1900 Syman Bros. Denver Colorado 14k gold high relief pink shell cameo - nice Marked Syman with no detectable gold markings, tested and guaranteed solid 14k gold. No damage, very high relief beautiful cameo. These pics are a little too bright and the color is washed out in the pics, plus it was on a lighted table. There is no time for more pics, it‘s great.

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sz7 14k gold southwestern ring with high grade spiderweb turquoise. Weight and measurements in pictures. Unmarked as shown, tested and guaranteed solid 14k gold with 14k scratched on the back.

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Lucien Piccard 14k gold Tiger‘s Eye, and pearl cufflinks. Vintage, guaranteed authentic in amazing condition with no issues. Weight and measurements in the pictures.

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sz8.5 Hopi 14k gold high grade turquoise ring Native American. Weight and measurements in pictures. No damage or detectable wear. Very high quality work, I could not figure out the hallmark, but believe it‘s Hopi made.

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14k High Grade spiderweb Carico Lake turquoise earrings AC. Weight and measurements in pics. Solid 14k gold with no issues, likely Native American made from the last quarter of the 20th century.

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Vintage 14k Jadeite Budhha pendant. Marked and tested 14k gold, Jadeite. Weight and measurements in pics. Estate fresh item with No chips, cracks, or other issues.

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sz8 70‘s-80‘s Saunsa 14k cobblestone band ring. I‘m not sure what ethnicity Saunsa was, this is the type of work they did. Very clean modernist Hopi style jewelry. No issues. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<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. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 8 Ring.

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Danny Romero Yaqui (1954-2018) 14k Gold Diamond, Tanzanite, Opal, sugilite, coral, boulder opal, and lapis necklace. Measurements in pics, accompanied with 2013 receipt. Still in like new condition with no damage or detectable wear. Please keep in mind that in 2013 gold averaged 1/2 the price it currently is so did the other top grade materials used to make this, not to mention a deceased artists talent and time. Also It seems this dealer sells secondary market items, so I believe this 7k was a used price in 2013 as it's really not a lot of money for this necklace now and wasn't then.  18.5" long Danny Romero 1954-2018 Danny Romero is of both Yaqui and Spanish heritage. He creates jewelry and paintings from his home in New Mexico. Growing up in Douglas, Arizona, he has been working with stone and silver for over 20 years. "I like E.S. Curtis photographs," he says, referring to the famous turn-of-the-century photographer and ethnographer who documented more than 80 Native American tribes. "I go through magazines. I've done drawings and I paint". He was one of five silversmiths invited to the Night of the First Americans at the Kennedy Center in Washington D.C., and he has had showings of his jewelry in galleries and museums in many parts of the country as well as in Germany, Japan, and Canada. Danny Romero is no longer producing jewelry. The jewelry we have was made by Danny Romero circa 2005. Danny received wide acclaim in the 1970's-80's for both his traditional turquoise jewelry as well as his inlay jewelry. Danny Romero was the first silversmith to literally put painted art into jewelry.  

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Andy Lee Kirk Isleta Pueblo (1947-2001) 14k gold Sugilite and Opal necklace. With accompanied 2008 appraisel from Waddell Gallery 2008, keep in mind gold averaged 1/3 of it's current price in 2008 so do the other materials not to mention a deceased master's labor and skill. No issues with the necklace or pendant, no damage or significant wear. 23" long and other measurements in pics. 64 grams total weight.Andy Lee Kirk was a Master contemporary Native American artist of Isleta and Navajo heritage, who died tragically at the height of his career at the age of 54. He created beautiful gold and silver jewelry using the finest materials from 1970 to 2001. Born in 1947, he originally earned a degree in biology continuing on to work for the Fish and Wildlife and Forest Services. Andy had learned the basics of jewelry making at the University of New Mexico and with the urging of Navajo artist, Gibson Nez, he made the decision to become a full time jeweler. Andy Lee Kirk was a consummate artist with many fine skills. He did lapidary work, rolling his own beads, and had mastered many types of precious metalwork including lost wax and sand cast techniques, stamping, engraving, overlay and fabrication. His artistic innovation reached further than aesthetic beauty alone. His designs were brilliant – a perfect balance between clean modern lines, meaningful symbolism, and bright southwestern colors such as lapis lazuli, turquoise, and red coral. He was the IACA Artist of the Year in 1996 and earned many other prestigious awards and accolades including First Place and Best of Division at Santa Fe Indian Market and Best of Category at the Inter-Tribal Indian Ceremonial in Gallup, NM.All precious metals are tested and guaranteed,

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6 3/8" Veronica Poblano Zuni 14k gold Turquoise and Coral modernist cuff bracelet. No issues, measurements in pics. 6 3/8" inside circumference including the 7/8" gap.. Appears unworn. The daughter of Leo Poblano and Ida Vacit Poblano, Veronica Poblano has become recognized as a top contemporary jeweler. While she draws on Zuni silverworking and lapidary forms and techniques, her work is characterized by a high degree of innovation and individual creative license, making it a fertile hybrid of the contemporary and the traditional. Veronica has gained notoriety as a contemporary innovator, working with uncommon materials in wide-ranging styles. All precious metals are tested and guaranteed,

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8" Melanie Kirk Isleta Pueblo 14k gold Opal and Sugilite reversible bracelet,  showing little to no signs of wear.   The quality of workmanship is absolutely amazing. Recognized as the leading voices of today’s Contemporary Native Jewelry scene, Designers and Goldsmiths Melanie Kirk-Lente and Michael Lente (Isleta Pueblo) command a distinctive presence at the top of collectors’ lists world-wide. The Lentes continue to carry on their well-known family tradition in fine jewelry design, being taught by Melanie’s father, renowned artist Andy Lee Kirk.

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sz6 c1880 Antique 14k Green Hardstone cameo ring. Tested and guaranteed solid 14k gold, illegible markings on band. It appears this was a pendant or brooch that was long ago soldered to a gold ring that used to have stones if you look at all the pics. It's really great with no issues. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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Large Retro 14k gold Jade pendant with diamonds. Nice sized Jade pendant, marked and tested 14k gold. Diamonds are small but real diamonds. High quality Jadeite and Setting estate fresh so I don't know if it's type A, etc.

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sz5.75 Antique gold carved carnelian ring. Nice old 19th century ring. The shank is cut on the back but when closed it sits at size 5.75. I'll try to test carat and weigh later. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 5 Ring.

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c1960 14k gold Budweiser Executive ladies watch. Fits a 6"-6.5" wrist, just a little stretchy. Watch solid 14k gold, bracelet not. Watch is overwound and not currently ticking. This is a really rare if not one of kind item from the third quarter of the 20th century.

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10k Gold WW2 USN US Navy Sweetheart Pendant. Marked and tested 10k gold,guaranteed ww2 era. 1.4 Grams. 1.75" long x .5" wide.

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24" 14k Black Jade beaded necklace. 8.5mm black jade beads, solid 14k tested and guaranteed beads and clasp. 42.7 grams with no issues.

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34" Estate Black Jade, 14k, Carnelian beaded necklace. Extremely high quality piece on hand tied silk cord. 10mm natural black Jade beads with 20mm Carnelian agate largest beads. 14k yellow gold (tested) accent beads. 118.6 grams

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Vintage Ankh 14k gold/Amethyst mounted bronze. Measurements in pics. Looks to have been custom made from an antique piece of solid 14k gold/amethyst jewelry. Interesting, one of a kind. Tested and guaranteed solid 14k gold center piece.

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Antique HBJ 9ct gold hardstone watch key pendant/charm. Hallmarked by maker on one side, 375 and date/city codes on other. All unresearched by me, 19th century.

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sz4.25 14k Ming's of Hawaii Jadeite ring 20mm x 12mm face. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 4 Ring.

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sz7.25 14k Ming's of Hawaii Jadeite ring 22mm x 16mm face. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 7 Ring.

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sz7.25 14k Ming's of Hawaii Lavender Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. Ring face 20mm, Jadeite 15mm wide. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 5 Ring. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 7 Ring.

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sz7.25 14k Ming's of Hawaii Lavender Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 19mm x 15mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 7 Ring.

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sz9 Vintage 14k Multi-color Natural Jadeite balls ring, balls approx 6mm, ring face approx 20mm, no issues. Scratched on inside of ring 14k and and illegible makers name. From a significant estate collection of mostly Ming's jadeite rings. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

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sz7 Large Vintage Ming's of Hawaii Jadeite 14k gold ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 20mm x 30mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 7 Ring.

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sz9.5 vintage 14k carved Jadeite ring 21mm face, jade likely 20mm. Possibly an older/antique Jadeite piece made into a ring. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

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18k Gold French Art Deco Lapis cufflinks for Nieman Marcus. I don't recognize the hallmark but these are the highest quality, similar to that of Van Cleef & Arpels, Boucheron. I feel this is likely an obscure hallmark only used for a short time by a well respected company such as the ones mentioned. 11/16" face, 16 grams.

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sz7 14k Ming's of Hawaii White Jadeite ring. Guaranteed Grade A Natural Jadeite, solid 14k gold marked and tested. The last two pics show Ming's Hallmark and 14k mark. 25mm x 15mm face of ring, stone a few mm smaller. <br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 7 Ring.

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Vintage Karl Lagerfeld Gold-tone and Faux Mabe pearl clip-on earrings, 1 1/8" wide with little wear. A few slight scratches to Faux pearls, no wear to gold. Guaranteed authentic, strong springs on clips. Very high quality. 15 grams each.

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c1860 French 14k Gold top cut glass perfume bottle. Tested 14k gold, Dutch Oak leaf 14k Hallmark on lid and mounting, both shown in the last pic, one in the center of the pic.. Another on other side of lid. The gold is tested and guaranteed. Original inner stopper intact. Amazing bottle with no issues, top gold lid snaps on tight, inner stopper forms waterproof seal, no chips or cracks. 5.5" tall x 2" wide.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6" Duane Maktima Hopi 14k gold Multi-stone channel inlay cuff bracelet. 5" plus 1" gap, 6" total inside including gap. 25mm wide in center tapering down to 15mm on the tips, 10mm tall, 64.2 grams. Super clean with no detectable damage or wear inside or out. I don't believe it has ever been worn. Hallmarked by artist twice in interior, hallmarked 14k 3 times in interior.  This bracelet it composed of 14k gold, Gem Silica, Natural Australian Opal, Carnelian, Chalcedony, and Lapis Lazuli.   Duane Maktima was studying education at Northern Arizona University in Flagstaff, when a dean suggested he switch his major to art. “ I thought it would be a hobby.” Growing up in tiny towns in Arizona under the tutelage of his Hopi and Laguna relatives, Maktima learned how to carve and paint, but these artworks were referred to as “blessings” and not art. The Dean, having seen Duane’s work was insistent. When Maktima first laid eyes on the jewelry in the jewelry lab, he says, “It was like my whole life flashed before my eyes, I was hooked.” It took a decade for Maktima to complete his degree. He left college to work as a resident artist at the nearby Museum of Northern Arizona in Flagstaff. At only 19 years old he was given a studio and stipend to make jewelry which was snapped up by visitors from around the world.  Eventually he embarked on a personal retreat from the pressure and spent 3 years at Laguna Pueblo. Maktima worked there as a survey helper and everyday he walked the country from Second Mesa to Black Mesa.  During these long walks he came to deeply appreciate his heritage and decided to complete his education. When he did return to university, it was an exciting time for Native American artists. His research into African and Indian art led him create spiritual based  pieces from beads, shell work mosaics, motifs from Hopi pottery, hollow silver tubes, gold , lapis, turquoise , and red coral. In 1982, Maktima,  received a second-ever fellowship from the Southwestern Association for Indian Arts. He moved to Sante Fe a year later. An active community leader,  he has influenced many young people to pursue a career in art.  His brooches, buckles, and other exquisite jewelry have been featured in some of the best Native American galleries. In 1990, Northern Arizona University honored the artist with its 2000 Distinguished Alumni Artist Award, Distinguished Achievement Award, and member of the President’s Circle. Maktima credits his achievements to his education and his family. “I can hear grandpa saying, ‘You have really learned something. You’ve really excelled with what God gave you.’ ” According to his grandfather, the name “Maktima” means “searching for eagles.”

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Sz6.25 Estate 18k white gold Jadeite, Diamond ring. Nice old, extremely high quality ring, tested natural diamonds .4cttw, Approx 4ct assymetrical Jadeite stone, no tests have been done to the Jadeite other than to confirm it is Jadeite. Marked and tested 18k gold. Shown on a finger it fits. 4.5 grams. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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sz4 Antique gold carved cat's eye ring. Unmarked, guaranteed solid gold, I'll test carat and get weight later. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 4 Ring.

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大きなヴィンテージ 14K ラベンダー ジェイド ダイヤモンドとラピスのペンダント、高さ 3 1/8 インチ x 幅 1 3/8 インチ、明らかにマークはありません。私によるテストでは、無垢の 14K ゴールド、本物のダイヤモンド、ラピス、ジェダイトが保証されています。 28.8グラム。

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大きなアンティーク 14K ハードストーン カメオ オニキス ペンダント/ブローチ、回転ペンダント リングを除く高さ 43 mm x 幅 35 mm x 21.6 グラム。検出可能なマークはなく、テスト済み (複数の箇所で) であり、14K ゴールドの無垢であることが保証されています。 1870 年代頃の完全に手彫りのオニキス カメオ。

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プレストン モノンイェ (ホピ) (1927-1987) トゥファ キャスト ローズ ゴールド チャンネル インレイ ブレスレット。最大6 3/8インチの手首にフィットし、幅20mmから30mmまで先細になっています。ユニークなブレスレットで、ゴールドで作られた非常に珍しい例です。プレストン・モノンイェは多くの金で加工されておらず、市場に出回った作品はほとんどありません。私は個人的にこのマシンを 30,000 ドル以上の XRF マシンでテストしましたが、金の範囲は 40 ～ 43% (平均約 10,000) で、これは実際に完全に理にかなっています。この場合、彼が金のスクラップを溶かしたことはある程度明白で、おそらく顧客か友人がこれを作るために持ち込んだものであり、これはおそらくカスタム作品であったと思われます。私たちが撮影した最低の金含有量の写真では、銅 48.13%、金 40.08%、銀 8.18%、亜鉛 3.49%、ニッケル 0.12% であることがわかりました。Preston Monongye (1927-1987) は、次のような影響力のある提唱者でした。彼は「新しいインド芸術」と呼んだ。彼は、「陶器の破片や絵文字から取った古いデザインとともに、古い技術を使用することもありますが、その場合はそれらを再デザインするか、独自の革新を追加します。」プレストンは、型破りで遅咲きのジュエリー製作の道を歩んできました。 2 つの戦争に従軍し、法執行機関で働き、インディアン問題局の職員でした。彼がジュエリー作りにフルタイムで専念することを決意したのは晩年になってからであり、それが数々の賞を受賞しました。彼は常にジュエリーを実験し、プレストンは主に自分の作品の金属加工とデザインを担当し、友人で高名な宝石細工アーティストのリー・ヤジーに象嵌を行わせ、その後息子のジェシー・モノンジーに宝石細工の仕事を任せました。彼の作品は全国で展示されています。カリフォルニア州イーストロサンゼルスで、メキシコ人とミッションインディアンの両親のもとに生まれたモノンゲは、7 歳でホピ族の家族に養子縁組されました。彼はホピ族として育てられ、ホピ語を話し、参加しました。カツィナ協会で。 9 歳のとき、モノンイェは叔父で銀細工師兼画家のジーン・プーヤマのもとで見習いを始めました。 「彼は私に『ホピ流』の生き方を教えてくれました」とモノンゲさんは思い出します。彼のキャリアを通じて、モノンゲの作品ではホピ族の色とイメージが際立っていました。しかしモノンゲは、ネイティブ ジュエリーは過去に縛られるべきではないと断固として主張し、次のように説明しました。ホピ・メサの男性たちは、「自分たちの伝統や宗教を傷つけずに進歩できるなら、そうすべきだ。」 1927年にロサンゼルスで生まれた彼は、7歳でホピに捨てられ、著名なホピ家に養子として引き取られた。モノンゲは保留地学校に通い、ホピ族の宗教的および社会的生活に完全に参加しました。 第二次世界大戦で空挺部隊として従軍した後、モノンゲはカチナの画家となり、貿易商ローマン ハベルやフレッド ハーベイ カンパニーで時々働きました。モノンゲは朝鮮戦争中に再入隊し、その後インド問題局の法執行機関で働きながら、絵を描いたりシルバーのジュエリーを作り続けました。 1960 年代初頭に仕事を辞めてジュエリー作りを始めたモノンイェは、すぐに革新的なデザイナー兼技術者として認められるようになり、伝統的な技術やモチーフを使って現代的なスタイルを生み出す「新しいインド芸術」に没頭しました。新しい外観。彼は石をセットしたキャストシルバーで最もよく知られており、しばしば友人のリー・ヤジーによってカットされ、後に息子のジェシーによってカットされました。モノンゲはさまざまな学校やワークショップで自分の芸術を教え、現代のネイティブ デザインについて広く講義を行いました。彼はショーやコンテストで多くの賞を受賞しており、彼のジュエリーはフラッグスタッフの北アリゾナ博物館やサンタフェのホイールライト博物館などの博物館のコレクションに収蔵されています。

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sz7.5 c1960's Famor 14K エメラルドとダイヤモンドのリング。 6mmバンド、エメラルド6mm×11mm。ゴールド、ダイヤモンド、エメラルドは検査済みで、本物で高品質であることが保証されています。おおよそのカラット重量を測る時間がありませんが、かなりの量です。余分な作業がなければ、価格が安くなります。特徴: 14KT Famor (Famor Inc. は、1960 年代から 1970 年代に存在したニューヨーク市の宝石会社です)

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ネイティブ アメリカン 14K ゴールド スパイダーウェブ ターコイズ/チャネル インレイ スピナー ペンダント 高さ 50 mm x 幅 25 mm x 11.8 グラム。マークとテストが行​​われた純 14K ゴールド。すべての貴金属はテストされ、保証されています。シルバーまたはスターリングと呼ばれるネイティブ アメリカンのジュエリーは、少なくとも 90% (コイン) の銀、場合によってはそれ以上の含有量が保証されています。

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アンティーク中国製 14K ゴールドマウント彫刻ジェダイトペンダント、高さ 1 7/16 インチ、バチカン付き x 幅 13/16 インチ x 4.8 グラム。図に示すように自然の亀裂。刻印なし、テスト済みの14Kゴールド。

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c1910 アンティーク ダイヤモンド 10K エナメル フラワー ピン 1 5/8 インチ x 1 インチ x 5.5 グラム、重大な問題はありませんが、花びらの先端にエナメルがわずかに摩耗しています。マークなし、アシッドテスト済み、10kで強く保持され、14kでわずかにフェードするので、おそらく中間のどこかです。

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c1870 14K gold lid Cut overlay Glass Perfume bottle Corset form. The lid is hallmarked, it's shown in the second pic but I can't make it out. It tests over 14k gold but less than 18k. No cracks, or chips, slight wear to ruby flashing on palm tree cut. Extremely complex and over the top perfume bottle. 4" tall x 2.5" wide. perfumedrawer

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Sz8 14K gold spiderweb Turquoise/Coral Native american ring.  . Fanatastic well made ring with no other markings other than 14k, marked and tested 14k gold. Very clean from the last quarter of the 20th century but likely never worn. 4 Grams. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 8 Ring.

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Antique Chinese or Japanese 18K white gold Carved Coral Watermill with Peony<br>Flowers. Acid tested by me to be at least 18K gold but less than 22K, Only<br>marking is SPM indicating it was made for or retailed by J. Schnelwar & Sons,<br>fine New York jewelers of yesteryear (est. 1905). Fantastic work of art right<br>around 100 years old estate fresh. 22.3 grams, 2" x 1 3/16" and very 3<br>dimensional. The Pins are not gold, the reticulated back part is guaranteed. No<br>chips, cracks, or other issues.

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Ilias Lalaounis (1920-2013) !8k gold on Tigers Eye Easter Egg. Great piece<br>tested 18k gold on cats eye. Unmarked Custom made one of a kind piece created by<br>a master and being offered at a fraction of it's original cost. I also have<br>another listed. No issues.<br><br><br>Ilias Lalaounis<br>From Wikipedia, the free encyclopedia<br>Jump to navigationJump to search<br>Ilias Lalaounis<br>LH OMRI<br>Ilias Lalaounis in 1920.jpg<br>Ilias Lalaounis in 1990<br>Born 4 October 1920<br>Athens, Greece<br>Died 30 December 2013<br>Athens, Greece<br>Nationality Greek<br>Alma mater University of Athens<br>Occupation Jeweler<br>Spouse(s) Lila Altitzoglou<br>Children 4 daughters<br>Ilias Lalaounis (4 October 1920 − 30 December 2013) was a pioneer of Greek<br>jewelry and an internationally renowned goldsmith.[1] He is especially known for<br>his collections inspired by Greek history.[2] In 1990 he became the only jeweler<br>ever to be inducted into the Académie des Beaux-Arts.[3][4]<br><br><br>Contents<br>1 Early life<br>2 Career<br>2.1 1969-1970s<br>2.2 1980s–1990s<br>3 Museum<br>4 Personal life<br>5 Honors and awards<br>6 References<br>Early life<br>Ilias Lalaounis was born on October 4, 1920 in Athens, Greece.[3][4] He was a<br>fourth generation jeweler whose family originated from Delphi.[4] He graduated<br>from the University of Athens, where he studied Political Science and the<br>Law.[3][4]<br><br>Career<br><br>Ilias Lalaounis Jewelry Museum.<br>Lalaounis started his career working for the jewelry business of his uncle,<br>Xenophon Zolotas.[4] In 1940 he took over the administration of the firm, which<br>he managed and designed all jewelry for until 1968.[3] He founded the Greek<br>Jewelers' Association and exhibited his first collection, the Archaeological<br>Collection, at the Thessaloniki International Fair in 1957. It was inspired by<br>Classical, Hellenistic and Minoan Mycenaean art. In 1969 he started his own<br>firm, Greek Gold - Ilias Lalaounis S.A..[4]<br><br>1969-1970s<br>Lalaounis provoked a sensation with his collection Blow Up (1970), draping the<br>human body in gold jewelry inspired by Minoan civilization.[5] The following<br>year he organized an international exhibition of jewelry in Athens, joined by<br>Van Cleef, Bulgari, Rene Kern and Harry Winston. In 1976, he had one of his most<br>important commissions which would prove to be one of the most inspiring for his<br>portfolio. Empress Farah of Iran commissioned Lalaounis to create a collection<br>of jewelry and objects inspired by Persian art, which went on display at the<br>Imperial Palace in Tehran.[6]<br><br>Between 1970 and 1978 Ilias Lalaounis opened stores in most European countries.<br>He opened his first international store in Paris at 364 rue Saint-Honoré, near<br>Place Vendôme and produced a short film explaining the sources of inspiration<br>for the jewels on display. Since then, he regularly produced short films to<br>illustrate his collections, such as: Aube of Art, Byzantine Arcs in Gold,<br>Choreography, The Shield of Achilles, Ilion - The Treasure of Troy, Art and<br>Gold, The Common Roots of the Creator Man, Treasures of the Holy Land.[3] In<br>1979, Lalaounis opened a store in New York on the corner of Fifth Avenue and<br>57th Street. A year later, the Smithsonian Institution invited him to give a<br>lecture on his art and to exhibit his collection The Achilles Shield at the<br>National Museum of American History.<br><br>1980s–1990s<br>Ilias Lalaounis continued to create innovative collections and expand the brand<br>to international markets during the 1980s. On the inauguration of the Lalaounis<br>store in Tokyo, he created a jewelry collection inspired by Japanese art. The<br>same year, he opened a store in Hong Kong where he presented a collection of<br>jewels inspired by the drawings of the Greek geometric period, very similar to<br>the geometric designs of Chinese art. A second store was opened in Hong Kong in<br>1982.[3] Lalaounis exhibited his Helen of Troy collection at the Penn Museum in<br>Philadelphia as well as in Houston, Texas, where he was made an honorary citizen<br>by the mayor.<br><br>In 1984, he published Metamorphoses, a book in which he presented nineteen of<br>his collections by analyzing his philosophy on the nature and function of<br>jewelry. The jewel, for Ilias Lalaounis, is not a simple decorative object,<br>rather it carries a message, is an expression of inner life, a link with the<br>distant past, a symbol and a memory.[3] He received the Thorlet Award (Prix<br>Thorlet) for the book from the Académie des Beaux-Arts. Subsequently, a<br>retrospective exhibition of his creations was presented in the Sorbonne Chapel.<br>For his contribution to the arts, Lalaounis was made Knight of the Order of Arts<br>and Letters (Chevalier de l'ordre des Arts et Lettres) by the French government<br>and Commander of the Order of Academic Palms (Commandeur des Palmes<br>Académiques). He was also elected as a member of the Académie des Beaux-Arts of<br>the Institut de France, the only jeweler ever to be inducted.[3][7] The<br>Academicians' swords (épées d'Académiciens), given to members on their<br>induction, were originally designed by Salvador Dali, and when Dali became too<br>frail to continue, he named his close friend Ilias Lalaounis to continue his<br>work.<br><br>In November 1987, Lalaounis was invited by Teddy Kollek, Mayor of Jerusalem, to<br>present his collection Treasures of the Holy Land, in an exhibition specially<br>organized by the Israel Museum and subsequently shown in New York, London and<br>Paris. The following year he presented Arabesques, a collection of gold and<br>silver creations set with precious and semi-precious stones. The Minister of<br>Foreign Affairs of Turkey invited him to exhibit Arabesques, as well as another<br>complementary collection, Soleiman the Magnificent, at the Islamic Art Museum of<br>Istanbul.[8] He launched Ameridians in New York, a collection inspired by the<br>art of North American Indians and in 1991, opened his store on Madison Avenue in<br>New York, where he presented his collection inspired by Celtic art.<br><br>Museum<br>In 1994, he founded the Ilias Lalaounis Jewelry Museum, located under the<br>Acropolis, in the center of Athens. The permanent exhibition displays jewelry<br>and micro-sculptures from forty-five collections, designed by Lalaounis in the<br>period 1940-1992.[9] Some special commissions are also kept on permanent<br>display, such as the Olympic torch, designed by Ilias Lalaounis, used to start<br>the Olympic torch rally before every Olympic Games.

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Ilias Lalaounis (1920-2013) !8k gold on Tigers Eye Easter Egg. Great piece tested 18k gold on cats eye. Unmarked Custom made one of a kind piece created by a master and being offered at a fraction of it's original cost. I also have another listed. No issues. Ilias Lalaounis From Wikipedia, the free encyclopedia Jump to navigationJump to search Ilias Lalaounis LH OMRI Ilias Lalaounis in 1920.jpg Ilias Lalaounis in 1990 Born 4 October 1920 Athens, Greece Died 30 December 2013 Athens, Greece Nationality Greek Alma mater University of Athens Occupation Jeweler Spouse(s) Lila Altitzoglou Children 4 daughters Ilias Lalaounis (4 October 1920 − 30 December 2013) was a pioneer of Greek jewelry and an internationally renowned goldsmith.[1] He is especially known for his collections inspired by Greek history.[2] In 1990 he became the only jeweler ever to be inducted into the Académie des Beaux-Arts.[3][4] Contents 1 Early life 2 Career 2.1 1969-1970s 2.2 1980s–1990s 3 Museum 4 Personal life 5 Honors and awards 6 References Early life Ilias Lalaounis was born on October 4, 1920 in Athens, Greece.[3][4] He was a fourth generation jeweler whose family originated from Delphi.[4] He graduated from the University of Athens, where he studied Political Science and the Law.[3][4]CareerIlias Lalaounis Jewelry Museum. Lalaounis started his career working for the jewelry business of his uncle, Xenophon Zolotas.[4] In 1940 he took over the administration of the firm, which he managed and designed all jewelry for until 1968.[3] He founded the Greek Jewelers' Association and exhibited his first collection, the Archaeological Collection, at the Thessaloniki International Fair in 1957. It was inspired by Classical, Hellenistic and Minoan Mycenaean art. In 1969 he started his own firm, Greek Gold - Ilias Lalaounis S.A..[4]1969-1970s Lalaounis provoked a sensation with his collection Blow Up (1970), draping the human body in gold jewelry inspired by Minoan civilization.[5] The following year he organized an international exhibition of jewelry in Athens, joined by Van Cleef, Bulgari, Rene Kern and Harry Winston. In 1976, he had one of his most important commissions which would prove to be one of the most inspiring for his portfolio. Empress Farah of Iran commissioned Lalaounis to create a collection of jewelry and objects inspired by Persian art, which went on display at the Imperial Palace in Tehran.[6]Between 1970 and 1978 Ilias Lalaounis opened stores in most European countries. He opened his first international store in Paris at 364 rue Saint-Honoré, near Place Vendôme and produced a short film explaining the sources of inspiration for the jewels on display. Since then, he regularly produced short films to illustrate his collections, such as: Aube of Art, Byzantine Arcs in Gold, Choreography, The Shield of Achilles, Ilion - The Treasure of Troy, Art and Gold, The Common Roots of the Creator Man, Treasures of the Holy Land.[3] In 1979, Lalaounis opened a store in New York on the corner of Fifth Avenue and 57th Street. A year later, the Smithsonian Institution invited him to give a lecture on his art and to exhibit his collection The Achilles Shield at the National Museum of American History.1980s–1990s Ilias Lalaounis continued to create innovative collections and expand the brand to international markets during the 1980s. On the inauguration of the Lalaounis store in Tokyo, he created a jewelry collection inspired by Japanese art. The same year, he opened a store in Hong Kong where he presented a collection of jewels inspired by the drawings of the Greek geometric period, very similar to the geometric designs of Chinese art. A second store was opened in Hong Kong in 1982.[3] Lalaounis exhibited his Helen of Troy collection at the Penn Museum in Philadelphia as well as in Houston, Texas, where he was made an honorary citizen by the mayor.In 1984, he published Metamorphoses, a book in which he presented nineteen of his collections by analyzing his philosophy on the nature and function of jewelry. The jewel, for Ilias Lalaounis, is not a simple decorative object, rather it carries a message, is an expression of inner life, a link with the distant past, a symbol and a memory.[3] He received the Thorlet Award (Prix Thorlet) for the book from the Académie des Beaux-Arts. Subsequently, a retrospective exhibition of his creations was presented in the Sorbonne Chapel. For his contribution to the arts, Lalaounis was made Knight of the Order of Arts and Letters (Chevalier de l'ordre des Arts et Lettres) by the French government and Commander of the Order of Academic Palms (Commandeur des Palmes Académiques). He was also elected as a member of the Académie des Beaux-Arts of the Institut de France, the only jeweler ever to be inducted.[3][7] The Academicians' swords (épées d'Académiciens), given to members on their induction, were originally designed by Salvador Dali, and when Dali became too frail to continue, he named his close friend Ilias Lalaounis to continue his work.In November 1987, Lalaounis was invited by Teddy Kollek, Mayor of Jerusalem, to present his collection Treasures of the Holy Land, in an exhibition specially organized by the Israel Museum and subsequently shown in New York, London and Paris. The following year he presented Arabesques, a collection of gold and silver creations set with precious and semi-precious stones. The Minister of Foreign Affairs of Turkey invited him to exhibit Arabesques, as well as another complementary collection, Soleiman the Magnificent, at the Islamic Art Museum of Istanbul.[8] He launched Ameridians in New York, a collection inspired by the art of North American Indians and in 1991, opened his store on Madison Avenue in New York, where he presented his collection inspired by Celtic art.Museum In 1994, he founded the Ilias Lalaounis Jewelry Museum, located under the Acropolis, in the center of Athens. The permanent exhibition displays jewelry and micro-sculptures from forty-five collections, designed by Lalaounis in the period 1940-1992.[9] Some special commissions are also kept on permanent display, such as the Olympic torch, designed by Ilias Lalaounis, used to start the Olympic torch rally before every Olympic Games.

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Vintage 14k clasp Jadeite beaded necklace. Nice old necklace untreated Jadeite circa mid 20th century on hand tied silk with a 14k gold clasp. 10-11mm beads 128 grams. 33" long, it can easily be doubled up as a choker.

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Vintage Gumps A Jadeite beaded necklace. Selling the vintage Gumps Jadeite<br>necklace shown, graduated beads from 4.7mm to 10.2mm measured on digital<br>calipers 50.7 grams, 14k gold clasp. 22" long. Circa mid 20th century with no<br>damage, some natural fissures/color variations as it's untreated Jadeite that<br>isn't full of plastic and dye.<br><br>Since 1861, Gump's has been a destination for jewelry that is distinctive and<br>timeless. Once considered more precious than gold and treasured for thousands of<br>years, jade has been more highly prized in Asia than any other gemstone. It<br>represents harmony, balance and protection, and is thought to bring good luck to<br>the wearer.

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c1990 French Philippe Ferrandis Paris gold-tone runway necklace and clip-on<br>earrings. Amazing retro over the top set clean and ready to wear, estate fresh<br>from a multimillion dollar jewelry/clothing collection in which nothing could<br>have been worn but a few times. No damage or detectable wear. Earrings 3.5" tall<br>x 2" wide with strong springs on the clips. Necklace 20" long with no issues.<br><br>Guaranteed Late 80's-90's authentic set with no issues.<br><br>anderasbag

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c1890 Victorian 14k Micro-Mosaic Dog earrings. Great pair of hollow but solid<br>(tested) 14k gold earrings from the last half of the 19th century. 2" tall x<br>5/8" wide 6.5 grams. unmarked

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Large Georgian 14k Gold Mounted Portrait miniature pendant. Very fine portrait<br>miniature from the 18th to early 19th century mounted in a thick frame made of<br>solid 14+K gold. I disassembled this to get an accurate test without damaging<br>the exterior and it is solid 14k or more but less than 18k gold. Upon<br>disassembly I found three pieces of paper shown in the interior, one was the cut<br>in half, when put together it reads<br><br>Lane Portrait and Miniature Painter 135 High Street Portsmouth, then on the back<br>perhaps the reciept for this portrait.<br><br>Then the other paper reads this<br>Mr Oct. _______<br>Great George Street<br>Westminister<br><br>I was really surprised to find these clues though I don't have much time to<br>follow up on them they are interesting. I have put the pieces of paper back<br>inside where they have safely hid for the past 200 or so years. It is 3.5" tall<br>without the extra loose top ring x 2 3/8" wide 44.8 grams. The pictures were<br>taken after reassembly and careful cleaning of the 200+ year old gold frame.

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Large Antique 18k Hardstone Cameo Sardonyx Carnelian Brooch. Amazing 19th<br>century at the latest high relief tested and guaranteed to be a minimum of solid<br>18k gold. 2.25" tall x 1 5/8" wide 34.7 grams.

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Large Antique 14k Gold Sardonyx Shell cameo with natural pearls pendant/brooch.<br>2.75" x 2" x 21.2 grams. Part of an impressive collection of rare cameos.<br>Unmarked but acid tested to be just under 14k gold, guaranteed solid gold from<br>10-14 Carat.

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Vintage Chinese 14k Jadeite Pendant 2.5" tall x 1 5/8" wide 26.5 grams, marked<br>and tested 14k gold, tests as Jadeite

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sz4.5 Navajo Irvin Kee 14k Gem Grade Mediterranean red coral ring. Unmarked,<br>tested solid 14k gold. Most likely from the last quarter of the 20th century<br>though having next to no signs of wear. 4.9 grams. This is a really high quality<br>ring. I could not find much info on the artist but he did some really nice work<br>as evident here, but everything he did was really nice with the highest quality<br>stones and major attention to detail. He just wasn't very prolific, quality over<br>quantity it seems.<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. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 4 Ring.

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Antique 14k Gold Hardstone cameo pendant with pearls. Unmarked, tested and<br>guaranteed solid 14-15ct gold. Approximately 150 years old, 1 7/8" tall with<br>bail and jumpring x 1.25" wide. 14 grams.

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Antique Engraved 14k gold Turquoise pin. Marked and tested solid 14k gold. Mark<br>is faint on catch, worn over time. Hand engraved, fantastic piece. 15/16" x 5/8"<br>x 2.5 grams.

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19" Vintage 14k clasp 14-15mm lapis lazuli beaded necklace. Nice quality vintage necklace with no issues. 122.2 grams. anderas

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Sz6 Estate 18k Jadeite, Diamond, and pearl ring. Natural untreated Jadeite, 12<br>decent sized natural tested diamonds likely over 1cttw. Quality pearls, marked<br>and tested 18k gold with illegible makers mark. 20mm x 24mm ring face. 11.8<br>grams. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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18k Natural Ethiopian Brown Opal/Diamond pendant. Beautiful pendant marked and tested 18k gold with appox .15ct diamonds and a .9ct natural opal 2 grams with no damage or significant wear. 1 1/8" tall x .5" wide.

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Vintage 14k gold Turquoise beaded necklace 18.5" necklace, 5/8" pendant, 5mm<br>beads 18.4 grams.

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Vintage 14k Jadeite and pearl beaded necklace. Selling the necklace shown marked and tested 14k gold beads and clasp, Jadeite oblong beads, and cultured pearls. 26" long 23.7 grams, 4mm wide.

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Retro Chinese 14k gold 26" long Lapis Lazuli beaded necklace. 14k clasp and beads, natural Lapis, beads approx 8.5mm 60.7 grams.

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ST Dupont Fidelio Lignes Recoupees 3 pen set. Selling all three pens shown, fountain pen has a 14k nib and possibly dried out, the other two write very well. They are all three very clean with no dents or scratches, minimal wear. Guaranteed authentic, all with serial numbers on clips. trinketdrawer

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Large Antique 18k Gold Micro-Mosaic Pin. Amazing piece of 19th century artistic<br>jewelry 2" x 1 5/8" 39.4 grams on my scale. Tested by me and an independent<br>jeweler to be 18k gold, unmarked. Appraisal shown in last pic is included.

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Antique coral choker necklace with Dutch 14k gold clasp. Unmarked clasp tested and guaranteed solid 14k yellow gold with gold filled safety chain. 14" long, late 19th to<br>early 20th century. 84.3 grams total weight.

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c1880 Robbins Clark & Biddle 14k gold retractable pendant physician's pencil,<br>just over 3.5" closed with jump ring, 4 7/8" fully extended with jump ring.<br>Fully functional with no issues. Unmarked but acid tested by me in multiple<br>places by me to be 14k gold with no signs or evidence of it being plated.<br>Retailer's Name on one side and engraved Doctor's name on the other. 18.6 grams.<br>Without damaging this I cannot be 100% sure that it is not gold filled but as I<br>stated there is no evidence that it's plated, no wear, and it tests strong for<br>14k in multiple places but fades at 18k, typically gold filled items were more<br>often 12k so wouldn't test at 14k so I believe it's solid gold. Some of the<br>inner mechanisms will be another metal as they are durable than gold. I have<br>disassembled different models of these from the same era before and they are<br>typically 50-75% gold with a small amount of steel or brass items for the<br>mechanism. As shown in the last pic, the inner shaft that holds the pencil is<br>brass.<br><br>Robbins, Clark & Biddle of 1124 Chestnut Street in Philadelphia. It was a<br>jewelry store that also sold sterling and plated wares, imported items, clocks,<br>watches, bronzes, "fancy goods in gilt, leather wood and crystal", which<br>included jardiniers, ink stands, vases, jewel cases, work boxes and baskets,<br>thermometers and barometers, vinaigrettes and card cases.<br><br>Samuel Biddle is the Biddle of Bailey, Banks & Biddle. He apprenticed with<br>Thomas C. Garrett 1857, took over his business at some point after 1860 as Clark<br>& Biddle. That became Robbins, Clark & Biddle (at least by 1876; they're in the<br>catalog for the Centennial exhibition) and then in 1878 the Bailey, Banks &<br>Biddle we know today. I've seen items by other makers (including Krider)<br>retailed by Clark & Biddle, but it seems likely they also made some items, at<br>least early on.

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Victorian 18k Rose gold High Relief Lava Cameo brooch. 19th century, unmarked<br>but tested and guaranteed solid 18k gold. 2" tall x 1.75" wide with no issues.

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Victorian 14k rose gold/pearl mounted Hardstone cameo brooch. 19th century<br>carved hardstone cameo with no issues, frame tested and guaranteed solid 14k<br>gold, unmarked. 1.75" tall x 1.45" wide. 19.4 grams.

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Antique Chinese 18k Jadeite ring. Antique untreated jadeite ring over 100 years<br>old. Currently a size 4, cut in back so can easily be sized by any jeweler. 5.4<br>grams. Unmarked, tested and guaranteed to be 17-18k gold. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 4 Ring.

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Vintage Imperial 6.7mm Pearl necklace with 14k clasp in original box. Genuine pearls 16" long in original box with marked and tested 14k gold clasp. No damage or issues.

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Vintage 14k gold Lapis Beaded Necklace. Nice carving on the beads, marked and<br>tested 14k gold. 18.5" long 52 grams total weight. No chips or breaks to stones.

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Vintage Ming's of Hawaii Jadeite 14k gold pendant. As far as I know Ming's<br>always sold high quality untreated Jadeite. I didn't know they repurposed<br>antique items but this looks like an antique button repurposed into a pendant by<br>Ming's in the mid 20th century or so. 1.25" tall x 5/8" wide x 2.5 grams.<br><br><br>Ming’s opened in 1940’s by Wook Moon and eventually had retail stores not only<br>in Hawaii but in San Francisco and New York.<br>Ming’s became popular among folks in the downtown area with a store here in Fort<br>Street mall. Some of our clients themselves tell us their memories of Mr. Moon<br>offering no-interest lay-away for modestly paid downtown secretaries and office<br>workers to afford buying a piece every now and again.<br><br>Ming’s became a favorite staple in Hawaiian jewelry as it often featured<br>beautiful Hawaiian and Asian cultural themes.<br>They often featured delicately carved "Off White" pieces, as well as sterling<br>silver brooches, pearl and jade clusters, and gold bangles.<br>Popular themes includes the Peony, Lotus, Chrysanthemum, and Plum Flowers, the<br>infamous “Bird in Plum” and others. Some are said to represent the seasons, or<br>represent the blending of different Asian cultures.

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Sz6 c1864 18k gold Sapphire/diamond antique ring. Birmingham hallmark for 1864,<br>unsure of maker. Marked and tested 18k gold. Old mine cut diamonds and beautiful<br>blue natural sapphires. 1.9 grams. A very special diminutive ring with no<br>issues. The Sapphires are approx .2cttw and the two small diamonds are approx<br>.05cttw. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 6 Ring.

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Modernist 14k Tiffany Dachshund Weiner dog pin. Rare vintage item approximately<br>40-50 years old with no issues. 2" wide x 7/8" tall x 5.6 grams. Guaranteed<br>authentic designed and retailed by Tiffany in the late 70's to early 80's.

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Texas 1937 Pan American Games Olympic Gold Medal. This is an Authentic (tested) 14k gold medal from the Pan-American games that took place in 1937 in Dallas Texas. This was the first year of the games, it received little attention, it's likely the only one in existence as very few people in the world even know these games took place even though athletes that were famous at the time and also competed in the 1936 Olympics in Germany also competed here. It took me a fair amount of time to figure out what this was as I could find no sales results from another. 999/1000 gold buyers would melt this without ever figuring out what it was. Maybe there is another one out there but I could find no evidence of that, regardless it's a very important part of sports and Texas history. I'm assuming TKC is the recipient of the Medal, at the moment I'm not sure who that is. I've had this for quite some time and I know I acquired it in Austin, probably about 4-5 year ago which would have made the recipient 100 when he passed if he competed at 20 assuming I acquired it directly from the recipients estate. 84 years is a long time. I'm putting this out there hoping to gather a little more info on it and the price might seem crazy but I think it or more could be possible at the right auction. 7/8" wide x 1" tall without loop. Below is a little info I gathered online from various sources in a few hours about the 1937 Games and a few of it's participants. Early games The idea of holding a Pan American Games was first raised at the 1932 Summer Olympics in Los Angeles, where Latin American representatives of the International Olympic Committee (IOC) suggested that a competition among all the countries in the Americas should be created.[7] The first event called the Pan American Games took place in Dallas in 1937 as part of the Greater Texas & Pan-American Exposition, but it attracted so little attention it has never counted in the records of the competition.[8][9] At the first Pan American Sports Congress, held in Buenos Aires in 1940, the participants decided that the first games should be held in Buenos Aires in 1942. The plans had to be postponed because of World War II. A second Pan American Sports Congress held in London during the 1948 Summer Olympics reconfirmed Buenos Aires as the choice of host city for the inaugural games, which were held in 1951. The games began on February 25[10] of that year, and offered 18 sports.[7] Countries that were part of the Commonwealth of Nations such as Canada did not compete at the first Pan American Games.[11] The second games were held in Mexico City, Mexico. Competitions started on March 12 and included 2,583 athletes from 22 countries, competing in 17 sports.[12] The Pan American Games have been held subsequently every four years.[12] Continental championships have long been a vital component of the four-year calendar for sports whose pinnacle is the Olympic Games. They began in continents with relatively few organised international competitions between neighbouring countries. The 1937 Pan American Games were followed by the Pacific Games, the African Games and the Asian Games. The Pan American Games The idea of Pan American Games was conceived in 1932 during the Los Angeles Olympic Games, but the first officially sanctioned Pan Am Games did not take place until 1951.1" World politics interfered from the start. 14 As a prelude to the Games originally planned for 1942, a festival called the 1937 Pan American Games was held in Dallas, Texas. At least 21 nations of South, Central and North America were invited, but only about a half dozen actually attended. In soccer, 1937 Pan-American Games (unofficial): The United States (represented by the Trenton Highlanders) lost to Winnipeg (representing Canada) 3-2 to finish in 3rd place of 3 teams. Dyreson, Mark. (2016). The Original Pan-American Games? The 1937 Dallas Pan-American Olympics. The International Journal of the History of Sport. 33. 1-23. 10.1080/09523367.2016.1152959. In 1937, Dallas, Texas, hosted a sporting festival that drew teams from across the Americas to a ‘Pan American Olympics’. Organized under the umbrella of the Greater Texas and Pan-American Exposition, the games drew hundreds of athletes for track and field contests, soccer football matches, and a boxing tournament. Though historians generally consider the 1951 Buenos Aires Pan-American Games as the genesis of the Western Hemisphere’s biggest sporting carnival, the Dallas games certainly inspired even if they did not directly inaugurate the Pan-American Games movement. Directed by George Preston Marshall, the owner of a professional gridiron football franchise and an ardent leader of segregation in that sport, the Pan-American Olympics paradoxically produced an interracial set of contests that matched black, white, and Latino athletes against one another in the heart of the segregated US South. The Dallas Pan-American festival reveals the enigmatic visions of their architect, illumines the racial and national cleavages of the 1930s, and highlights the persistent dream of an Olympic-style event that would include all of the Americas. Earle Meadows Inducted: 1996, athlete Born: June 29, 1913 - Corinth, Mississippi no longer with us: November 11, 1992 Events Pole Vault - 4.54 m A world record holder in the days of the bamboo pole, Earle Meadows achieved his greatest fame by winning the pole vault at the 1936 Olympic Games, but 1937 was perhaps his greatest year from a record standpoint. On May 8 at Stanford, Calif., Meadows and University of Southern California teammate Bill Sefton broke the world record when they cleared 4.48m/14 feet 8.50 inches, appropriately tying for first place. Three weeks later, they both bettered that mark with clearances of 4.55m/14-11. Since the standards couldn't be raised any higher, Meadows and his teammate lost their chance to become the first vaulters to clear 15 feet. Their performances while leading USC to three NCAA team titles earned Meadows and Sefton the nickname "Heavenly Twins." In 1935 and 1936, Meadows also shared the NCAA title with Sefton, and he tied Sefton for the 1935 AAU title. Meadows was equally as successful indoors, winning national titles in 1937, 1940 and 1941. In the latter meet, he set a world indoor best of 4.45m/14-7. Records Held World Record (indoor): Pole Vault - 4.45 m World Record: Pole Vault - 4.48 m (May 8, 1937 - ) World Record: Pole Vault - 4.54 m (May 29, 1937 - ) Championships 1936 Olympic Games: Pole Vault - 4.35 m (1st) 1935 USA Outdoor Championships: - 4.23 m (1st) 1936 Olympic Trials: Pole Vault - 4.34 m (1st) 1937 USA Indoor Championships: - 4.34 m (1st) 1940 USA Indoor Championships: - 4.34 m (1st) 1941 USA Indoor Championships: - 4.38 m (1st) 1937 Pan American Games: - 4.12 m (3rd) 1936 Olympic Games, Berlin, Germany John Loaring Jr’s second competitive experience in the 400m hurdles was on his 21st birthday, August 3rd, in the heats at the 1936 Berlin Olympic Games. The following day, Loaring ran in both the semi-final and final of the 400m hurdles. He was the youngest and most inexperienced finalist, but managed to win the silver medal, finishing only 3/10ths of a second behind the favourite and world record holder, Glenn Hardin. On August 6th and 7th, Loaring ran four 400m races: first round, second round, semi-final, and the final, in which he placed sixth. On August 8th, Loaring anchored the 4x400m Canadian relay team. In the semi-final heat, Loaring received the baton ahead of Germany’s Rudolf Harbig, who later, in 1939, broke World Records in the 400m and 800m runs. Loaring purposely slowed near the end, letting Harbig win in front of his countrymen, and knowing that a Canadian second would qualify for the final. However, in the final, Canada’s third relay runner was fouled by an American runner, and Loaring received the baton seven meters behind Harbig. Loaring nearly caught Harbig, with Germany and Canada receiving the same time, but Loaring behind by less than a metre — Canada placing fourth. International press reported that officials huddled about the obvious foul, but ultimately decided not to disqualify the USA team, because the Canadian team hadn’t protested. Such was the gentlemanly “roll-with-the-punches” sportsmanship and politics of that earlier time. The popular German weekly, Fussball, selected Loaring as: “The toughest competitor of 1936…” The noted Olympic authors, Ross and Norris McWhirter, commented: “Loaring’s competitive record at the 1936 Olympics…must just about represent the most severe test to which any Olympic athlete has ever been subjected.” Loaring is still the only athlete to compete in all three Olympic male finals involving the 400m distance in any combination of Olympic Games, and he did so as he turned age 21. Like other young athletes, the onset of World War II deprived him of two Olympic Games during his prime years – one can only surmise what performances he could have delivered as an experienced athlete. Post-Olympic Performances Immediately after the Olympic events, Loaring competed in a British Empire vs USA meet in London, England, on August 15th, 1936. In a four-by-two-lap steeplechase relay, Loaring ran the anchor leg in a World Best Time, winning gold for the British Empire Team. He overcame a 12yd lead of USA’s anchorman, who had held the 3,000m steeplechase World Record until one week prior. This was Loaring’s one and only steeplechase experience. In the 1937 Pan-American Games in Dallas, Texas, Loaring’s favourite 400m hurdles event wasn’t on the program. However, he won a fourth-place medal in the 400m run. Three days later, Loaring competed in an Oxford-Cambridge versus Canada Dual Meet in Hamilton, Ontario. After winning the 220yd hurdles, Loaring upset Britain’s Olympic silver and gold medalist while winning the 440yd run. John Woodruff African American runner at the 1937 Pan American Games, he faced Elroy Robinson, a white runner who had just set a world record in the 800 meters. Mr. Woodruff won the race by 12 yards with a time of 1:47.8, almost two seconds faster than Robinson’s week-old record. But officials disallowed Mr. Woodruff’s time, ruling the track was improperly measured and was several feet short.

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