Stanley Parker Navajo sterling silver high grade turquoise earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century.

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big Vintage high grade turquoise cluster Navajo sterling silver clip earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century. Strong springs on clips.

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Vintage Zuni sterling silver needlepoint turquoise sunface inlay earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century.

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big Vintage Zuni snake eye turquoise chandelier cluster earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa third quarter of the 20th century.

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30's-40's UITA3 Navajo hand stamped sterling silver concho style earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. UITA is the stamp of United Indian Traders Association, which was formed in 1931 for the express purpose of authenticating Native American Indian crafts. Works that have this stamp are becoming more & more collectable.

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Vintage southwestern modernist sterling silver coral/black jade earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Apparently unmarked.

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Vintage Zuni sterling silver snake eye turquoise row earrings/heart pin/brooch. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Selling the three pieces shown, I believe the earrings are mid 20th century and the pin is a little later but still vintage.

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Vintage Zuni sterling silver needlepoint turquoise dangle earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.

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Stanley Parker Navajo sterling silver high grade coral dangle earrings.. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.

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Everett & Mary Teller Navajo sterling silver long dangle earrings.. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.These self-taught silversmiths have been making jewelry for over 40 years. Everett and Mary Teller’s work is made of sterling silver and 14k gold with simple Navajo overlay designs. They incorporate the storm pattern designs on many of their jewelry pieces.They carefully design their pieces and select the stones using a wide variety of natural stones -Turquoise, Lapis, Oyster Shell, Coral, Onyx and more. They show their work in galleries as well as prestigious art shows such as The Heard Museum and Santa Fe Indian Markets. The workmanship is impeccable - you can always depend upon quality when you purchase a piece of Everett & Mary Teller jewelry.Mary shares her joy for making jewelry, “I enjoy designing something new.”

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40's-50's vintage Zuni sterling silver petit point turquoise cluster earrings.. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.

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Large Vintage Zuni sterling silver needlepoint turquoise long dangle earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.circa third quarter of the 20th century.

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Large Vintage Navajo sterling silver feather decorated turquoise earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.circa 70's-80's.

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Large Vintage Zuni sterling silver channel inlay turquoise dangly long earrings.. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.circa third quarter of the 20th century.

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Vintage 40's-50's Zuni sterling silver turquoise, spiny oyster sunface earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.Circa mid 20th century.

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Vintage Puebloan Lone Mountain turquoise sterling silver chandelier earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.Circa mid 20th century.

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c1940‘s Vintage Navajo sterling silver hand stamped spoon set. Weight and measurements in pictures. Tested and guaranteed solid sterling silver with no issues. Apparently unmarked, circa second quarter of the 20th century. Selling the 4 spoons shown.

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9 Vintage Southwestern sterling silver button covers Navajo basket patterns . Selling the 9 shown, solid sterling silver fronts with base metal backs which is always the case with these. No issues. Weight and measurements in the pictures.

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Watson Honanie Hopi 14k gold overlay on sterling silver necklace Eagle Dancers. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 20" long necklace, other measurements in pictures. Watson Honanie created jewelry of gold and silver overlay portraying Hopi culture and ceremonial life. Encouraged by two uncles, Porter Timecheand and the late Fred Kabotie, both of whom were associated with the Hopi Silvercraft Guild, he began making jewelry at an early age. "They gave me scraps of silver so I could make small pieces, mostly earrings," Honanie said. He learned the overlay technique from his brother Phillip, and worked at the Silvercraft Guild for about two years before venturing out on his own. "In 1979, when the cost of silver got so high - $48 to $50 an ounce, I went back to using scraps, but not for making jewelry. I made small Kachinas, about four inches tall, using the lost wax process and the melted silver scraps. I made these miniature Kachinas for about a year, then returned to jewelry." Although he made jewelry since 1972, it was not until 1985 that he started to work with gold. But today, he is noted for his gold work. Some of his designs are adaptations from Pueblo pottery and Hopi Kachinas. His gorgeous concho belt of coral and gold and silver overlay was awarded First Place and Best of Division at the prestigious 1992 Sante Fe Indian Market. Watson was a world renowned jeweler and prominent leader in the Hopi tribe, up until his death in November 2023.

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Fannie Chavez Navajo sterling silver high grade turquoise modernist necklace. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 27" long necklace, other measurements in pictures. Diné artist Fannie Chavez is known for her silver jewelry. She learned her silversmithing from her mother and great-grandfather on the Navajo Nation and has been active ca. 1971 to present day. Fannie Chavez (1944- ) Fannie Platero is the daughter of Mary Platero and Arturo Chavez. She is mother to Patricia Platero. Fannie‘s early stamps are Fannie Platero between 2 rounded lines, Navajo; FNE Platero, Sterling; also used F; now stamps F.C.

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40‘s-50‘s vintage Zuni turquoise inlay Butterfly form necklace sterling silver. Circa second quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. 17.5" long necklace, other measurements in pictures.

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Sam Patania modernist 18k gold, high grade Bisbee turquoise necklace. Circa late 20th to early 21st century, tested and guaranteed solid 18k gold. No apparent issues. 18.5" long necklace, other measurements in pictures. A set like this would retail for around 15k directly from Sam Patania or another high end gallery that represents him. Sam Patania - Third Generation Artisan in Jewelry Sam 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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32.5" Vintage southwestern sterling silver buffalo nickels link concho belt. Tested and guaranteed sterling silver. Weight and measurements in pictures. Will fit up to a 32.5" waist but can be hooked anywhere shorter. Whole belt is sterling silver with nickel nickels.

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

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

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

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

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Michael Horse-Yaqui 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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6.3" Danny Romero Yaqui - Smoky quartz, turquoise, black jade inlay sterling silver cuff bracelet. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Circa last quarter of the 20th century. Amazing bracelet in clean condition with no issues. The shadows play tricks in these pictures, so please look at all of them. “I construct each piece with sheet and wire first. My inspiration for design comes from many sources. The purple hues and angular shapes of the desert and mountains, a Frank Lloyd Wright building, petroglyphs, Mibres pottery, or the pyramids of Mexico are all examples of what may influence my art,” says Danny Romero. Danny, who initially set out to become a medical doctor, began experimenting with jewelry design as a hobby. He quickly discovered he had a natural talent and decided to pursue jewelry making as a career. He never regretted his choice. Danny, who was Yaqui, acknowledged that many of his sterling silver cast pieces were inspired by prehistoric petroglyph carvings and Hispanic religious symbols. Danny was also a recognized master of intricate inlay design. Working in both silver, 14k and 18k gold, he would often include up to 1,500 individually cut pieces of precious and semi-precious stones in his one-of-a-kind pieces. Painter John Nieto launched Danny in a new direction when he asked him to create an inlay version of one of his portraits. Danny explored the idea of portraiture in jewelry, using his artwork and the work of others for inspiration. “I like E.S. Curtis photographs,” he says, referring to the turn of the century photographer and the ethnographer who documented more than 80 native American tribes. “I go through magazines then I start drawing and go from there.” From those sources, Danny produced detailed portraits in stones. “Lapis will be the darker colors, and yellow or red will be where the light is hitting. Pipestone out of Minnesota, which is a pottery kind of color, can be the shading, and pinks are the highlights. I enjoy bringing the colors of the earth to light."

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Vintage Native American sterling silver bolo tie w/cloud overlay and coral. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 38" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Apparently unmarked.

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Vintage southwestern sterling silver enamel wolf howling at moon bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 44" long with no issues. Tray is tared out, so weight shown is just the bolo of course.

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43" Southwestern Sterling silver deep stamped link concho belt - Sunwest shop. Tested and guaranteed sterling silver. Weight and measurements in pictures. Will fit up to a 43" waist but can be hooked anywhere shorter.

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35" 40‘s-50‘s Fred Harvey Lone Mountain turquoise sterling silver concho belt. Tested and guaranteed sterling silver. Weight and measurements in pictures. Will fit up to a 35" waist but can be hooked anywhere shorter. Very high grade turquoise, possibly from multiple mines. Some appears to be Lone Mountain, one stone with fracture, another with loss on top.

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sz6.5 Native American sterling silver lapis ring with side inlay . Tested and guaranteed solid sterling silver with weight and measurements in pictures. Nice ring from the last quarter of the 20th century.

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Retro sterling silver southwestern modernist agate belt buckle. Tested and guaranteed solid sterling silver with, weight and measurements in pictures with some expected wear, fully functional. Dated with illegible hallmark. Agate secure with old fracture. Fits up to 1.25" belt.

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sz6 Vintage Native American sterling silver, turquoise, coral corn row ring Tested and guaranteed solid sterling silver with weight and measurements in pictures. Nice ring from the third quarter of the 20th century. Great condition. Unmarked.

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sz8.75 Ken Romero Taos sterling silver, high grade turquoise, coral inlay ring Tested and guaranteed solid sterling silver with weight and measurements in pictures. Nice ring from the last quarter of the 20th century. Great condition. Ken is a full-time contemporary jewelry artist, working in the arts for over two decades. His work has been described as being ‘Contemporary in Traditional Native Design. He has an Associate of Fine Arts Degree from the Institute of American Indian Arts and a BA from the California College of Art and Design. Ken is known for his beautiful and intricately inlaid jewelry creations using semiprecious gemstones and cutting-edge designs. When he sits down to make a piece, the exact pattern of the inlay comes as he places one stone at a time and the piece takes on a life of its own. Through his work, he wants to convey the beauty and resilience of his pueblo ancestry. Many of the pieces in his inlay process take on the texture, feel, and look of a village, particularly multi-storied Taos Pueblo. Each piece is made entirely by Ken from start to finish. “I design my pieces with inlay to look and feel like a village or pueblo building. I call this my pueblo village design inlay. All of the jewelry is completed with Kens hallmark. Ken is known for his beautifully wearable works of art. Romero has received numerous honors, including awards at Santa Fe Indian Market, Heard Museum Indian Fair & Market, Eiteljorg Museum Indian Market, and SWAIAs Santa Fe Indian Market. He resides in Albuquerque, New Mexico.

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sz9 Vintage southwestern/Native American sterling silver Moldavite large ring. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Nice ring from the third quarter of the 20th century. Great condition. Unmarked. Moldavite is a rare, green tektite formed about 15 million years ago when a meteorite struck Earth, melting terrestrial rock that was ejected and cooled into this natural glass in the Czech Republic. It‘s valued for its scarcity, unique texture of sculpted lines, and alleged metaphysical properties of spiritual transformation and enhanced intuition

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sz7 large vintage 14k gold high grade turquoise ring sterling silver back. Tested and guaranteed solid 14k gold bezel and band with sterling silver back plate. Nice ring from the last quarter of the 20th century. No apparent issues. Marked 14k with no other apparent markings.

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Vintage Southwestern sterling silver braided rope belt buckle. Tested and guaranteed solid sterling silver with, weight and measurements in pictures with some expected wear, fully functional. Circa last quarter of the 20th century. Most likely Native American (Navajo) made with no apparent markings.

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c1940‘s Fred Harvey era sterling silver green turquoise thunderbird stamped pin. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa second quarter of the 20th century to mid 20th century..

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Vintage southwestern sterling silver shell, onyx inlay modernist bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Tray is tared out, so weight shown is just the bolo of course. 38" long

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Vintage southwestern modernist sterling silver/brass mixed metals onyx bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Tray is tared out, so weight shown is just the bolo of course. Illegibly signed by unknown artist.

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large Vintage Southwestern sterling silver chrysocolla bolo tie rope edge. Tested and guaranteed solid sterling silver slide, tips are not sterling. Weight and measurements in pictures. 37" long with no issues. Tray is tared out, so weight shown is just the bolo of course.

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Big Vintage Sterling silver Chrysocolla southwestern/Native American bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. 38" long with no issues. Tray is tared out, so weight shown is just the bolo of course.

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Vintage Southwestern sterling silver, spiny oyster, turquoise earrings lot. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Circa last quarter of the 20th century.

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Southwestern A Jensen sterling silver shadowbox bear paw turquoise belt buckle. Solid sterling silver (tested) buckle, Weight and measurements in pictures with some expected wear, fully functional. Firs a 1.5" belt.

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sz8 FWH Vintage southwestern sterling silver #8 turquoise, coral figural ring. Tested and guaranteed solid sterling silver. Nice ring from the fourth quarter of the 20th century. size 8 ring

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JK Southwestern sterling silver chalcedony agate bolo tie arrowhead form. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 41" long with no issues. Tray is tared out, so weight shown is just the bolo of course. High quality, unknown maker.

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Vintage Abstract Southwestern Modernist sterling silver bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 38" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Unknown maker, apparently unmarked.

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1991 Chambers Sterling Silver southwestern scrollwork bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 36" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Unknown maker, apparently unmarked.

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H. Fred Skaggs southwestern modernist sterling silver clip-on earrings. Great earrings with no damage or significant wear. Fantastic design and execution, strong springs on clips. Weight and measurements in the pictures. H. Fred Skaggs was a prominent metalsmith who worked in the American Southwest beginning in the mid-1950s. He is also known for inspiring and training other artisans with his knowledge of silversmithing. Some of his pieces display traditional Southwestern designs and elements, while others are purely Modernist in nature. H. Fred Skaggs began his jewelry-making career in 1956. He was part of the community of artists who set up shop in the Lloyd Kiva Craft Center in Scottsdale, Arizona. Kiva‘s vision offered them a place to learn from one another as artisans while plying their respective crafts. Several Native American silversmiths, notably Hopi artisan Charles Loloma, were influenced by Skaggs‘ work. A potter by trade, Loloma was encouraged by and apprenticed to Skaggs, who taught him the art of silversmithing. While most of his jewelry was crafted of silver, Skaggs did work in karat gold occasionally. Given the style of the gold pieces collectors run across, they were likely commissioned by his clientele. Many of his silver jewelry designs were embellished with semi-precious gemstones. Skaggs was active as a jewelry craftsman until he died in 1983.

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sz12.75 Large Tufa Cast Harold Lovato - Kewa turquoise/Variscite/coral ring . Tested and guaranteed solid sterling silver with weight and measurements in pictures. Great ring from the last quarter of the 20th century. Harold Lovato (1954-1997; Kewa). Active 1970s-1997: A highly-regarded, award-winning artist, he began creating jewelry in the 1970s and won top awards at Indian Market in Santa Fe. His work was featured in publications like SWAIA quarterly and Indian Artist, and he learned silver casting from his father-in-law, Leo Coriz. Harold‘s father, Sedelio Lovato, was also an important figure in the history of Kewa tufa cast jewelry. He passed away in 1997.

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Lot of Retro southwestern/designer/Mexican sterling silver clip-on earrings. Great earrings with no damage other than one missing a beaded accent on the rim, strong springs on clips. Selling 5 pairs shown.

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Vintage Native American sterling silver pendant/beaded necklace w/Nice turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Very attractive turquoise on both the pendant and the necklace. Beaded necklace very well made. I believe these have been together "forever" As it stands the pendant will not come off the necklace, if the bail were reshaped it might or might not.

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Vintage Southwestern Sterling silver Malachite, Denim Lapis, etc earring lot. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures.

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Phil Loretto (Cochiti/Jemez) sugilite, turquoise, coral intricate earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Phil Loretto (Cochiti/Jemez) 1951-2017 Phil Loretto was a unique person in history. One of a kind. He was an early student of IAIA. He won so many ribbons at Santa Fe Indian Market, that his teacher, Allan Houser, took him aside and said, "Gee, Phil, aren‘t you going to let the other artists have a chance." Phil moved beyond competing for ribbons to even greater heights as a fine artist

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Lorenzo Tortalita - Santo Domingo sterling silver turquoise/coral bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 39" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Lorenzo Tortalita, Kewa Pueblo - Santo Domingo Pueblo, was an active jeweler from before the 1970s until he passed away in the late 1990s. He was the son of Cipriana Tenorio Tortalita & Reyes Tortalita. He was married to Vickie Reano. Tortalita won a first place award at the 1970 Santa Fe Indian Market and a third place award in 1977. He exhibited annually at Santa Fe Indian Market from 1963 to 1998. His works have been published in numerous magazines and other publications.

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sz6 Vintage Native American sterling silver cobblestone corn row ring size 6. Tested and guaranteed solid sterling silver, weight and measurements in pictures. Great ring from the third quarter of the 20th century. There is a possibility that the top inlay has something missing, not sure. Some age appropriate expected wear as shown. Unmarked. Size 6 ring

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sz7.5 Vintage Native American sterling silver multi-stone inlay modernist ring. Tested and guaranteed solid sterling silver. Unmarked. Very unique, one of kind ring, circa 70‘s-80‘s. Possible wear to coral please look at pics. All stones secure.

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sz5.5 Vintage southwestern modernist sterling silver turquoise freeform ring. Tested and guaranteed solid sterling silver. Unmarked. Very old fracture in turquoise to give it more character, it‘s not going anywhere. Size 5.5 Ring

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TC Cast Southwestern sterling silver 14k gold pendant/earrings set rug/caves. Great earrings and pendant with no issues, tested and guaranteed solid sterling silver with solid 14k gold overlay designs, any marks detected, weight, and measurements will be shown in the pictures.

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6.75" Ken Romero Taos/Laguna pueblos sterling silver cobblestone link bracelet. Weight and measurements in pictures, solid sterling silver with solid 14k gold bar inlay in the cobblestone. Signed on back as shown. Circa last quarter of the 20th century. Tiny chip out of black jade stone. Ken is a full-time contemporary jewelry artist, working in the arts for over two decades. His work has been described as being ‘Contemporary in Traditional Native Design. He has an Associate of Fine Arts Degree from the Institute of American Indian Arts and a BA from the California College of Art and Design. Ken is known for his beautiful and intricately inlaid jewelry creations using semiprecious gemstones and cutting-edge designs. When he sits down to make a piece, the exact pattern of the inlay comes as he places one stone at a time and the piece takes on a life of its own. Through his work, he wants to convey the beauty and resilience of his pueblo ancestry. Many of the pieces in his inlay process take on the texture, feel, and look of a village, particularly multi-storied Taos Pueblo. Each piece is made entirely by Ken from start to finish. “I design my pieces with inlay to look and feel like a village or pueblo building. I call this my pueblo village design inlay. All of the jewelry is completed with Kens hallmark. Ken is known for his beautifully wearable works of art. Romero has received numerous honors, including awards at Santa Fe Indian Market, Heard Museum Indian Fair & Market, Eiteljorg Museum Indian Market, and SWAIAs Santa Fe Indian Market. He resides in Albuquerque, New Mexico.

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c1950‘s Frank Patania Sr southwestern modernist sterling silver lapis earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures, strong springs on clips. Frank Patania, Sr. (1899-1964), a silversmith of international renown, established the iconic Thunderbird Studio in Santa Fe. His exceptional work remains highly coveted by collectors with a deep appreciation for Southwestern artistry. Beyond his own creations, Patania played a pivotal role in elevating the craft of Native American silversmiths, generously sharing his expertise in gemstone setting and other intricate techniques. He fostered the talents of Pueblo artisans like Julian Lovato of Santo Domingo and Louis Lamay of Hopi, serving as both mentor and employer. Though born in Sicily, Patania‘s profound influence on the Santa Fe art scene took root in the 1950s, leaving an indelible mark on the region‘s artistic heritage.

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Vintage Eustace Cochiti Sterling silver carved turquoise clip-on earrings. Great earrings with no issues, tested and guaranteed solid sterling silver, any marks detected, weight, and measurements will be shown in the pictures. Unmarked, strong springs on clips.

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30" Vintage RC Santo Domingo sterling silver pendant/necklace Lapis/shell. Solid sterling silver tested and guaranteed with the markings shown in the pictures, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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16" Vintage Santo Domingo shell bead stamped sterling silver tube necklace. Solid sterling silver tested and guaranteed beads with no apparent markings, with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Vintage Hand carved sterling silver Haida hammered serving spoon ladle. Weight and measurements in pictures. Tested and guaranteed solid sterling silver with no issues. Apparently unmarked, appears collected and never used.

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c1950‘s Vintage Native American sterling silver cast star pin/brooch w/turquoise. Weight and measurements in pics, all solid sterling. Tested and guaranteed solid sterling silver. Circa mid 20th century. Unmarked as is common with Native American silver jewelry of this era.

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Vintage Southwestern modernist sterling silver jasper stone abstract bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 36" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Marked with illegible hallmark and 925.

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sz11.5 Large Vintage BM Native American sterling silver turquoise ring. Great looking ring from third quarter of the 20th century. Stamped BM twice on shank, no sterling mark which is very common with Native American jewelry of this era. Tested and guaranteed solid sterling silver with no issues unless some are already stated previously in the description. size 11.5 ring

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Vintage Southwestern modernist sterling silver chrysocolla abstract bolo tie. Tested and guaranteed solid sterling silver slide and silverplate tips. Weight and measurements in pictures. Great bolo, 36" long with no issues. Tray is tared out, so weight shown is just the bolo of course. Marked with illegible hallmark and sterling.

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Vintage Southwestern modernist sterling silver Opal abstract bolo tie. Tested and guaranteed solid sterling silver slide, tips not sterling. Weight and measurements in pictures. Great bolo, 29" long with no issues. Tray is tared out, so weight shown is just the bolo of course. No detectable markings.

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Vintage Santo Domingo (Kewa) Heishi necklace 3 strand shell, spiny oyster, coral. Tested and guaranteed solid sterling silver fittings with weight and measurements in the pictures. No detectable issues or markings. 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. 30" long

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Vintage Sterling silver, turquoise/shell Native American Heishi necklace. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No detectable issues or markings. 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. Circa 1970‘s. 28" long

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c1980 EJ Southwestern sterling silver channel inlay eagle bolo tie overlay style. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Great bolo, 38" long with no issues. No detectable markings. Tray is tared out, so weight shown is just the bolo of course.

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sz9 Large Vintage Native American sterling silver ring with nice turquoise. Great looking ring from the third quarter of the 20th century. Nice looking stone, looks like it could be Bisbee. I don‘t recognize this hallmark. Tested and guaranteed solid sterling silver with no issues. Size 9 Ring

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sz9.25 Large Vintage Native American sterling silver turquoise ring stamped side. Great looking ring from the mid 20th century. No detectable hallmarks which is typical of Native American jewelry of this era. Tested and guaranteed solid sterling silver with no issues. Size 9 Ring

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RJ Southwestern sterling silver belt buckle with nice turquoiise overlay style, likely Native American made.. Tested and guaranteed solid sterling silver, fits a 1.5" wide belt. No issues, some expected wear. Circa fourth quarter of the 20th century. Weight and measurements 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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CEJ Southwestern sterling silver channel inlay belt buckle with nice turquoise. Hallmarked clearly with an unidentified hallmark. Tested and guaranteed solid sterling silver, fits a 1.25" wide belt. No issues, some expected wear. Circa fourth quarter of the 20th century. Weight and measurements in pictures.

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Native American sterling silver petroglyph overlay deer/moose pin/brooch. Weight and measurements in pics, all solid sterling. Circa last quarter of the 20th century. I had another piece by this artist that was signed illegibly, I can‘t find it. This is just marked sterling.

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24" Southwestern sterling silver turquoise beaded Heishi necklace. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. Buying the Necklace shown with no damage, high quality workmanship, likely Native American made. Purchased in Santa Fe in the 90‘s. Worn little if any.

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Large KW Southwestern sterling silver and turquoise necklace pendant. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No detectable issues. Any markings detected will be shown in the pictures. Unknown artist, likely Native American made 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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20" Mark Jimenez Apache reversible Onyx pillow bead necklace sterling silver No damage or issues, weight and measurements in the pictures. Buying the Necklace shown with no damage, circa last quarter of the 20th century. Tested and guaranteed solid sterling silver. Marked on one of the top tubes, shown in pictures.

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6.75" Vintage modernist sterling silver chrysocolla southwestern cuff bracelet. Circa third quarter of the 20th century, sterling mark and no other detectable markings.

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5.85" Michael Kirk Isleta Pueblo Turquoise feather cuff bracelet sterling silver. Tested and guaranteed solid sterling silver with artists and purity markings as shown. Weight and measurements in pictures. Some expected wear, no cracks or breaks. Circa last quarter of the 20th century. This outstanding bracelet was hand created and signed by Isleta, master silversmith Michael Kirk and is inlaid with an array of clear blue turquoise in a gorgeous silver feather design. This lovely piece shows the quality of material and workmanship Michael uses in his one-of-a-kind collectible design. Michael was the first artist to create the beautiful silver feather bracelets. Many people copied his work, because it sold. He began creating jewelry in 1971, after returning from military service in Vietnam. He often collaborated with his brother Andy Lee Kirk, who passed way in 2001. Hallmarked.

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Vintage Santo Domingo sterling silver mounted shell/turquoise heishi necklace with weight and measurements in pictures. No damage or issues, beads and clasp Tested and Guaranteed solid sterling silver. 26" long, hangs straight, pics were taken top down on a table so it looks crazy, but it‘s great. . No detectable damage.

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Vintage Navajo hand stamped sterling silver belt buckle with nice turquoise. Solid sterling silver tested with weight and measurements in pictures.. Stamped sterling with other hallmark shown.. Stone secure in bezel with very old fracture in the dark matrix towards the edge.

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6.1" Wrist Southwestern modernist sterling silver watch cuff bracelet turquoise. Weight and measurements in pictures, solid sterling silver band. Very good quality workmanship with no issues. Battery quartz watch needs a new battery.. Shown on a female 6" wrist, would be considered a women‘s watch by most.

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Southwestern sterling silver spiny oyster channel inlay bear pendant/necklace solid sterling silver (tested) with weight and measurements in pictures. No damage or issues, Tested and Guaranteed solid sterling silver. No apparent markings. Circa last quarter of the 20th century.

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2 Vintage Santo Domingo sterling silver mounted shell/turquoise heishi necklaces with weight and measurements in pictures. No damage or issues, beads and clasp Tested and Guaranteed solid sterling silver. Necklaces are 14" and 22" long. No detectable damage.

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6.75" Luciano Chavez Santo Domingo Heishi cuff bracelet sterling silver. Tested and guaranteed solid sterling silver with the markings shown.. Weight and measurements in pictures. Some expected wear, no cracks or breaks. Circa third quarter of the 20th century.

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