Big Derrick Gordon Navajo sterling silver Royston turquoise cross pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.New old stock condition with no issues and little wear if any.

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Hopi Overlay Man in the maze/bear sterling silver spinner pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.Unknown artist with no artists hallmark, attributed to Hopi tribe.

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Cheryl Wadsworth Hopi overlay spinner kokopelli/sunface pendant sterling silver. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.Cheryl Wadsworth Soohafyah is a fine silversmith. Cheryl and her husband Eddison live just below the rim of the Second Mesa between the villages of Mishongnovi and Shungopavi.

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Vintage Zuni/Santo Domingo sterling silver carved turquoise leaf Heishi necklace. Tested and guaranteed solid sterling silver mountings with weight and measurements in pictures. 26.5" long with no significant issues. Circa third quarter of the 20th century. Pendant signed as shown by a silversmith once known.

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Large CB Gems southwestern sterling silver naja pendant w/ high grade turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Marked as shown, circa last quarter of the 20th century.

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Vintage Navajo sterling silver feather bezel green turquoise necklace pendant . Tested and guaranteed solid sterling silver with weight and measurements in pictures. No apparent markings, very cool high grade natural turquoise, circa third quarter of the 20th century.

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Large Vintage spiderweb turquoise southwestern brutalist sterling silver pendant . Tested and guaranteed solid sterling silver with weight and measurements in pictures. No apparent markings, very cool high grade natural turquoise, circa third quarter of the 20th century.

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Gary-Pauline Vacit Zuni sterling silver turquoise rainbow dancer pendant/pin. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Marked as shown, circa last quarter of the 20th century.

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Ray Delgarito Navajo sterling silver Royston turquoise big cross pendant. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Marked as shown, circa last quarter of the 20th century.

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Porfilio Sheyka Zuni sterling silver coral cardinal redbird pendant/pin . Tested and guaranteed solid sterling silver with weight and measurements in pictures.Porfilio Sheyka, Zuni Pueblo JewelerAward winning Zuni Pueblo artist Porfilio Sheyka was active 1961-1982. He is best known for mosaic, channel inlay, and engraved jewelry.Porfilio Sheyka was the husband of Ann Skeyka; father of Shawn Sheyka and 3 other children.Porfilio Sheyka (1938-1982) won awards from Inter-tribal Indian Ceremonial, Gallup, New Mexico and the New Mexico State Fair, Albuquerque, New Mexico. He signed his work as early P. Sheyka. Later in his career he collaborated with Ann his wife he signed Ann & Porfilio Sheyka.

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Large J Navajo sterling silver wide bail cross pendant for beaded necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures.

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Large Herbert Tsosie Navajo sterling silver green spiderweb turquoise pendant. Tested and guaranteed solid sterling silver with weight and measurements in pictures.

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L Burnside Navajo vintage sterling silver stamped beads squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. 28" long with no significant issues.

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Vintage Navajo Bisbee turquoise Thunderbird overlay pendant/pin sterling silver . Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unmarked, circa third quarter of the 20th century.   2" wide.

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Vintage Navajo overlay pendant/pin sterling silver geometric pattern. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unmarked, circa third quarter of the 20th century.

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1940's-50's King's Manassa turquoise Vintage Navajo sterling silver cluster necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa second quarter of the 20th century to mid 20th century. No issues, unmarked. 19" long.

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Big Vintage J Navajo sterling silver mother of pearl cluster necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 19" long, circa fourth quarter of the 20th century with no significant issues. Unknown artist.

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17.5" c1950 Vintage Navajo pearl sterling silver hand stamped beaded necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 17.5" long, circa mid 20th century with no significant issues. All handmade, hand stamped beads.

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Vintage EB Navajo sterling silver Kingman turquoise necklace with feathers. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 20" long, circa fourth quarter of the 20th century with no significant issues. Unknown artist.

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22.5" c1950 Vintage Navajo pearl sterling silver hand stamped beaded necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 22.5" long, circa mid 20th century with no significant issues. All handmade, hand stamped beads.

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31" Vintage Navajo/Zuni/southwestern sterling silver charm necklace rosary. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 31" long, circa last qurter of the 20th century, appears to have been made from repurposed pendants and other high quality materials.

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Vintage Navajo sterling silver turquoise nugget row necklace DJA. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 16" long, circa third quarter of the 20th century with no significant issues. Unknown artist.

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Ted Edaakie Zuni sterling silver turquoise/coral/shell inlay own pin/pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, Circa third quarter of the 20th century.

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19" Vintage Navajo sterling silver turquoise chip inlay squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 19" long, circa last quarter of the 20th century. Illegible hallmarks.

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Vintage MT Hopi Overlay pendant/link necklace sterling silver Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified hallmark, I recognize it but remember just now. 24" necklace with replacement clasp.

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Vintage southwestern modernist Ironwood sterling silver turquoise, coral pendant Tested and guaranteed solid sterling silver with weight and measurements in pictures. All stones, secure and intact with no apparent issues. Unidentified hallmark W-B, likely Native American made.

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Haloo Zuni sterling silver spiderweb turquoise/coral/shell dragonfly pendant/pin. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Unmarked, attributed.

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Sherian Honhongva Hopi turquoise, coral, fossil sterling silver corn row pendant. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Sherian Honhongva is a Hopi Indian of the Badger clan and lives near Hotevilla. She learned silversmithing from her uncle, the well-known Charles Loloma. Sherian began working with Charles and her older sister, Verma in 1976. She started by learning to cut stones to be inlaid into jewelry. When Charles retired, Sherian remained working with her sister under the name Sonwai. In 1993, they decided to begin working independently of each other. Sherian’s jewelry is now stamped with her own name. Her work definitely reflects years of working with Loloma in his studio. She credits both Charles and Verma with her success. She has since been the featured artist in shows at the Department of Interior, Indian Craft Shop in Washington DC, and at the Eiteljorge Museum in Indianapolis, Indiana. Her work is featured in Southwestern Indian Jewelry by Dexter Cirillo, Hopi Jewelry, and Art of the Hopi by Jerry and Lois Jacka. Sherian has also been featured in the magazine Arizona Highways.

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Jim Harrison Navajo 14k gold Tufa Cast coral/turquoise/sugilite inlay reversible pendant. Tested and guaranteed solid 14k gold with weight and measurements in pictures. All stones, secure and intact with no apparent issues. Signed by Harrison Jim with an additional hallmark. I believe the Tufa casting was done by H Jim and possibly the inlay work done by another extremely skilled artist that I didn‘t attempt to identify. Harrison Jim is Navajo and a member of the Red House Clan. Born and raised in Gallup, New Mexico. Growing up, he was exposed to the traditional arts through his aunt and grandmother who often wore beautiful pieces and would also weave rugs at home. This early exposure sparked a strong interest in the arts for him. Harrison honed his skills by apprenticing under renowned jewelers such as John Hall, Tommy Jackson, and McKee Platero. These mentors not only taught him the technical aspects of jewelry making, but also instilled in him a deep respect for the traditional Navajo methods and materials. Harrison also pursued formal training through various workshops and classes to further refine his craft. Harrison has developed a unique style that sets his work apart from others in the industry. He blends traditional Navajo techniques with contemporary designs, resulting in pieces that are both modern and rooted in tradition. His attention to detail and use of high quality materials have earned him a loyal following among collectors and admirers alike. His designs are reflective of bright stars in the New Mexico nights and his geometric forms, of the landscape. With his sleek and contemporary shapes and designs, he manages to balance the flavor of tradition along with his stylized approach to Indian imagery. The colorful and innovative inlays in his jewelry are inspired by the natural gifts that Mother Earth and Father Sky provide to each and every one of us.

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Abel Soseeah Zuni sterling silver shell/jet/turquoise inlay sunface pendant/pin. Tested and guaranteed solid sterling silver with weight and measurements in pictures. All stones, secure and intact with no apparent issues.

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1960‘s Vintage Navajo sterling silver squash blossom necklace w/ nice turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 27" long. Great looking turquoise from unknown mine. Likely Natural American turquoise.

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David Rosales Supersmiths Navajo sterling silver channel inlay pendan. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. This retails for $600-$700

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60s-70‘s Bisbee turquoise vintage Navajo sterling silver squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 28.5" long, Identified as Bisbee on the back. There are many grades of Bisbee, I feel it is Bisbee, just not the super high grade $100/ct kind. Still lower grade Bisbee is better than most mines IMO.

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Large Vintage Hopi overlay pendant with necklace, sterling silver. Tested and guaranteed solid sterling silver with weight and measurements in pictures. 26" long, no issues. Hopicrafts hallmark with illegible artists hallmark.

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Larry Ruiz Navajo sterling silver high grade turquoise squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 25" long, very high quality, handmade beads, high grade natural American turquoise.

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17" 40‘s-50‘s Vintage Zuni sterling silver petit point bib necklace turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Stones secure, a few with old fractures.. Circa second quarter of the 20th century. Chain appears later.

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1960‘s Vintage Navajo sterling silversquash blossom necklace w/nice turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 25" long, Original 1960‘s price on back. 179 grams. 10-25

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1992 Jerry Hill 4/25 Northwest Coast Sterling silver/gold abalone necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. 20.5" long, no issues. Gold medallion is untested, may be gold filled, may be solid. Extremely complex design with a smaller limited number than most of his designs of this era. Jerry Hill is one of a handful of white artists who have been recognized for accurately representing and contributing to the resurgence of Pacific Northwest Coastal First Nations art. As a student at the University of Washington in the 70s, Jerry studied under renowned expert Bill Holm. After studying with Holm, Jerry began making Northwest Coast style jewelry and made significant contributions to the movement to preserve and grow recognition and understanding of Northwest Coast art. In the mid 1980s, Jerry was invited to teach at the University of Alaska, Juneau, guiding both native and non-native student artists. His deep respect for Pacific Northwest Coast First Nations peoples and art has led to commissions from a variety of First Nation tribes, families, and people. His work has also been displayed and sold in many First Nation owned galleries throughout the region.

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Vintage Navajo sterling silver high grade turquoise squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 23" long, very high quality turquoise, possibly Godber Burnham.

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15.5" Mitchel Sockyma Hopi overlay bib choker necklace paw sterling silver. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa last quarter of the 20th century. 15.5" long, with no apparent issues.

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27.5" SW Navajo Pearl hand stamped/handmade beaded sterling silver necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa last quarter of the 20th century. 27.5" long, with no apparent issues. I have seen these SW necklaces attributed to Selena Warner, Acoma. That may be correct, or it could be an attribution by unethical dealers just guessing. Regardless the quality is top notch.

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Allen Pooyouma Hopi Overlay Mud Man Kachina pin sterling silver. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, Circa last quarter of the 20th century,

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David Rosales Navajo Supersmith Native Earth black Jade sterling silver pendant. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified/unresearched artist. Supersmith shop mark and artists hallmark. The Native Earth Collection by Supersmith Jewelry features a stunning selection of stones, including Tiger‘s Eye, Picture Jasper, and Black Jade. Supersmith Inc, also known as David Rosales Designs “Contemporary Designs, Traditionally Made,” located in Gallup, New Mexico, consists of several extremely talented Native American craftspeople from the Navajo and Zuni tribe. In 1997, David Rosales, founded Supersmith Inc along with his cousin, John Delgado. What started as a small operation in his garage, has grown to offer one of the highest selections of contemporary Native American jewelry in the Southwest. Born and raised in Gallup, NM, David was trained as a mechanic and was offered an opportunity to accept a managing job at a jewelry company, which changed his life completely. After discovering his own creativity and design ability, and the partnership with his cousin, John Delgado, Supersmith Inc was born. Most commonly known for beautiful, clean inlay work and stunning color combinations, their new tagline is “Contemporary Designs, Traditionally Made.” Working from an old Coors warehouse, artists work within three different departments which include a lost-wax casting department, an inlay department, and a finishing department. The end results are one of hand-crafted beauty from talented artists of all ages. Keeping with family traditions, David’s daughter, Sheree, joined the team in 2016. Today Supersmith employs approximately forty employees who continue to produce hand-crafted contemporary jewelry with continually evolving designs and color combinations to keep up with current trends and popularity. Supersmith strives to keep jewelry making alive by training and encouraging young generations of artists.

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Vintage Natachu Zuni sterling silver knifewing inlay large pendant/pint. Older unmarked pin from the third quarter of the 20th century, attributed to Natachu family of Zuni pueblo. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified/unresearched artist.

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JB Southwestern/Native American Modernist sterling silver turquoise pendant. Very nice high grade turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified/unresearched artist.

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Vintage H Navajo sterling silver pink mother of pearl butterfly necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified/unresearched artist. 18.5" long.

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Vintage Navajo sterling silver turquoise/coral channel inlay pendant lot. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. . No significant issues Selling the lot shown in the pics.

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26.5" long Vintage Navajo sterling silver stamped tube beads coral squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No apparent markings. No significant issues Very unique and unusual necklace.

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28" Dee Morris southwestern Sterling silver Petroglyph multi-stone charm necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Dee Morris was adopted into the Navajo Nation where he was raised within the Navajo culture and taught the family art of silversmithing by his Navajo grandfather. He gained international fame as a cutting edge Navajo artist when the buffalo head he embellished with 9000 carats of turquoise sold for $25,000 in 1974. He taught his trade to his grandson who also became famous. He had his own gallery in Sedona, Arizona for many years which he sold in 1975. He partnered with Ralph Lauren on several projects and unfortunately died in 2006. His work has been featured in Arizona Highways magazine many times. The Jan 1974 issue featured his work on their front cover. He is a world renowned artist.

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16.5" & 14" Vintage Native American sterling silver heishi turquoise necklaces. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues Selling both necklaces shown, length shown in pictures.

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23" Vintage Navajo sterling silver, turquoise/coral pendant/beaded necklace Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues

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21" Vintage Navajo modernist sterling silver beaded design necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Illegible/unresearched markings. No significant issues

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16.5" & 23" Vintage Santo Domingo Pueblo Heishi shell necklaces bird fetish. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues Selling both necklaces shown, length shown in pictures.

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Vintage Native American 5 Strand red coral bead sterling silver necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. . No significant issues

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Vintage Hopi overlay/Navajo sterling silver, turquoise pendant collection/lot. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Unmarked.. No significant issues Selling the lot shown in the pics.

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24" Vintage Navajo pearls/spiderweb turquoise beaded necklace handmade beads. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No apparent markings. High quality handmade Navajo pearl beads, turquoise looks nice to me. Dents to top cones.

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17" c1940‘s Navajo sterling silver high grade turquoise pendant necklace Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa second quarter of the 20th century. Unmarked.. No significant issues

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26"-30" Vintage Native American sterling silver turquoise/Coral beaded necklaces. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues Selling the three necklaces shown, length shown in pictures.

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Vintage southwestern sterling silver multi-gemstone pendant lot/collection. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last half of the 20th century. . No significant issues Selling the lot shown in the pics.

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16" Vintage Native American sterling silver shell heishi turquoise tab necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues

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Vintage Southwestern sterling silver storyteller doll pendant/beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. 24" long. Unknown/unidentified maker.

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18" Fannie Chavez Navajo sterling silver spiny oyster tab necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. 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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Alfred Joe Navajo Sterling silver lapis beaded necklace shadowbox/overlay design. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. 16.5" long. Award-winning, Navajo jeweler Alfred Joe was born in Winslow, Arizona to Rose Ann and Robert Joe. Alfred learned silversmithing from his uncle Colbert Joe, at a young age. He also went on to attend college at Northern Arizona University, in Flagstaff. In 1972, Alfred Joe was making some of the finest chip inlay jewelry available at the time. His uncle Colbert Joe encouraged him to pursue more traditional designs. During the 1970s, he worked in his family’s silver shop in Winslow, Arizona, called “Little Squash” (which is the family’s nickname for the oldest son). When silver prices skyrocketed, the shop had to close, and this allowed Alfred to concentrate more on his jewelry making. Alfred Joe is known for his graceful, traditional designs, with a contemporary edge. He uses shadowbox techniques as well as stamping and overlay. Gem grade turquoise stones from mines such as, Carico Lake, Lander, Bisbee, Morenci and more, are used in his pieces, in addition to Mediterranean red corral and Lapis. A technique used in creating his signature rug bracelets is a silver dust overlay process that provides a level of contrast and texture to the pieces. Working in both silver and gold, his two-sided pendants are highly prized for their magnificent, gem-quality stones and elegant craftsmanship. Since 1972, Alfred Joe has won every major award bestowed in his field. Some of these include: Best in Show, Eight Northern Indian Arts & Crafts Show Best in Show, Gallup Intertribal Ceremonial First place, Santa Fe Indian Market, 1988, 1990, 1991, 1995, 1996, 1997, 2000, and 2001. Artist of the Year, IACA, 2001 and 2009 Alfred Joe taught his son Bryan, and his grandson Derrick Joe, as well as his brother Larry Joe, the skills for jewelry making. Alfred currently lives in Winslow, AZ, where he produces jewelry every day.

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Large/Heavy Wb Navajo sterling silver turquoise squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. 27" long. Unknown/unidentified artist.

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RS Navajo Vintage sterling silver shadowbox turquoise squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. 27.5" long. Unknown/unidentified artist. Very high quality handmade beads and nice turquoise with some pyrite matrix, possibly Morenci.

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Ray Tracey Knifewing Navajo sterling silver, sugilite/opal pendant/earrings. Great earrings and pendant with no issues, tested and guaranteed solid sterling silver. No issues.

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Vintage Nieto Zuni #8 spiderweb Turquoise cluster pendant/beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. 22" long. No apparent markings.

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Vintage Zuni needlepoint turquoise sterling silver bib necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. 17" long. illegibly signed.

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40‘s-50‘s Navajo cast sterling silver turquoise squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa mid 20th century. 29" long. No apparent markings.

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Stephanie Medina Santo Domingo sterling silver multi-stone inlay pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, fairly modern.

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LB Southwestern sterling silver 24k gold accents cross pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, fairly modern.

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Large Tom Lewis Navajo sterling silver Royston Turquoise pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, fairly modern.

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Big Vintage Ornate Southwestern sterling silver cross pendant with turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Unknows artist, possibly Native American made.

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Big Vintage EG Southwestern sterling silver cross pendant with turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Unknows artist.

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Vintage Navajo/southwestern sterling silver pendant collection lot turquoise. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Selling the 5 pendants shown.

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Larry Martinez Chavez/Elgin Tom Navajo sterling silver boulder turquoise necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. 17.5" long.

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Archie Ganadonegro Navajo sterling silver Royston turquoise spiny oyster pendant with beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. 18" long.

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Supersmiths David Rosales Navajo sterling silver opal/black Jade slide pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. No issues, including the 16.5" sterling necklace shown. Pendant is clean and retails for $600. What a stunning piece of Native American jewelry! This slide is handcrafted with created blue opal and black jade, a collection that designer David Rosales calls Black Beauty. The entire slide is sterling silver with openings on the back for a chain to fit through. David Rosales is from Gallup, New Mexico and is one of the very top Native American jewelry designers in the world today. He has assembled a very talented team of Native American jewelry artists to create each piece. This slide has an amazing amount of work and would look very elegant on an omega necklace. It measures 2" x 1 1/2"

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31.5" Heavy vintage hand stamped Navajo pearls sterling silver beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. No issues, 31.5" long necklace. Necklace with illegly signed tag by artist. Extremely high quality set, handmade, hand stamped. Likely restrung due to weight.

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27" Vintage Native American sterling silver bird necklace turquoise heishi beads. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No significant issue, unmarked.

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25" Vintage Santo Domingo Coral/shell heishi necklace sterling clasp. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No significant issue, likely some small chips due to the nature of the necklace. Selling the 25" necklace shown.

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Don Staats Southwestern sterling silver cobblestone inlay pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa fourth quarter of the 20th century. No issues, 16" long necklace. Originally from Minneapolis, Minnesota, Don Staats (July 3, 1938 - June 29, 2020) was an acclaimed Arizona artist with deep creative roots. Many of his family members shared his talent; his grandfather was a potter, his grandmother a world-renowned Ukrainian folk artist, and his father a painter. Don began his career in 1958 when he opened his first art studio in Phoenix, Arizona. Since then, he has worked with many different media to hone his artistic skills and express his creative spirit. In 1962, Don moved to Los Angeles where he did freelance automotive design until he was hired by Carrol Shelby’s Cobra design group in 1963. Don worked designing signature Cobra cars until 1966 when a near-fatal car crash permanently changed his path. After a two-year recovery period, Don Staats returned to University of Minnesota and later resumed his art career in Phoenix where he reopened his studio and focussed on bronze casting, oil painting, and jewelry making. It was during this time that Don mastered his metalworking skills for which he is best known today. Don’s contemporary Southwest jewelry has been collected by art galleries, museums, and individuals since 1970. His work has been featured in numerous publications and has gained a following worldwide. Part of the appeal of Don’s artistry is his use of many rare, semiprecious gemstones, which he had been collecting for some 40 years. His love for the color, shape, and natural variations in each stone is apparent in his jewelry, which combines materials such as sugilite, coral, lapis, charoite, spiny oyster shell, and turquoise (including Orvil Jack). All of his materials are natural -- never dyed or stabilized. Don Staats hand-polished and placed each stone to create the unique, one-of-a-kind styling that classifies his work. A proud father of a son and daughter, Don lived in Cornville near Sedona, Arizona with his wife, Deborah, who is also an artist. He worked out of his home studio near Oak Creek where he gained inspiration for his artwork. Don Staats passed away on June 29, 2020 and he is greatly missed.

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Les Baker Shop Vintage Navajo sterling silver turquoise pendant necklace heishi. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa fourth quarter of the 20th century. No issues, 25" long necklace. Les Baker was a well-known southwest jewelry artist who designed and also made jewelry himself. Although he was Anglo he employed many Native American silversmiths throughout the years, most notably Fritson Toledo, the great Navajo artist.

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Large Vintage Navajo RSJC Sterling feathers/turquoise pendant/beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No issues, 24" long necklace.

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Large Vintage Navajo/southwestern modernist sterling silver pendant/necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No issues, 26" long necklace. Signed Herman Owens, most likely a former owner rather than the silversmith. Very high quality turquoise.

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Big Vintage Royston turquoise sterling silver Native American cross pendant. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Illegibly marked, likely Native American made.

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c1950‘s 3 Vintage sterling silver inlay Deer/Sunface pins/pendant/charm. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. Selling all three.

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Carmen Beckmann mid century Modernist sterling silver necklace, bracelet, ring. Solid sterling silver, extremely high quality as shown 17" necklace, Size 7 ring, 6.5" bracelet. Selling the set shown from the third quarter of the 20th century with no issues. Untouched estate fresh condition, I would be happy to clean up a little upon request before shipping. Carmen Beckmann (???? – ????) Carmen Beckmann sold jewelry from a shop she owned and operated out of her home in San Miguel de Allende, Mexico from the 1950’s through the 1970’s. Experts believe her jewelry was produced by multiple silversmiths and her hallmark affixed to the jewelry. Her work often draws on pre-Columbian designs presented in modernist contexts. She is known for necklaces, rings, pins, brooches, and earrings that employ silver and copper decorated with jade and other semi-precious stones. It is not entirely clear what role she played in the design of work she sold, but her mark on sterling silver jewelry indicates a collectible piece. anderas

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.75" 14k gold/Sterling silver Gemset cuff bracelet, earrings, pendant set. Bracelet fits up to a 6.75" wrist. Weight and measurements in pictures, solid 14k gold accents on sterling silver no issues.. No apparent markings, gemstones untested but I believe they are all natural as it‘s a quality set. anderas

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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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33" Vintage cultured pearl necklace on hand knotted silk. Weight and measurements in pictures. Real vintage organic pearls, not plastic. From the third quarter of the 20th century.

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Vintage 40‘s-50‘s Zuni sterling silver turquoise petit point cluster necklace. Circa second quarter of the 20th century to mid 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings. 19" long with weight and other measurements in pictures.

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Vintage 40‘s-50‘s Zuni sterling silver multi-stone inlay antelope necklace. Circa second quarter of the 20th century to mid 20th century, tested and guaranteed solid sterling silver. No apparent issues or markings. 14" long with weight and other measurements in pictures.

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Michael Horse-Yaqui 14k gold, sugilite, coral yei 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. 18" necklace. Necklace marked 14k, original to this piece and made by Michael Horse. There was another silver pieces in this collection with a silver necklace of similar construction made by the same artist. 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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