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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Large Vintage 14k Lavender Jade Diamond and Lapis pendant 3 1/8" tall x 1 3/8"<br>wide, apparently unmarked. Tested by me guaranteed solid 14k gold, genuine<br>diamond, Lapis, and Jadeite. 28.8 grams.

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Large Antique 14k Hardstone Cameo Onyx pendant/brooch 43mm tall without the<br>swiveling pendant ring x 35mm wide x 21.6 grams. No detectable markings, tested<br>(in multiple spots) and guaranteed solid 14k gold. Circa 1870's entirely hand<br>carved Onyx cameo.

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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. Preston Monongye (Hopi) (1927-1987) Tufa Cast Rose Gold Channel inlay bracelet. Fits up to a 6 3/8" wrist, tapers from 20mm to 30mm wide. One of a kind bracelet, extremely rare example in gold. Preston Monongye did not work in a lot of gold, very few pieces have come to market ever, when they do they are crazy expensive. I personally had this machine tested on a $30,000+ XRF machine and it ranges from 40-43% gold (Averaging about 10k) which actually makes perfect sense. Since P Monongye didn't work with a lot of gold, the times he did were likely somewhat experimental. In this case it is somewhat obvious that he melted up some scrap gold, likely some that was brought to him by a customer or friend to make this which was likely a custom piece. The lowest gold content shot we took showed it at 48.13% copper, 40.08% gold, 8.18% silver, 3.49% zinc, and .12% Nickel.Preston Monongye (1927-1987) was an influential proponent of what he called “the new Indian art.” He wrote, “We may use old techniques, along with old designs taken from potsherds or pictographs, but then we redesign them or add innovations of our own.”Preston had an unconventional and late blossoming path to jewelry making. He served in two wars, worked in law enforcement, and was an employee for the Bureau of Indian Affairs. It was later in life that he decided to dedicate himself full time to jewelry making, which was received numerous awards. He had always experimented with jewelry and craftsmanship, but did not receive acclaim until fully committing to his art. Preston primarily did the metalwork and design for his pieces, letting his friend and acclaimed lapidary artist Lee Yazzie do the inlay, and later allowing his son Jesse Monongye to do his lapidary work. His pieces are exhibited nationwide.Born in East Los Angeles, California, to Mexican and Mission Indian parents, Monongye was adopted by a Hopi family at age seven. He was raised Hopi, speaking the Hopi language and participating in the Katsina Society. At age nine, Monongye began apprenticeship with his uncle, the master silversmith and painter Gene Pooyama. “He taught me how to live the ‘Hopi way,'” Monongye recalled. Throughout his career, Hopi colors and images were prominent in Monongye’s work.But Monongye was adamant that Native jewelry not be bound by the past, explaining, “An old piece of philosophy given to me by my father and other men of the Hopi Mesas is, ‘If you can progress without hurting your tradition or your , you should do so.”Born in 1927, in Los Angeles he was abandoned at Hopi at age seven and adopted by a prominent Hopi family. Monongye attended reservation schools and became a full participant in Hopi and social life. Following his service as a paratrooper in World War II, Monongye became a Kachina painter, working occasionally for trader Roman Hubbell and the Fred Harvey Company. Monongye re-enlisted during the Korean War and later worked in law enforcement for the Bureau of Indian Affairs while continuing to paint and make silver jewelry. After leaving his job in favor of jewelry making in the early 1960s, Monongye quickly became recognized as an innovative designer and technician, immersing himself in “the new Indian art,” using traditional techniques and motifs to create a contemporary new look. He was best known for cast silver set with stones that often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye taught his art at various schools and workshops and lectured widely on contemporary Native design. He won many awards at shows and competitions and his jewelry appears in museum collections such as the Museum of Northern Arizona in Flagstaff and the Wheelwright Museum in Santa Fe.

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sz7.5 c1960's Famor 14k Emerald and diamond ring. 6mm band, Emerald 6mm x 11mm.<br>Gold, diamonds, and emerald tested and guaranteed authentic and high quality. I<br>don't have time to measure the approx carat weight but they are substantial. The<br>price is better without the extra work.<br><br>Hallmarks: 14KT Famor (Famor Inc. is a New York City Jewelry Co that existed in<br>1960's - 1970's) 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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Native American 14k Gold Spiderweb turquoise/Channel inlay spinner pendant 50mm<br>tall x 25mm wide x 11.8 grams. Marked and tested solid 14k gold.<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.

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Antique Chinese 14k gold mounted Carved Jadeite pendant 1 7/16" tall with bail x 13/16" wide x 4.8 grams. Natural fissures as shown. Unmarked, tested 14k gold.

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c1910 Antique Diamond 10k Enamel Flower pin 1 5/8" x 1" x 5.5 grams with no<br>significant issues, slight wear to enamel at tips of petals. Unmarked, acid<br>tested, holds strong at 10k, fades slightly at 14k, so likely somewhere in the<br>middle.

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c1870 14K 金盖切割覆盖玻璃香水瓶紧身胸衣形式。盖子上有标记，如第二张图片所示，但我看不出来。它测试超过 14k 黄金但低于 18k 黄金。棕榈树切割上闪烁的红宝石没有裂纹或缺口，没有轻微磨损。极其复杂且顶级的香水瓶。 4 英寸高 x 2.5 英寸宽。香水抽屉

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尺寸 8 14K 金高级绿松石和珊瑚美洲原住民戒指可能是霍皮族。制作精良的精美戒指，除了 14k 金之外没有其他标记，经过标记和测试的 14k 金。 20 世纪最后 25 年的衣服非常干净，但很可能从未穿过。 4克。

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古董中国或日本 18K 白金雕刻牡丹花珊瑚水车。经我酸测试，至少为 18K 金，但低于 22K，唯一的标记是 SPM，表明它是为 J. Schnelwar & Sons 制造或零售的，J. Schnelwar & Sons 是纽约昔日的珠宝商（成立于 1905 年）。精美的艺术品，距今已有 100 年历史，历史悠久。 22.3 克，2 英寸 x 1 3/16 英寸，非常立体。引脚不是金的，网状背面部分有保证。无缺口、裂纹或其他问题。

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Ilias Lalaounis (1920-2013)！8k 金虎眼复活节彩蛋。伟大的作品经过猫眼测试 18k 金。无标记定制是由大师创作的独一无二的作品，并且价格仅为原始成本的一小部分。我还列出了另一个。没有问题。伊利亚斯·拉劳尼斯维基百科，自由的百科全书跳转至导航跳转至搜索伊利亚斯·拉劳尼斯左旋光磁共振成像伊利亚斯·拉劳尼斯在 1920.jpg伊利亚斯·拉劳尼斯，1990 年出生于 1920 年 10 月 4 日希腊雅典2013 年 12 月 30 日去世希腊雅典国籍 希腊语 母校雅典大学职业珠宝商配偶 Lila Altitzoglou孩子 4个女儿伊利亚斯·拉劳尼斯（Ilias Lalaounis，1920 年 10 月 4 日 – 2013 年 12 月 30 日）是希腊珠宝先驱和国际知名金匠。[1]他尤其以其受希腊历史启发的系列而闻名。[2] 1990 年，他成为唯一入选法国美术学院的珠宝商。[3][4]内容1 早年生活2 职业生涯2.1 1969-1970年代2.2 20世纪80年代-1990年代3 博物馆4 个人生活5 荣誉及奖励6 参考文献早期生活伊利亚斯·拉劳尼斯 (Ilias Lalaounis) 1920 年 10 月 4 日出生于希腊雅典。[3][4]他是第四代珠宝商，其家族起源于德尔菲。[4]他毕业于雅典大学，主修政治学和法律。[3][4]职业伊利亚斯·拉劳尼斯珠宝博物馆。 拉劳尼斯 (Lalaounis) 的职业生涯始于为他叔叔色诺芬·佐洛塔斯 (Xenophon Zolotas) 的珠宝生意工作。[4] 1940 年，他接管了公司的管理工作，并负责管理和设计该公司的所有珠宝直至 1968 年。[3]他创立了希腊珠宝商协会，并于 1957 年在塞萨洛尼基国际博览会上展出了他的第一个系列——考古系列。它的灵感来自古典、希腊化和米诺斯迈锡尼艺术。 1969 年，他创办了自己的公司 Greek Gold - Ilias Lalaounis SA。[4] 1969-1970年代 Lalaounis 的《Blow Up》系列（1970 年）引起了轰动，他为人体披上了受米诺斯文明启发的黄金珠宝。[5]次年，他在雅典组织了一场国际珠宝展，梵克雅宝 (Van Cleef)、宝格丽 (Bulgari)、雷内·科恩 (Rene Kern) 和海瑞温斯顿 (Harry Winston) 也参加了此次展览。 1976 年，他接到了最重要的委托之一，这对他的投资组合来说是最鼓舞人心的委托之一。伊朗皇后法拉赫委托拉劳尼斯创作一系列受波斯艺术启发的珠宝和物品，并在德黑兰皇宫展出。 [6] 1970 年至 1978 年间，伊利亚斯·拉劳尼斯 (Ilias Lalaounis) 在大多数欧洲国家开设了商店。他在巴黎旺多姆广场附近的圣奥诺雷街 364 号开设了第一家国际专卖店，并制作了一部短片解释展示的珠宝的灵感来源。从那时起，他定期制作短片来展示他的收藏，例如：《艺术的奥布》、《黄金拜占庭弧线》、《编舞》、《阿喀琉斯之盾》、《伊利昂 - 特洛伊的宝藏》、《艺术与黄金》、《造物主人的共同根源》 ，圣地的宝藏。[3] 1979年，拉劳尼斯在纽约第五大道和57街的拐角处开设了一家商店。一年后，史密森尼学会邀请他就他的艺术发表演讲，并在美国国家历史博物馆展出他的收藏品《阿基里斯之盾》。 20 世纪 80 年代至 90 年代 Ilias Lalaounis 在 20 世纪 80 年代继续创造创新系列，并将品牌拓展至国际市场。在东京 Lalaounis 商店开业之际，他创作了受日本艺术启发的珠宝系列。同年，他在香港开设了一家商店，推出了一系列珠宝，灵感来自希腊几何时期的图画，与中国艺术的几何设计非常相似。 1982年，第二家店在香港开业。[3]拉劳尼斯在费城宾夕法尼亚博物馆和得克萨斯州休斯顿展出了他的《特洛伊海伦》收藏品，并被市长授予荣誉市民称号。 1984 年，他出版了《Metamorphoses》一书，书中通过分析他对珠宝本质和功能的哲学，展示了他的 19 个系列。对于 Ilias Lalaounis 来说，珠宝不是一个简单的装饰物，而是承载着一种信息，是内心生活的表达，是与遥远过去的联系，是一种象征和记忆。 [3]他因这本书获得了美术学院颁发的索雷特奖（Prix Thorlet）。随后，他的创作回顾展在索邦大学教堂举行。由于对艺术的贡献，拉劳尼斯被法国政府授予艺术与文学骑士勋章（Chevalier de l'ordre des Arts et Lettres）和学术棕榈勋章司令（Commandeur des Palmes Académiques）。他还当选为法兰西学院美术学院院士，是唯一入选的珠宝商。[3][7]院士剑（épées d'Académiciens）是在入会时授予会员的，最初是由萨尔瓦多·达利设计的，当达利变得太虚弱而无法继续时，他任命他的密友伊利亚斯·拉劳尼斯继续他的工作。 1987年11月，拉劳尼斯受耶路撒冷市长泰迪·科勒克邀请，在以色列博物馆特别举办的展览中展示了他的收藏《圣地珍宝》，随后在纽约、伦敦和巴黎展出。第二年，他推出了《Arabesques》，这是一系列镶有宝石和半宝石的金银作品。土耳其外交部长邀请他在伊斯坦布尔伊斯兰艺术博物馆展出阿拉伯式花纹以及另一件补充藏品苏莱曼大帝。 [8]他在纽约推出了 Ameridians，这是一个受北美印第安人艺术启发的系列，并于 1991 年在纽约麦迪逊大道开设了自己的商店，在那里他展示了受凯尔特艺术启发的系列。博物馆 1994 年，他在雅典市中心卫城下创立了 Ilias Lalaounis 珠宝博物馆。常设展览展示了拉劳尼斯 (Lalaounis) 在 1940 年至 1992 年期间设计的 45 个系列的珠宝和微雕塑。[9]一些特殊的作品也被永久展示，例如由伊利亚斯·拉劳尼斯设计的奥运火炬，用于在每届奥运会之前启动奥运火炬集会。

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Ilias Lalaounis (1920-2013)！8k 金虎眼复活节彩蛋。伟大的作品经过猫眼测试 18k 金。无标记定制是由大师创作的独一无二的作品，并且价格仅为原始成本的一小部分。我还列出了另一个。没有问题。伊利亚斯·拉劳尼斯维基百科，自由的百科全书跳转至导航跳转至搜索伊利亚斯·拉劳尼斯左旋光磁共振成像伊利亚斯·拉劳尼斯在 1920.jpg 伊利亚斯·拉劳尼斯，1990 年出生于 1920 年 10 月 4 日希腊雅典2013 年 12 月 30 日去世希腊雅典国籍 希腊语母校雅典大学职业珠宝商配偶 Lila Altitzoglou孩子 4个女儿伊利亚斯·拉劳尼斯（Ilias Lalaounis，1920 年 10 月 4 日 – 2013 年 12 月 30 日）是希腊珠宝先驱和国际知名金匠。[1]他尤其以其受希腊历史启发的系列而闻名。[2] 1990 年，他成为唯一入选法国美术学院的珠宝商。[3][4]内容1 早年生活2 职业生涯2.1 1969-1970年代2.2 20世纪80年代-1990年代3 博物馆4 个人生活5 荣誉及奖励6 参考文献早期生活伊利亚斯·拉劳尼斯 (Ilias Lalaounis) 1920 年 10 月 4 日出生于希腊雅典。[3][4]他是第四代珠宝商，其家族起源于德尔菲。[4]他毕业于雅典大学，主修政治学和法律。[3][4]职业伊利亚斯·拉劳尼斯珠宝博物馆。 拉劳尼斯 (Lalaounis) 的职业生涯始于为他叔叔色诺芬·佐洛塔斯 (Xenophon Zolotas) 的珠宝生意工作。[4] 1940 年，他接管了公司的管理工作，并负责管理和设计该公司的所有珠宝直至 1968 年。[3]他创立了希腊珠宝商协会，并于 1957 年在塞萨洛尼基国际博览会上展出了他的第一个系列——考古系列。它的灵感来自古典、希腊化和米诺斯迈锡尼艺术。 1969 年，他创办了自己的公司 Greek Gold - Ilias Lalaounis SA。[4] 1969-1970年代 Lalaounis 的《Blow Up》系列（1970 年）引起了轰动，他为人体披上了受米诺斯文明启发的黄金珠宝。[5]次年，他在雅典组织了一场国际珠宝展，梵克雅宝 (Van Cleef)、宝格丽 (Bulgari)、雷内·科恩 (Rene Kern) 和海瑞温斯顿 (Harry Winston) 也参加了此次展览。 1976 年，他接到了最重要的委托之一，这对他的投资组合来说是最鼓舞人心的委托之一。伊朗皇后法拉赫委托拉劳尼斯创作一系列受波斯艺术启发的珠宝和物品，并在德黑兰皇宫展出。 [6] 1970 年至 1978 年间，伊利亚斯·拉劳尼斯 (Ilias Lalaounis) 在大多数欧洲国家开设了商店。他在巴黎旺多姆广场附近的圣奥诺雷街 364 号开设了第一家国际专卖店，并制作了一部短片解释展示的珠宝的灵感来源。从那时起，他定期制作短片来展示他的收藏，例如：《艺术的奥布》、《黄金拜占庭弧线》、《编舞》、《阿喀琉斯之盾》、《伊利昂 - 特洛伊的宝藏》、《艺术与黄金》、《造物主人的共同根源》 ，圣地的宝藏。[3] 1979年，拉劳尼斯在纽约第五大道和57街的拐角处开设了一家商店。一年后，史密森尼学会邀请他就他的艺术发表演讲，并在美国国家历史博物馆展出他的收藏品《阿基里斯之盾》。 20 世纪 80 年代至 90 年代 Ilias Lalaounis 在 20 世纪 80 年代继续创造创新系列，并将品牌拓展至国际市场。在东京 Lalaounis 商店开业之际，他创作了受日本艺术启发的珠宝系列。同年，他在香港开设了一家商店，推出了一系列珠宝，灵感来自希腊几何时期的图画，与中国艺术的几何设计非常相似。 1982年，第二家店在香港开业。[3]拉劳尼斯在费城宾夕法尼亚博物馆和得克萨斯州休斯顿展出了他的《特洛伊海伦》收藏品，并被市长授予荣誉市民称号。 1984 年，他出版了《Metamorphoses》一书，书中通过分析他对珠宝本质和功能的哲学，展示了他的 19 个系列。对于 Ilias Lalaounis 来说，珠宝不是一个简单的装饰物，而是承载着一种信息，是内心生活的表达，是与遥远过去的联系，是一种象征和记忆。 [3]他因这本书获得了美术学院颁发的索雷特奖（Prix Thorlet）。随后，他的创作回顾展在索邦大学教堂举行。由于对艺术的贡献，拉劳尼斯被法国政府授予艺术与文学骑士勋章（Chevalier de l'ordre des Arts et Lettres）和学术棕榈勋章司令（Commandeur des Palmes Académiques）。他还当选为法兰西学院美术学院院士，是唯一入选的珠宝商。[3][7]院士剑（épées d'Académiciens）是在入会时授予会员的，最初是由萨尔瓦多·达利设计的，当达利变得太虚弱而无法继续时，他任命他的密友伊利亚斯·拉劳尼斯继续他的工作。 1987年11月，拉劳尼斯受耶路撒冷市长泰迪·科勒克邀请，在以色列博物馆特别举办的展览中展示了他的收藏《圣地珍宝》，随后在纽约、伦敦和巴黎展出。第二年，他推出了《Arabesques》，这是一系列镶有宝石和半宝石的金银作品。土耳其外交部长邀请他在伊斯坦布尔伊斯兰艺术博物馆展出阿拉伯式花纹以及另一件补充藏品苏莱曼大帝。 [8]他在纽约推出了 Ameridians，这是一个受北美印第安人艺术启发的系列，并于 1991 年在纽约麦迪逊大道开设了自己的商店，在那里他展示了受凯尔特艺术启发的系列。博物馆 1994 年，他在雅典市中心卫城下创立了 Ilias Lalaounis 珠宝博物馆。常设展览展示了拉劳尼斯 (Lalaounis) 在 1940 年至 1992 年期间设计的 45 个系列的珠宝和微雕塑。[9]一些特殊的作品也被永久展示，例如由伊利亚斯·拉劳尼斯设计的奥运火炬，用于在每届奥运会之前启动奥运火炬集会。

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复古 14k 扣翡翠串珠项链。漂亮的旧项链，未经处理的翡翠，大约产于 20 世纪中期，手工绑丝绸，配有 14k 金扣。 10-11毫米珠子128克。 33 英寸长，可轻松折叠成颈链。

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复古阿甘翡翠串珠项链。出售所示的复古阿甘翡翠项链，刻度珠子从 4.7 毫米到 10.2 毫米，用数字卡尺测量，重 50.7 克，14k 金搭扣。 22 英寸长。大约 20 世纪中叶，没有损坏，有一些天然裂缝/颜色变化，因为它是未经处理的硬玉，不含塑料和染料。 自 1861 年以来，Gump's 一直是独特而永恒的珠宝目的地。玉石一度被认为比黄金更珍贵，并被珍视了数千年，在亚洲，玉石比任何其他宝石都更受推崇。它代表和谐、平衡和保护，被认为能为佩戴者带来好运。

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1990 年法国 Philippe Ferrandis 巴黎秀场金色项链和夹式耳环。令人惊叹的复古套头套装干净且可直接穿着，来自价值数百万美元的珠宝/服装系列，其中任何东西都只能佩戴几次。无损坏或可检测到的磨损。耳环高 3.5 英寸 x 宽 2 英寸，夹子上配有强力弹簧。项链 20 英寸长，没有问题。保证 80 年代末至 90 年代正品套装，没有任何问题。安德拉斯巴格

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c1890 维多利亚时代 14k 微型马赛克狗耳环。一对很棒的 19 世纪下半叶空心但实心（经过测试）的 14k 金耳环。 2 英寸高 x 5/8 英寸宽 6.5 克。未标记的

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大号格鲁吉亚 14k 金镶嵌肖像微型吊坠。 18 世纪至 19 世纪初的非常精美的微型肖像画，安装在由 14+K 金实心制成的厚框架中。我将其拆解，以便在不损坏外部的情况下进行准确测试，它是实心 14k 或以上但低于 18k 黄金。拆开后，我发现里面有三张纸，一张被切成两半，放在一起时写着： Lane Portrait and Miniature Painter 135 High Street Portsmouth，背面可能是这幅肖像的收据。然后另一篇论文读到了这个10 月 _______ 先生大乔治街威斯敏斯特 我真的很惊讶地发现这些线索，虽然我没有太多时间去跟进它们，但它们很有趣。我把这些纸片放回了它们在过去 200 多年里安全隐藏的地方。高 3.5 英寸（不含额外宽松的顶环）x 2 3/8 英寸宽 44.8 克。这些照片是在对 200 多年历史的金框进行重新组装和仔细清洁后拍摄的。

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大号古董 18k 硬石浮雕褐红玛瑙胸针。令人惊叹的 19 世纪最新高浮雕经过测试，保证至少为实心 18K 金。 2.25 英寸高 x 1 5/8 英寸宽 34.7 克。

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大号古董 14k 金褐玛瑙贝壳浮雕，配有天然珍珠吊坠/胸针。 2.75 英寸 x 2 英寸 x 21.2 克。令人印象深刻的稀有浮雕收藏的一部分。未标记，但经酸测试为略低于 14k 金，保证为 10-14 克拉纯金。

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复古中国 14k 翡翠吊坠 2.5 英寸高 x 1 5/8 英寸宽 26.5 克，标记并测试 14k 金，测试为翡翠

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尺寸 4.5 纳瓦霍 Irvin Kee 14k 宝石级地中海红珊瑚戒指。无标记、经过测试的实心 14k 金。很可能是 20 世纪最后 25 年的作品，但几乎没有磨损的迹象。 4.9克。这是一枚真正高品质的戒指。我找不到关于这位艺术家的太多信息，但他做了一些非常好的作品，正如这里所显而易见的，但他所做的一切都非常好，使用了最高品质的宝石，并且非常注重细节。他只是产量不高，质量似乎胜过数量。所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。

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古董 14k 金硬石浮雕珍珠吊坠。无标记、经过测试并保证为 14-15 克拉纯金。大约 150 岁，高 1 7/8 英寸，带保证金和跳环 x 1.25 英寸宽。 14克。

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古董雕刻 14k 金绿松石别针。经过标记和测试的实心 14k 金。马克在接球时变得微弱，随着时间的推移而磨损。手工雕刻，精美绝伦。 15/16 英寸 x 5/8 英寸 x 2.5 克。

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19 英寸复古 14k 扣 14-15 毫米青金石串珠项链。优质复古项链，没有任何问题。122.2 克。安德拉斯

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Sz6 Estate 18k 翡翠、钻石和珍珠戒指。天然未经处理的硬玉，12 颗大小合适的天然测试钻石，重量可能超过 1 克拉。优质珍珠，经过标记和测试 18k 金，带有难以辨认的制造商标记。 20 毫米 x 24 毫米环面。 11.8克。

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18k 天然埃塞俄比亚棕色蛋白石/钻石吊坠。美丽的吊坠，经过标记和测试，采用 18K 金制成，镶嵌约 0.15 克拉钻石和 2 克 0.9 克拉天然蛋白石，没有损坏或明显磨损。 1 1/8 英寸高 x 0.5 英寸宽。

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复古 14k 金绿松石串珠项链 18.5 英寸项链，5/8 英寸吊坠，5 毫米珠子 18.4 克。

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复古 14k 翡翠和珍珠串珠项链。出售所示项链，其中有经过标记和测试的 14k 金珠子和扣环、翡翠长方形珠子和养殖珍珠。 26 英寸长 23.7 克，宽 4 毫米。

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复古中式 14k 金 26 英寸长青金石串珠项链。14k 扣环和珠子，天然青金石，珠子约 8.5 毫米 60.7 克。

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ST Dupont Fidelio Lignes Recoupees 3 笔套装。出售所示的所有三支钢笔，钢笔的笔尖为 14k，可能已经干了，另外两支写得很好。它们三个都非常干净，没有凹痕或划痕，磨损最小。正品保证，夹子上均带有序列号。饰品抽屉

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大号古董 18k 金微马赛克别针。令人惊叹的 19 世纪艺术珠宝，按我的体重计 2 英寸 x 1 5/8 英寸，重 39.4 克。经我和独立珠宝商测试，为 18K 金，无标记。包括最后一张图片中显示的评估。

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古董中国珊瑚项链，带 14k 金扣。表扣经过测试，保证采用实心 14k 黄金，并配有填充金的安全链。 14 英寸长，19 世纪末至 20 世纪初。总重 84.3 克。

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c1880 Robbins Clark & Biddle 14k 金可伸缩吊坠医生铅笔，带跳环封闭的长度略多于 3.5 英寸，带跳环完全展开的 4 7/8 英寸。功能齐全，没有任何问题。没有标记，但经过我在多个地方的酸测试，结果是 14k 金，没有任何镀金的迹象或证据。一侧刻有零售商的名称，另一侧刻有医生的名字。 18.6克。在不损坏这个的情况下，我不能 100% 确定它不是镀金的，但正如我所说，没有证据表明它是电镀的，没有磨损，并且它在多个地方测试 14k 时很坚固，但在 18k 时褪色，通常镀金的物品更多通常是 12k，所以不会测试 14k，所以我相信它是纯金。一些内部机制将是另一种金属，因为它们比金更耐用。我之前拆解过同一时代的不同型号，它们通常是 50-75% 的黄金，并带有少量的钢或黄铜部件用于机械装置。如最后一张图片所示，固定铅笔的内轴是黄铜的。 Robbins、Clark 和 Biddle，地址：费城切斯纳特街 1124 号。这是一家珠宝店，还出售纯银和电镀制品、进口商品、钟表、青铜器、“镀金、皮革、木材和水晶的精美商品”，其中包括花瓶、墨水架、花瓶、珠宝盒、工作盒和篮子、温度计和气压计、油醋汁和卡盒。塞缪尔·比德尔是贝利、班克斯和比德尔的比德尔。 1857 年，他在托马斯·C·加勒特 (Thomas C. Garrett) 门下当学徒，并在 1860 年之后的某个时候接手了他的生意，成立了 Clark & Biddle。后来变成了《罗宾斯、克拉克和比德尔》（至少到 1876 年为止；它们出现在百年纪念展览的目录中），然后在 1878 年变成了我们今天所知的贝利、班克斯和比德尔。我见过 Clark & Biddle 零售的其他制造商（包括 Krider）的商品，但他们似乎也生产了一些商品，至少在早期是这样。

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维多利亚时代 18k 玫瑰金高浮雕熔岩浮雕胸针。 19 世纪，未标记，但经过测试并保证为纯 18K 金。 2 英寸高 x 1.75 英寸宽，没有任何问题。

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维多利亚时代 14k 玫瑰金/珍珠镶硬石浮雕胸针。 19 世纪硬石浮雕雕刻，没有任何问题，框架经过测试，保证为实心 14k 金，无标记。 1.75 英寸高 x 1.45 英寸宽。 19.4克。

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古董中国 18k 翡翠戒指。未经处理的古董翡翠戒指已有 100 多年的历史。目前尺寸为 4，背面切工，任何珠宝商都可以轻松调整尺寸。 5.4克。无标记、经过测试并保证为 17-18K 金。

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复古帝国 6.7 毫米珍珠项链，带 14k 扣，带原盒。 16 英寸长的真珍珠，装在原盒中，带有经过标记和测试的 14k 金扣。没有损坏或问题。

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复古 14k 金青金石串珠项链。珠子上有漂亮的雕刻，标记并经过测试 14k 金。 18.5 英寸长，总重 52 克。石头不会碎裂或破裂。

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复古明氏夏威夷翡翠 14k 金吊坠。据我所知，明氏一直出售高品质未经处理的翡翠。我不知道他们重新利用了古董物品，但这看起来像是明氏在 20 世纪中叶左右将古董纽扣改造成吊坠。 1.25 英寸高 x 5/8 英寸宽 x 2.5 克。 Ming's 由 Wook Moon 于 1940 年代开设，最终不仅在夏威夷，而且在旧金山和纽约开设了零售店。 Ming's 因在 Fort Street 购物中心设有一家商店而受到市中心地区人们的欢迎。我们的一些客户自己告诉我们，他们记得文在寅先生为收入微薄的市中心秘书和办公室工作人员提供无息分期付款服务，以便他们时不时地买一件东西。 Ming's 成为夏威夷珠宝中最受欢迎的主打产品，因为它通常具有美丽的夏威夷和亚洲文化主题。它们通常以精雕细琢的象牙制品、纯银胸针、珍珠和玉簇以及金手镯为特色。 流行的主题包括牡丹、莲花、菊花、梅花，以及臭名昭著的“梅花鸟”等。据说有些代表季节，或者代表不同亚洲文化的融合。

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Sz6 c1864 18k 金蓝宝石/钻石古董戒指。 1864 年伯明翰标志，不确定制造者。经过标记和测试的 18k 金。老矿切割钻石和美丽的蓝色天然蓝宝石。 1.9克。一个非常特别的小戒指，没有任何问题。蓝宝石重约 0.2 克拉，两颗小钻石重约 0.05 克拉。

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现代主义 14k 蒂芙尼腊肠犬韦纳狗别针。罕见的复古物品，大约有 40-50 年历史，没有任何问题。 2 英寸宽 x 7/8 英寸高 x 5.6 克。保证由 Tiffany 在 70 年代末至 80 年代初设计和零售的正品。

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1937年德克萨斯州泛美运动会奥运会金牌。这是 1937 年在德克萨斯州达拉斯举行的泛美运动会的正品（经过测试）14k 金牌。这是奥运会的第一年，几乎没有受到关注，它可能是唯一存在的一届，因为世界上很少有人知道这些比赛的举办，尽管当时著名的运动员也参加了 1936 年奥运会德国的比赛也在这里进行。我花了相当多的时间才弄清楚这是什么，因为我找不到其他人的销售结果。 999/1000 的黄金买家会在不知道它是什么的情况下融化它。也许还有另一个，但我找不到任何证据，不管它是体育和德克萨斯历史的一个非常重要的组成部分。我假设 TKC 是该奖章的获得者，但目前我不确定那是谁。我拥有这个已经有一段时间了，我知道我在奥斯汀获得了它，大概是在 4-5 年前，如果假设我直接从接受者的遗产中获得它，那么如果他在 20 岁时参加比赛，那么当他通过时，他的分数将是 100。 84年是一段很长的时间。我把它放在那里，希望能收集更多关于它的信息，价格可能看起来很疯狂，但我认为在合适的拍卖中它或更多是可能的。 7/8 英寸宽 x 1 英寸高，无环。 以下是我在几个小时内从各种来源在线收集的有关 1937 年奥运会及其一些参与者的一些信息。早期游戏举办泛美运动会的想法最初是在 1932 年洛杉矶夏季奥运会上提出的，国际奥委会 (IOC) 的拉丁美洲代表建议在美洲所有国家之间举办竞赛。 [7]第一届泛美运动会于 1937 年在达拉斯举行，作为大德克萨斯州和泛美博览会的一部分，但它引起的关注很少，因此从未计入比赛记录。[8][9] 1940年在布宜诺斯艾利斯举行的第一届泛美体育大会上，与会者决定第一届运动会于1942年在布宜诺斯艾利斯举行。由于第二次世界大战，该计划不得不推迟。 1948 年夏季奥运会期间在伦敦举行的第二届泛美体育大会再次确认布宜诺斯艾利斯为 1951 年举行的首届奥运会的主办城市。奥运会于当年 2 月 25 日开始[10]，并提供了 18 个项目。体育运动。[7]加拿大等英联邦国家没有参加第一届泛美运动会。 [11]第二场比赛在墨西哥墨西哥城举行。比赛于3月12日开始，有来自22个国家的2,583名运动员参加17个项目的角逐。[12]随后，泛美运动会每四年举办一次。[12] 长期以来，洲际锦标赛一直是四年一度的体育运动的重要组成部分，而奥运会则是其巅峰之作。它们始于邻国之间组织的国际比赛相对较少的大陆。 1937年泛美运动会之后，又举办了太平洋运动会、非洲运动会和亚洲运动会。泛美运动会举办泛美运动会的想法是在 1932 年提出的。洛杉矶奥运会，却是首届官方认可的潘Am Games 直到 1951.1 才举行”世界政治的干扰从头开始。 14 作为原定于 1942 年举行的奥运会的前奏， 1937 年在达拉斯举办了一个名为“泛美运动会”的节日，德克萨斯州。南美洲、中美洲和北美洲至少 21 个国家受邀参加，但实际上只有大约六人参加。足球方面，1937 年泛美运动会（非官方）：美国队（由特伦顿高地人队代表）输给了温尼伯(代表加拿大队) 3-2 获得三队第三名。 戴瑞森、马克. （2016）。最初的泛美运动会？ 1937年达拉斯泛美奥运会。国际体育史杂志。 33. 1-23。 10.1080/09523367.2016.1152959。 1937 年，德克萨斯州达拉斯举办了一场体育节，吸引了来自美洲各地的球队参加“泛美奥运会”。这些比赛是在大德克萨斯州和泛美博览会的支持下举办的，吸引了数百名运动员参加田径比赛、足球比赛和拳击比赛。尽管历史学家普遍认为 1951 年布宜诺斯艾利斯泛美运动会是西半球最大的体育嘉年华的起源，但达拉斯运动会确实鼓舞了人们，即使它们没有直接启动泛美运动会运动。在乔治·普雷斯顿·马歇尔（George Preston Marshall）的指导下，泛美奥运会自相矛盾地举办了一系列跨种族比赛，黑人、白人和拉丁裔运动员在比赛中相互较量。种族隔离的美国南部的中心。达拉斯泛美音乐节揭示了其建筑师的神秘愿景，阐明了 1930 年代的种族和民族分歧，并凸显了将整个美洲纳入奥林匹克式活动的持久梦想。 厄尔梅多斯入选时间：1996年，运动员出生日期： 1913 年 6 月 29 日 - 密西西比州科林斯去世日期：1992 年 11 月 11 日活动撑竿跳高 - 4.54 m 厄尔·梅多斯 (Earle Meadows) 是竹竿时代的世界纪录保持者，他在 1936 年奥运会上赢得撑杆跳高冠军而声名鹊起，但从纪录的角度来看，1937 年也许是他最伟大的一年。 5 月 8 日，在加利福尼亚州斯坦福大学，梅多斯和南加州大学队友比尔·塞夫顿 (Bill Sefton) 突破了 4.48m/14 英尺 8.50 英寸的高度，打破了世界纪录，并列第一。三周后，他们都以 4.55m/14-11 的间隙超越了这一记录。由于标准无法再提高，梅多斯和他的队友失去了成为第一批突破 15 英尺跳高运动员的机会。梅多斯和塞夫顿带领南加州大学三夺 NCAA 团体冠军，他们的出色表现为他们赢得了“天堂双胞胎”的绰号。 1935年和1936年，梅多斯还与塞夫顿分享了NCAA冠军，并在1935年与塞夫顿并列获得了AAU冠军。梅多斯在室内赛上同样取得了成功，并于 1937 年、1940 年和 1941 年赢得了全国冠军。在后者的比赛中，他创下了 4.45m/14-7 的室内世界最好成绩。 保持记录世界纪录（室内）：撑竿跳高 - 4.45 m世界纪录：撑竿跳高 - 4.48 m（1937 年 5 月 8 日 - ）世界纪录：撑竿跳高 - 4.54 m（1937 年 5 月 29 日 - ）锦标赛1936 年奥运会：撑竿跳高 - 4.35 m（第一） 1935 年美国户外锦标赛：- 4.23 m（第一） 1936 年奥运会选拔赛：撑竿跳高 - 4.34 m（第一） 1937 年美国室内锦标赛： - 4.34 m（第一） 1940 年美国室内锦标赛： - 4.34 m（第一） 1941 年美国室内锦标赛： - 4.38 m（第一） 1937 年泛美运动会：- 4.12 m（第三名） 1936 年德国柏林奥运会 小约翰·洛林 (John Loaring Jr) 的第二次 400m 栏比赛是在他 21 岁生日那天，8 月 3 日，在 1936 年柏林奥运会的预赛中。第二天，洛林参加了 400 米栏的半决赛和决赛。他是最年轻、最缺乏经验的决赛入围者，但最终以仅落后最热门的世界纪录保持者格伦·哈丁 3/10 秒的成绩赢得了银牌。 8月6日至7日，洛林参加了四场400m比赛：第一轮、第二轮、半决赛和决赛，最终获得第六名。 8月8日，洛林主持加拿大4x400米接力队比赛。在半决赛热身赛中，洛林领先于德国选手鲁道夫·哈比格 (Rudolf Harbig) 接过接力棒，后者于 1939 年打破了 400m 和 800m 跑的世界纪录。洛林在接近尾声时故意放慢了速度，让哈比格在他的同胞面前获胜，并且知道加拿大队的第二名将有资格进入决赛。然而决赛中，加拿大第三名接力选手被美国选手犯规，洛林在哈比格身后七米处接过接力棒。洛林几乎追上了哈比格，德国和加拿大队获得了同样的时间，但洛林落后不到一米——加拿大排名第四。国际媒体报道称，官员们对这一明显的犯规行为进行了讨论，但最终决定不取消美国队的参赛资格，因为加拿大队没有提出抗议。这就是早期绅士般的“出拳不放”的体育精神和政治。 德国流行周刊《Fussball》将洛林评选为：“1936 年最艰难的竞争者……”著名奥林匹克作家罗斯和诺里斯·麦克沃特 (Ross and Norris McWhirter) 评论道：“洛林在 1936 年奥运会上的竞技记录……肯定代表了对他来说最严峻的考验。任何一位奥林匹克运动员都曾遭受过这种情况。”洛林仍然是唯一一位参加过所有三届奥运会男子 400 米长距离决赛的运动员，他在 21 岁时就做到了这一点。与其他年轻运动员一样，第二次世界大战的爆发使他失去了两次参加奥运会的机会。在他的巅峰时期参加奥运会——人们只能猜测他作为一名经验丰富的运动员能取得什么样的表现。奥运后表演 奥运会比赛结束后，洛林立即参加了 1936 年 8 月 15 日在英国伦敦举行的大英帝国与美国比赛。在四乘二圈的障碍赛接力比赛中，洛林以世界最佳时间跑出了锚腿，赢得了比赛大英帝国队获得金牌。他超越了美国主持人 12 码的领先优势，后者在一周前还保持着 3,000 米障碍赛世界纪录。这是洛林唯一一次障碍赛经历。 1937 年在德克萨斯州达拉斯举行的泛美运动会上，洛林最喜欢的 400 米栏项目并未出现在节目中。然而，他在400米赛跑中获得了第四名的奖牌。三天后，洛林参加了在安大略省汉密尔顿举行的牛津-剑桥与加拿大双人赛。在赢得 220 码栏比赛后，洛林在 440 码赛跑比赛中击败了英国奥运银牌和金牌得主。 约翰·伍德拉夫 (John Woodruff) 是一位非裔美国赛跑运动员，在 1937 年泛美运动会上，他的对手是刚刚创造 800 米世界纪录的白人赛跑选手埃尔罗伊·罗宾逊 (Elroy Robinson)。伍德拉夫先生以 1 分 47.8 秒的成绩领先 12 码，比罗宾逊保持一周的纪录快了近两秒。但官员们拒绝了伍德拉夫先生的时间，裁定赛道测量不当，而且短了几英尺。

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14K 金和碧玉串珠项链。经过标记和测试的 14k 金扣和珠子。 24寸长，没问题。

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c1860 法国 14k 金顶部切割玻璃香水瓶。测试了 14k 金、荷兰橡树叶 14k 标志，安装在图片中央的盖子底座上。另一个安装在盖子的另一侧。黄金经过测试并有保证。令人惊叹的瓶子，没有任何问题，没有内塞，没有缺口或裂缝。 4.5 英寸高 x 1 7/8 英寸宽。

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Estate 14kt yellow gold necklace, double chain necklace, encompassing six pearls, pear shaped smoky quartz pendant, set with a small diamond, clasp stamped 585, approx 18" long, 20.3 grams with no damage or issues. Diamonds, gold and pearls are tested, I believe the pearls are natural, they are 9-10mm.

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