Victor Coochwytewa Hopi overlay flute procession belt buckle sterling silver. Tested and guaranteed solid sterling silver, weight and measurements in pictures. Fully functional. All items will likely have some age appropriate/expected wear, the older they are the more wear they should have. Circa third quarter of the 20th century.. Fits up to a 1.5" belt.Master Hopi Silversmith, Waterhouse Clan – Shungopavi, Second MesaVictor Coochwytewa is widely regarded as one of the most influential Hopi silversmiths of the 20th century. A master of overlay jewelry and a pillar of his community, his work helped define the standards and aesthetics that Hopi jewelers continue to follow today. His career, which spanned more than 60 years, earned him national recognition, including being named an Arizona Indian Living Treasure in 1994.Born on June 7, 1922, in the village of Shungopavi on Second Mesa, Victor was a member of the Waterhouse Clan. He first learned the basics of silversmithing in 1940 under the guidance of Paul Saufkie. But his early career was interrupted by World War II, during which he served with distinction in the South Pacific. A member of the 167th Combat Military Police and later the 5309th Infantry Division under General Frank Merrill (Merrill’s Marauders), Victor saw heavy combat in Burma and was awarded the Purple Heart, Good Conduct Medal, and Asiatic-Pacific Campaign Ribbons.After being honorably discharged in 1946, Victor returned to Hopi and became one of the first students in the now-legendary Veterans’ Classes established under the G.I. Bill. Taught by Fred Kabotie and Paul Saufkie, these classes marked the beginning of a new era in Hopi silversmithing. Victor not only mastered the overlay technique but innovated within it—introducing a background texturing method inspired by leatherwork that became a defining feature of Hopi overlay jewelry.Victor's designs, executed in both sterling silver and gold, are known for their precision, spiritual depth, and elegant symbolism. Many of his pieces reflect Hopi traditions and cosmology, and his work has been collected by major institutions and private collectors around the world.In addition to his artistry, Victor was deeply rooted in the traditional Hopi way of life. A lifelong dry farmer, he raised corn, squash, beans, and watermelons without irrigation or chemical inputs, relying entirely on prayer, ceremony, and natural rainfall. “Jewelry is my hobby; corn is my work,” he once said with characteristic humility. He attributed the success of both his crops and his craft to blessings from the Creator. “When you pray, you should pray for all things, and in return, all things are benefited. Nothing can be accomplished without prayer.”Victor retired from silversmithing and farming in 2006 and continued to live with his family at Hopi until his passing on July 3, 2011, at the age of 89. Today, his legacy lives on in the work of his descendants and in the broader community of Hopi artists who follow the path he helped shape. His jewelry remains among the most iconic and sought-after expressions of Hopi artistry—no serious collection of Hopi overlay work is truly complete without a piece by Victor Coochwytewa.

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1.5" Vintage 18k gold/Sterling silver bull head engraved Mexican belt buckle. Solid 18k gold pieces on sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa mid 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Angie Cheama Zuni sterling silver snake belt buckle turquoise/coral. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Diablo Lady Liberty Morgan Dollar 3-D sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa mid 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Diablo sterling silver US Dollar hand engraved belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage F.L. Begay Navajo sterling silver high grade turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa fourth quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Hopi Overlay Bighorn Sheep Ram belt buckle sterling silver. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Illegible hallmark. Listed with ExportYourStore.com

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1.5" vintage Hopi Overlay warrior kachina belt buckle sterling silver. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century. Illegible, unknown hallmark. Attributed to the Hopi tribe, from a large collection of Hopi buckles/bolos.

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1.5" vintage JB Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Jenny Blackgoat Navajo sterling silver Ghan Dancer belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage modernist Navajo shadowbox sterling silver -turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo chip inlay sterling silver ranch brand belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century.

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1.5" vintage Navajo deep stamped sterling silver rectangular belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" Vintage Navajo sterling silver bear paw chip inlay belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" vintage Navajo sterling silver chip inlay turquoise peyote bird belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century.

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1.5" vintage Navajo sterling silver chip inlay turquoise peyote bird belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver deep stamped rug pattern belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver gold filled eagle belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver Kokopelli/Corn overlay belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa last quarter of the 20th century.

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1.5" vintage Navajo sterling silver modernist belt buckle with turquoise-coral. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo sterling silver rayed concho style belt buckle w/ turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" Vintage Navajo sterling silver stamped belt buckle with turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century.

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1.5" vintage Navajo sterling silver thunderbird belt buckle with nice turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Navajo sterling silver turquoise belt buckle with applied feathers. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage Orville Tsinnie Navajo sterling silver chrysocolla belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt.Orville Tsinnie (1943-2017) was a Navajo artist and master silversmith who has been featured in the American Indian art world for over 25 years. He was born in Tuba City, Arizona in 1943 and lived and worked in Shiprock, New Mexico. Tsinnie learned jewelry making from his Hopi brother-in-law in the 1970s and has since won many awards, including a Lifetime Achievement award from the Indian Arts and Crafts Association. Listed with ExportYourStore.com

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1.5" vintage Pete Sanchez Navajo Dry Creek Turquoise sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa last quarter of the 20th century. Age appropriate wear.

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1.5" vintage Robert Vandover Navajo sterling silver heartline bear belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa fourth quarter of the 20th century.

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1.5" vintage Robert Vandover Navajo sterling silver heartline bear belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage southwestern Sterling silver shell inlaid belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.5" vintage Spencer Navajo sterling silver turquoise nugget belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.5" belt. Listed with ExportYourStore.com

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1.5" vintage T Navajo sterling silver turquoise nugget belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. High quality unresearched due to time limitations.

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1.5" vintage Wayne Cheama Zuni sterling silver turquoise cluster belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.5" vintage Zuni John Lucio Eagle Dancer inlaid sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.5" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.75" Alberto Contreras southwestern modernist sterling turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear.Alberto Contreras, Western SilversmithHailed as The Cellini of the Southwest, Alberto Contreras honed his craft under the guidance of his renowned grandfather, Frank Patania Sr. His formal education at the University of Arizona and the University of Mexico City further solidified his expertise in jewelry design and metalwork. Some of his earliest works, dating back to the 1950s and hallmarked AC Sterling, are testaments to his exceptional skill and enduring quality.The Contreras family has been a cornerstone of Tucson, Arizona's fine jewelry and silversmithing scene for generations. Founded by Alberto Contreras, a visionary artist and skilled craftsman, the family business has flourished, with each generation adding to its rich legacy. From intricate silverwork to stunning gemstone jewelry, the Contreras family's commitment to quality and craftsmanship is evident in every piece they create. Listed with ExportYourStore.com

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1.75" Clarence Lee Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Lee, Clarence and RussellClarence and Russell Lee: Father and Son Navajo Silversmiths:Born in 1952 in Ft. Defiance, AZ, Clarence Lee ws the second oldest of six children. His parents, Tom and Emma Rose Lee raised their children in Twin Lakes, NM. Currently, all his siblings work with silver to one degree or another with the exception of a sister who works in the health care system.Clarence learned his craft from his late father Tom Lee who built and owned a Trading Post in Twin Lakes and learned how to make silver jewelry to supplement his income when business at the Trading Post was slow. Tom Lee fought in the Pacific Theatre during World War II, was a POW for four years and a survivor of the infamous “Death March of Bataan.” He later became New Mexico’s first Native American State Senator. Clarence’s mother, Emma was recognized in her own right as the maker of the first Navajo Nation Flag.Clarence discovered his love of art work in elementary school when a teacher saw promise and encouraged him to pursue his talent. Later on at Tohatchi High School in New Mexico he met his first real art teacher Mrs. Hale. Clarence favored his art classes over academic classes because he suffered from dyslexia. In school he made metal sculptures and worked in oil and watercolors. (Clarence still paints occasionally) Mrs. Hale also saw potential yet admonished him, “Don’t start giving stuff away.” Her comments did not discourage him and while he was still in high school continued selling his jewelry to teachers. In addition to his art, Clarence was interested in rodeo and participated in calf and team roping events. Throughout his high school years, Clarence continues to help his father sell traditional jewelry. When financial pressures grew Clarence left school just short of his high school graduation to support his family.His first pieces of silver work were traditional hammering and stamp work set with stones. Clarence developed his own unique style almost by accident when he shaped a piece of silver resembling a dog. “I did that for eight months and sort of fell over backwards into storyteller style. I made my first bracelet and pin. I didn’t set any stones in my work until later.” HIs ideas come from his childhood memories of summers spent with his great grandmother at her summer home in the mountains. He remembers herding sheep and cattle near his home with friends and relatives. Images of windmills, water barrels, old trucks, wood stoves, dogs and rabbits are reflected in his artwork today. Along the way he has added whimsical animals, cowboys, dancers, children and many other images to his collection.Clarence prefers to sell his jewelry at Indian shows and present his work in competitions and exhibitions. HIs first show was at the Grand Canyon in Arizona. In early years he struggled to make a name in the art world and support his family. Fortunately, the first few shows provided the emerging silversmith encouragement. “I got a good response and it just opened up from there.” HIs first competitive show was at the Navajo Nation Fair where his work garnered a first place ribbon in 1977. “ I started signing using an engraver at the beginning, using my family’s registered brand stamp. Using the brand was my dad’s idea, but by 1988 I added my own signature.”In 1976, Clarence married and later that year his son Russell was born. By 1980 Clarence was a divorced single parent raising his four year old son and began taking his son along to all his shows. “When Russell was about ten or so he wanted a toy he saw at the mall. I told him you have to earn it by selling something first.” From there Russell was encouraged to try his hand as a silversmith. Russell followed his father’s footsteps and eventually entered various junior competitions winning numerous awards for his work. Russell hoped to go to college after he graduated from high school but during his senior year Russell’s responsibilities in the family jewelry business began to rapidly grow. Russell postponed his college plans to tend the family business, a business that has not slowed down since. Now as an adult, Russell helps full time with the jewelry business work. An apprentice and talented artist in his own right, Russell fashions most of the tiny figures his father incorporates into his storyteller images. Russell also acts as manager for the family business, handling the paperwork, safeguarding the the valuable inventory and ensuring everything is ready for the next show. By Russell handling the administrative responsibilities Clarence had the opportunity to go too as many as 25-30 shows per year. For now, Russell loves making jewelry and hopes to continue his education in the future.Tom passed on to young Clarence lessons he learned as a young silversmith. “If you want to do well, you have to have plenty of inventory on hand.” Incorporating this lesson has come at a high price for this industrious silversmith. Carpal Tunnel Syndrome now restricts the amount of pieces Clarence can create in a day, usually fifteen to twenty pins. He works diligently to maintain a large inventory for each of the 300+ designs he created. Because of Clarence’s physical limitations, Russell now does most of the design cutting including working on his own projects having acquired his own hallmark stamp in 1998. Clarence has done all the stone cutting for each piece for eighteen years, since 1988. “I do the stamp work and everything else, then gives it back to Russell to put on the findings and buffing.” For several years now father and son have collaborated on ideas for new pieces and new techniques for their work.Most silversmiths create or adapt equipment to facilitate their style of work or particular circumstances. In Clarence’s case it is the adaptation of IV bags for the water drip on his stone cutting and grinding equipment. Twice a year he puts all his scrap silver together and melts it down using the castings for special pieces. Many of the techniques used to create his jewelry are developed to suit Lee’s unique style. As he creates more images, he designs new tools and develops accompanying methods so his craft continues to evolve. His material includes twelve to twenty gauge silver, copper, brass, gold and using fine saw blades to create the intricate appliqué’ work he’s known for. He designs his own stamps using old drill bits to create a variety of textures and surfaces. He incorporates several methods of casting including steam casting, spin casting and old traditional tufa stone casting taught to him by his father.Clarence can see the results in his mind even before he actually finishes a new piece. His famous designs are usually sketched out wile sitting in airports, during down time at hotels or even selling at his booth. He tries to keep the merchandise interesting and fresh, trying out new designs for a minimum of four to five months. “If it doesn’t sell then we abandon it, but you never know. We used to make trucks, but sales slowed so much we stopped making them. Then as soon as we stopped people started asking for the trucks again. We now make them in four different sizers, but for the largest one there are two dozen separate pieces of silver that we have to solder together to make that truck which is our 3-D business card holder. That truck was done for fun and entered into the Gallup Ceremonial. It was something different; we thought would get a lot of attention. It worked because a lady from the British Museum came by and bought some pieces.” She interviewed Clarence over a period of three days. “The truck pin is our signature piece, as is the truck bracelet.”Three museums currently display pieces made by Clarence and Russell. You can see a bracelet on display at the San Diego Museum of Man in San Diego, California. In June 2006, the Eiteljorg Museum of American Indians and Western Art in Indianapolis, Indiana purchased the 3-D card holder, “Mr. Yazzie goes to town” that will remain in their permanent collection. There are also several pieces on display at the British Museum in London, England.Among silversmiths, Clarence admires Jake Livingston, whom he describes as, “A nice guy who does nice silver work.” Clarence has built a successful career as a silversmith, doing what he loves and working alongside his son. And when he needs a break from his silversmith work he can cross the yard to his welding shop where his welding accomplishments include a barbecue grill with a smoker and designing a dumping trailer for his tractor and then it’s back to work Listed with ExportYourStore.com

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1.75" hand engraved sterling silver custom Sue Monogram Eddie Harris belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" large Randy Hoskie Navajo sterling silver turquoise cluster belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa last quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" Les Baker Shop Navajo sterling silver vintage carved turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Les Baker was a well-known southwest jewelry artist who designed and also made jewelry himself. Although he was Anglo he employed many Native American silversmiths throughout the years, most notably Fritson Toledo, the great Navajo artist. Les had a great deal to do with the success of the Stagecoach. We have sold more Les Baker jewelry throughout the years than any other jewelry artist. But beyond that, Les was a great mentor and friend to Susan and Gary, here at the Stagecoach. Back in the late 1970’s Gary called Les about selling his jewelry. Gary and his father, Jim, met Les in Denver and have sold his jewelry ever since. In the early 1980’s, Gary spent a week in Albuquerque while one of Les’ Navajo silversmiths taught Gary the craft. This was one of the turning points at the Stagecoach. We could now size our own sterling silver and gold rings and eventually make our own jewelry right here at the Stagecoach. This was and is a huge advantage in selling jewelry as our knowledge of the craft went up exponentially. And for all this, Les asked nothing in return.Les was born in 1935 and when he was older joined the Navy. He told me once that he lied about his age to get into the Navy and became one of the youngest Navy pilots ever. After the Korean War he headed back to New Mexico and became interested in American Indian jewelry. His wife at the time (ex-wife now) wanted a Navajo squash blossom necklace but Les couldn’t afford it. He was always resourceful and since Les didn’t have the money to purchase the squash blossom he figured he would try making one himself. It turned out so nice that when Les’ wife was at a party with Edith Maisel, the “Queen of Indian Jewelry” was so impressed that she offered Les a job. Maisel helped popularize “Indian Jewelry” and though it wasn’t actually handmade, Maisels’ offered many Native Americans a job and increased the awareness of this art form. This was Les’ big break and he later also learned from the great Native American artist Carl Louthy.Eventually Les opened his own shop and was at the right time and the right place when the great “Indian Jewelry” boom in the 1970’s hit. Everybody wanted this turquoise Indian jewelry, from celebrities to the common man and woman. Les teamed up for a while with Bing Crosby (not the singer but the Indian Trader) and at one time had around 50 Native Americans working for him.Les developed his signature look, the swirling free flowing scroll work with leaves and flowers which he used throughout his life. He was one of the first to incorporate gold and diamonds into “Indian Jewelry”. Even though he had his own signature “look”, he was an expert at many different styles and techniques. Listed with ExportYourStore.com

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1.75" Les Baker Shop Navajo sterling silver vintage red coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt.Les Baker was a well-known southwest jewelry artist who designed and also made jewelry himself. Although he was Anglo he employed many Native American silversmiths throughout the years, most notably Fritson Toledo, the great Navajo artist. Les had a great deal to do with the success of the Stagecoach. We have sold more Les Baker jewelry throughout the years than any other jewelry artist. But beyond that, Les was a great mentor and friend to Susan and Gary, here at the Stagecoach. Back in the late 1970’s Gary called Les about selling his jewelry. Gary and his father, Jim, met Les in Denver and have sold his jewelry ever since. In the early 1980’s, Gary spent a week in Albuquerque while one of Les’ Navajo silversmiths taught Gary the craft. This was one of the turning points at the Stagecoach. We could now size our own sterling silver and gold rings and eventually make our own jewelry right here at the Stagecoach. This was and is a huge advantage in selling jewelry as our knowledge of the craft went up exponentially. And for all this, Les asked nothing in return.Les was born in 1935 and when he was older joined the Navy. He told me once that he lied about his age to get into the Navy and became one of the youngest Navy pilots ever. After the Korean War he headed back to New Mexico and became interested in American Indian jewelry. His wife at the time (ex-wife now) wanted a Navajo squash blossom necklace but Les couldn’t afford it. He was always resourceful and since Les didn’t have the money to purchase the squash blossom he figured he would try making one himself. It turned out so nice that when Les’ wife was at a party with Edith Maisel, the “Queen of Indian Jewelry” was so impressed that she offered Les a job. Maisel helped popularize “Indian Jewelry” and though it wasn’t actually handmade, Maisels’ offered many Native Americans a job and increased the awareness of this art form. This was Les’ big break and he later also learned from the great Native American artist Carl Louthy.Eventually Les opened his own shop and was at the right time and the right place when the great “Indian Jewelry” boom in the 1970’s hit. Everybody wanted this turquoise Indian jewelry, from celebrities to the common man and woman. Les teamed up for a while with Bing Crosby (not the singer but the Indian Trader) and at one time had around 50 Native Americans working for him.Les developed his signature look, the swirling free flowing scroll work with leaves and flowers which he used throughout his life. He was one of the first to incorporate gold and diamonds into “Indian Jewelry”. Even though he had his own signature “look”, he was an expert at many different styles and techniques. Listed with ExportYourStore.com

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1.75" vintage B Yazzie Navajo sterling silver Royston turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa fourth quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" Vintage Birds Eye Kingman turquoise Navajo sterling silver belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" vintage Navajo basket sterling silver, copper, turquoise belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear.

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1.75" vintage Navajo sterling silver belt buckle w/ Ceremonial Kingman turquoise. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" vintage Navajo sterling silver rattlesnake belt buckle with turquoise. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. The buckle is sterling with later added base metal back plate to make it a functional buckle. My guess is it was a concho or a buckle that got damaged and was no longer functional. The back plate is soldered on. Listed with ExportYourStore.com

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1.75" Vintage Navajo Sterling silver stamped turquoise nugget belt buckle JVT. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa fourth quarter of the 20th century. Age appropriate wear. Listed with ExportYourStore.com

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1.75" Vintage Navajo sterling silver turquoise and coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures. Circa third quarter of the 20th century. Age appropriate wear. Fits a 1.75" belt. Listed with ExportYourStore.com

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1.75" vintage Zuni sterling silver carved turquoise & Branch coral belt buckle. Solid sterling silver (tested) with weight and measurements in pictures.. Buckle fits a 1.75" belt. Circa third quarter of the 20th century. Age appropriate wear. One turquoise with old repair.

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10 1950 年代英国陶器人物蛋杯。出售的这套 20 世纪中叶的套装没有裂缝、缺口或修复。 2.5 英寸高，顶部有 1.5 英寸开口，可容纳鸡蛋。 TW68

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10 个明治时期日本伊万里茶杯。 2 5/8 英寸高 x 3.25 英寸宽，略有不同，因为它们是 100 多年前手工制作、手绘的。大约在19世纪末。无裂纹、缺口、修复或丢失，边缘镀金有一些磨损。全部没有标记。 TW199

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10 英寸古董德累斯顿手绘德累斯顿网状板。无裂纹、缺口或修复，无可检测到的磨损。书架

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10" c1910 Royal Bayreuth Portrait vase. 10" tall with no cracks, chips, or restorations. Wear to gilding on rim. isshelf

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10.4 英寸 c1965 年 Orrefors Graal Ingeborg Lundin 瑞典艺术玻璃碗。10 3/8 英寸宽 x 5 1/8 英寸高，真正的大件，尺寸异常大。 无裂纹、碎裂、无浑浊，也无其他问题。看起来很重的碗。预计底座会有极轻微的磨损。 b47

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来自荷兰的 10.5 英寸大型 MCM 珐琅鹿碗。20 世纪第三季度的伟大作品，几乎没有磨损，也没有损坏珐琅。 TW271

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100 克拉博尔德蛋白石钻孔吊坠/珠子。出售所示的确切石头。钻有一个干净的 2 毫米孔。我有几个这样的东西，我将单独提供它们。它们戴在一条 24k 金项链上，每颗宝石之间都有 24k 大珠子。黄金已经被回收利用，我希望重新利用它们，因为它们是昂贵的宝石，值得戴在一条项链上，项链上有价值数千美元的黄金。可能性是无穷无尽的，其中一个或几个在某个环境内或外都会很棒。购买所示尺寸为 48 毫米 x 28 毫米、重 100 克拉的精确宝石。

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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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10k 金镶嵌 1892 年哥伦比亚半美元。出售以“经过测试”的 10k 白金镶嵌的半美元。我以为我在镶座上看到了一些标记，但看不出来，我自己测试了一下，它是实心 10k 金，仅镶座，硬币当然是 90% 银。 14克。

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

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11 3/8 英寸 c1870 日本伊万里碗明治时期 3.5 英寸深。无裂纹、缺口或修复。边缘和其他地方有一些磨损到镀金。装饰精美。

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11 个 Hawkes Eardley 8.25 英寸沙拉盘，无裂纹、缺口、修复，磨损极小。非常高品质的美国水晶，听起来像钟声。托马斯·吉本斯·霍克斯 (Thomas Gibbons Hawkes) 1846 年出生于爱尔兰科克郡的一个有着玻璃加工传统的显赫家庭，于 1863 年移居美国。他的职业生涯始于纽约布鲁克林 Hoare and Daily 玻璃工厂的工头，随后随公司搬迁1868 年前往纽约康宁。 到达康宁后，他很快就开设了自己的切割店，并于 1890 年成立为 TG Hawkes & Company。前一年，Hawkes 在巴黎世界博览会上赢得了赞誉和大奖，取得了成功。托马斯·吉本斯·霍克斯当时欧洲人对闪闪发光的刻花玻璃的品味在美国得到了效仿，被称为“辉煌刻花玻璃时期”。为了满足需求，成立了 1,000 多家切割店，TG Hawkes & Company 蓬勃发展。该公司已运营82年。

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古董波斯中东银镶嵌铜托盘 11 英寸宽，由于其尺寸为铜和银，因此非常重。保证为 18-19 世纪。铜上含 90+% 银（经过测试）。后来在背面添加了吊环。 TW153

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12 Pound Petrified Wood Covered in Crystals. It weighs 12 pounds and Measures 13" x 7" x 4.75". Picures don't do it justice. I bought it from a guy that found it in a storage locker.

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复古签名 Kosta Boda“Cancan”系列水罐/水罐，由著名瑞典设计师 Kjell Engman 设计 89147 签名 Kosta Boda 无裂纹、碎裂、无划痕（除了底座的一些预期磨损，因为它非常重）、无混浊，无其他问题。 TW120

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12 英寸 c1870 Meissen 大号上菜碗，带有重金和手绘水果。没有裂纹、缺口或修复。金色接近完好。颜色比图片显示的更加鲜艳。 TW47

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12 英寸 c1910 年日本 Nippon 托盘，涂漆精美。精美的作品，没有标记，因此可能是 1890 年之前的，保证有 100 多年的历史，手绘，没有缺口、裂缝或修复。11 7/8 英寸宽，边缘镀金有一些磨损。 TW252

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12 英寸高 Harding Black（1912-2004）德克萨斯工作室艺术陶器花瓶，采用最好的中国火焰釉。7 英寸宽。非常气势磅礴的作品，12 盎司 v8 可以按比例展示。脚缘上有 3 个非常小的无关紧要的薄片，肩部有一些釉料可能是故意的。没有明显的缺口，没有裂缝，没有修复。这件作品的太空时代形式非常酷。哈丁·布莱克圣安东尼奥 (1912 - 2004) 布莱克是一位陶艺家、雕塑家、画家、泥瓦匠、教师，毕业于布拉肯里奇高中，并就读于圣安东尼奥初级学院（1929-30 年）。 1933年，布莱克在鲁道夫·斯塔费尔的指导下学习制作轮抛陶器，并开始在维特教授儿童陶艺课程。布莱克在圣安东尼奥重建项目中指导陶瓷装置，该项目由国家青年管理局和工程进步管理局艺术项目赞助。 1955年，他从教职退休，全身心投入到陶瓷创作中。布莱克因其在该领域的研究、创新和著作而成为一位著名的陶艺家。布莱克的收藏和档案存放在贝勒大学。哈丁·布莱克的粘土作品在德克萨斯早期和中世纪陶器之间架起了一座重要的桥梁。安德拉斯

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12 英寸明治时期日本伊万里花瓶一对。不仅是我拥有的外观最好看的伊万里花瓶之一，而且是一对，高 12 英寸，顶部有旧马厩 2.5 英寸长的发际线，如最后一个的最左侧所示图片。没有其他裂缝、缺口或修复。一对漂亮的花瓶，已有 150 年的历史。书架

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12" pr Republic Period Antique Chinese Famille Rose vases. Great pair of Nice sized Chinese hand painted famille rose vases from the first quarter of the 20th century with no damage or restorations. isshelf

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12.5 英寸明治时期日本萨摩花瓶，带有凸起的 Moriage 装饰。大件 19 世纪末手工装饰。未制作，底部烧制缺陷，整体开裂，可能对边缘进行高质量修复。我不确定（在紫外线下不显示） ）但某些区域的裂纹似乎不太明显。没有裂纹或缺口。 TW199

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12.5 英寸中世纪现代敬酒杯绿色空气扭曲茎巨大 Blenko？两个巨大的玻璃杯保证大约 1950 年代至 1970 年代。其中一个在底图所示的脚边缘有一个小破裂的气泡，微不足道。没有其他裂缝、碎片或修复。 TW72

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12.75 英寸德克萨斯工作室艺术玻璃花瓶迈克尔·麦克杜格尔 7 英寸宽无裂纹、缺口、划痕或修复。 玻璃艺术家 Michael McDougal 受到大自然的启发，以其色彩感和优雅的奇思妙想而闻名，他在德克萨斯州丘陵地区生活和工作。他在罗伯特·威尔森 (Robert Willson) 的得意门生简·杜耶 (Jane Duryea) 的带领下接触了玻璃，并继续在纽约康宁玻璃博物馆、华盛顿州著名的皮尔查克玻璃学校 (Pilchuck Glass School) 学习，师从简·布鲁斯 (Jane Bruce)、克莱尔·凯利 (Claire Kelly) 和安东尼·谢弗梅耶 (Antony Schafermeyer) 以及博伊德·苏吉基 (Boyd Sugiki)。麦克杜格尔也曾在意大利穆拉诺的“火炉”呆过一段时间。如今，他与朋友兼导师杰森·劳森 (Jason Lawson) 在得克萨斯州费舍尔（圣安东尼奥北部小镇）的工作室里工作。 “玻璃是一种用途极其广泛的媒介，”麦克杜格尔说道，“它有一种内在的音乐感。以熔化的形式使用它是有节奏的……更像是一种舞蹈，而不是一个过程。” 史密森尼学会伦威克画廊前馆长兼馆长迈克尔·门罗 (Michael Monroe) 将麦克杜格尔收藏的一个水罐描述为“……在冰冻优雅的时刻捕捉到熔融玻璃的精髓。手柄具有动感而精致的图案，完美地融合在一起，赋予两者作品的运动感和平衡感。” “无论是欣赏还是创作，我都喜欢那些能引发惊奇感、敬畏感、让我开怀大笑的艺术，”麦克杜格尔说。 “无论是对美丽、奇思妙想还是对未知领域的探索，它都必须提醒我，人类所有的压力和压力都是微不足道的。”麦克杜格尔的作品在德克萨斯州和加利福尼亚州的画廊中展出。他曾在达拉斯、沃斯堡、圣安东尼奥、休斯顿和加尔维斯顿等城市的演出中亮相。

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124ct Boulder Opal drilled pendant/bead. Selling the exact stone shown. Has a<br>clean 2mm hole drilled through it. I have several of these I will be offering<br>them separately. They were on a 24k gold necklace with large 24k beads between<br>each stone. The gold has already been recycled and I'm hoping to repurpose these<br>as they are expensive stones that were worthy of putting on a necklace that had<br>thousands of dollars worth of gold on it. The possibilities are endless, one of<br>them or a few would be great in or out of a setting. Buying the exact stone<br>shown 55mm x28mm, weighs 124ct.

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124 毫米稀有 Mitra Helenae 发现于 1/8/82 洪都拉斯加勒比海。附带了来自庄园的纸张。如图所示，尖端有小缺口，否则完美。

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13" Bing and Grondahl Snarling Tiger Figure by Lauritz Jensen. Great, realistic, scarce figure with no cracks, chips, crazing, or restorations. TW88

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13" c1940 Shirley Temple Doll with book "The little Princess" These came together, estate fresh and well preserved. A little writing and wear on outside of the book, clean interior. Doll is about 13" tall without her poofy hair. I believe the clothes and shoes are original. Clean unrestored condition composition body. Selling the doll and the book, last date in the book is 1939. isshelf

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13.5" Lalique Claude French Art Cut glass Vase. Very tall piece 13.5" x 5.5" wide, hand cut designs on base. No cracks, chips, or restorations.TW189

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13.5 英寸长帕特 1897 年克拉克山登山者压制钢制摩擦火车机车。状况良好，原漆，有一些弯曲。功能齐全，但需要一些调整。飞轮可以工作，但可能需要使用一些油或调整以产生更好的摩擦力。我对这些不太了解，不幸的是没有时间玩它。 TW187

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13.5 英寸 Skyros 石榴罐大尺寸停产手绘。6.5 英寸宽，4.5 英寸宽口。非常高的罐子，内部深度 10.5 英寸。不常见的物品，图案精美。无裂纹、缺口、修复或开裂。侧面有 2 个针大小的釉料，顶部有一个。

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13.75 英寸 c1928 Fostoria 葡萄蓝色织锦蚀刻浮雕玻璃虹彩椭圆形中心装饰品。生产于 1927-1929 年。非常有趣且稀有的图案。酸蚀，带有轻微虹彩地面。13.75 英寸 x 11.25 英寸 x 3 英寸高，近乎完好，无缺口、裂纹、划痕、浑浊或其他问题。比图片显示的要好得多。

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1329 克拉长石样本。 7 3/8" x 3.5" x 2"，大型抛光样品。很少有宝石比拉长石更能展现“游彩”现象，红色、蓝色、紫色、黄色等颜色在您手中转动时在您眼前翩翩起舞，但关于这种罕见的美丽还有更多值得探索的地方。 席勒效应、拉布拉多光、光干涉、晶格扭曲是拉长石宝石颜色闪烁的一些科学解释，我们可以稍后再讨论，但也许加拿大拉布拉多的因纽特人最好的解释是北极光或极光北欧生物被困在拉长石岩石中。故事讲述的是，一位强大的爱斯基摩战士用长矛挥击，释放了使极地天空眩目的色彩，但无法击碎所有岩石，留下了许多拉长石宝石供我们收集、雕刻、抛光和欣赏，直到今天。书架

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13pc 1930's Little Orphan Annie nodder Walt Disney Bisque collection cartoon characters Made in Japan. Selling the lot shown mostly Disney, most if not all with Character name on back. Some paint loss, Sleepy elf with chip on foot. All made in Japan, most if not all marked so. Tallest 4.25". tw198

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