設計師美洲原住民/西南珠寶

sz4.75 Gibson Nez (1947-2007) Jicarilla Apache and Navajo Mediterranean coral silver ring 1.5" long face, 20.3 grams. <br><br>Gibson Nez, Jicarilla Apache and Navajo, is known throughout the Indian arts<br>industry and by collectors worldwide as the master of stampwork. No other<br>craftsman comes close to the expert precision of his sharp, clean, impossibly<br>close stamps. Parallel lines, a hairs-breadth apart, encircle bolos and<br>bracelets like radiant energy, drawing your eye to the extraordinary, gem-grade<br>stone Gibson hand-picks to feature in the center. Stampwork of Gibson’s caliber<br>requires extreme patience and an eye for balance. “What is important to me is to<br>make one nice piece, not a lot of mediocre pieces,” said Gibson.<br><br>Gibson’s pieces have won ribbons and awards at all the major competitions,<br>including Gallup Ceremonial, Santa Fe Indian Market, the Heard Museum, the All<br>Mankind Jewelry Competition in Washington, D.C., and Casa Grande in Arizona.<br>Asked what makes him most proud in his work, Gibson said, “I simply try to make<br>a piece that highlights the stone.”<br><br>Gibson’s work embodies unrelenting attention to detail. Each hand-struck stamp<br>adds and builds on the last. Single, meticulously placed lines are, together,<br>the power to Gibson’s work - a complete harmony of silver and stone.<br><br>Gibson sadly passed away on December 1, 2007, but his work will be cherished for<br>years to come. Long after those who knew him are gone he will still be<br>remembered through his powerful jewelry.<br><br>Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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sz6.5 Frank Patania Sr（1899-1964）現代主義西南部英鎊和綠松石戒指。目前有所調整。如果擠在一起，可能會更接近 6。任何有能力的珠寶商都可以解決這個問題，我選擇保持原樣，因為我總是被問到戒指是否可以調整尺寸，顯然，只為了調整尺寸而修復這個問題會令人沮喪。所以它已經在底座上被切割了，沒什麼大不了的，在當地的珠寶商處花 20-30 美元修復，在這一點上，在我看來，問心無愧地調整尺寸更容易。 9.6 克。 所有貴金屬均經過測試並保證，任何被稱為銀或純銀的美洲原住民珠寶均保證至少含有 90%（硬幣）銀，並且含量可能更高。任何標記的內容都保證與其標記的一致，大多數手鐲都是在6 英寸的手腕（無毛）上拍攝的，戒指則盡可能在適當尺寸的手指上拍攝。對於手鐲，如果描述中未給出尺寸，則顯示內週長金屬與布捲尺上的數字相交的地方。 老弗蘭克·帕塔尼亞(Frank Patania Sr.) 於1908 年移民到紐約市。童工法禁止這位年輕人從事工匠工作，但第一次世界大戰後，他已經到了被一家重要珠寶公司聘為設計師的年齡。1924 年，他患上了肺結核，公司將他送往新墨西哥州聖達菲的一家療養院。帕塔尼亞被活躍的藝術殖民地和健康的氣候所吸引，選擇了即使在健康狀況改善後仍留在西南部。他的工作反映了他在歐洲接受的培訓以及他對普韋布洛和納瓦霍珠寶的接觸。 Frank Patania, Sr. 留下的遺產來自於兩種截然不同的融合傳統——一個是歐洲人，另一個是美洲原住民。一方面，Frank Sr. 汲取了義大利悠久歷史的創造精神，將技術專長與藝術想像相結合。他向他的家族灌輸了意大利對精湛工藝的承諾，以及意大利家族企業聯繫的習俗。 這種獨特的意大利傳統可以追溯到文藝復興時期，並提供了一種結構，在這種結構中，每個人工匠家庭的成員都有一份為家族企業做出貢獻的工作。這種家族制衡系統是帕塔尼亞家族多年來持續追求卓越標準的強大資產。但當 Frank Sr. 在 1920 年代接觸到西南美洲原住民珠寶商的作品時，他的風格發生了巨大轉變。 他的靈感是多方面的；他開始使用新的媒材——銀和綠松石——並擴大規模，並使用新技術。這兩種不同傳統的成功結合已成為每一代保持卓越工藝和設計傳統的基礎，這種傳統被稱為「帕塔尼亞雷鳥」風格。

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Preston Monongye（霍皮人）（1927-1987）Tufa 鑄造玫瑰金槽鑲嵌手鍊。適合最大 6 3/8" 的手腕，寬度從 20 毫米逐漸變細到 30 毫米。獨一無二的手鍊，極其罕見的金質手鍊。Preston Monongye 並未加工大量黃金，市場上很少有作品，當他們這樣做時，它們非常昂貴。我個人在一台價值30,000 美元以上的XRF 機器上測試了這台機器，它的黃金含量為40-43%（平均約10k），這實際上非常有意義。因為P Monongye 並沒有與很多人一起工作黃金，他所做的時間可能有些實驗性。在這種情況下，很明顯他熔化了一些廢金，可能是客戶或朋友帶給他的一些廢金，以製作這可能是一件訂製作品。我們拍攝的最低含金量照片顯示，銅含量為48.13%，金含量為40.08%，銀含量為8.18%，鋅含量為3.49%，鎳含量為0.12%。Preston Monongye（1927-1987 年）是該理論的一位有影響力的支持者。他稱之為「新印度藝術」。他寫道：「我們可能會使用舊技術，以及從陶片或像形文字中提取的舊設計，但隨後我們會重新設計它們或添加我們自己的創新。」Preston 擁有一條非傳統且晚熟的珠寶製作之路。參加過兩次戰爭，在執法部門工作，並曾是印第安事務局的僱員。後來，他決定全身心投入珠寶製作，並獲得了無數獎項。他一直在嘗試珠寶和珠寶Preston主要為他的作品進行金屬加工和設計，讓他的朋友和著名寶石藝術家Lee Yazzie 進行鑲嵌，後來又讓他的兒子Jesse Monongye 進行寶石加工。他的作品在全國範圍內展出。Monongye 出生於加州洛杉磯東部，父母是墨西哥人和印第安人，Monongye 七歲時被霍皮人家庭收養。他從小就是霍皮人，講霍皮語並參與其中在卡齊納協會。九歲時，莫農耶開始跟隨他的叔叔、銀匠大師兼畫家吉恩·普亞馬 (Gene Pooyama) 做學徒。 「他教我如何以『霍皮人的方式』生活，」Monongye 回憶道。在他的整個職業生涯中，霍​​皮族的色彩和圖像在Monongye 的作品中佔據著重要地位。但Monongye 堅信本土珠寶不應受過去的束縛，他解釋說：“我父親和其他人傳授給我的古老哲學霍皮梅薩斯人的理念是，「如果你能在不傷害傳統或宗教的情況下進步，你就應該這樣做。」1927 年出生於洛杉磯，七歲時被遺棄在霍皮族，被一個著名的霍皮族家庭收養。莫農耶就讀於保留地學校，並成為霍皮族宗教和社會生活的全面參與者。 在第二次世界大戰中擔任傘兵後，Monongye 成為一名克奇納畫家，偶爾為貿易商 Roman Hubbell 和 Fred Harvey Company 工作。莫農耶在韓戰期間重新入伍，後來在印地安事務局從事執法工作，同時繼續繪畫和製作銀飾。 Monongye 在20 世紀60 年代初辭去工作，轉而從事珠寶製作後，很快就被公認為創新設計師和技術人員，他沉浸在“新印度藝術”中，利用傳統技術和圖案創造當代風格新造型。他最出名的是鑲有寶石的鑄銀，這些寶石經常由他的朋友 Lee Yazzie 切割，後來又由他的兒子 Jesse 切割。莫農耶在各學校和工作室教授他的藝術，並廣泛教授當代本土設計。他在展覽和比賽中贏得了許多獎項，他的珠寶被博物館收藏，例如弗拉格斯塔夫的北亞利桑那博物館和聖達菲的惠爾賴特博物館。

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sz9.25 Frank Patania Sr（1899-1964）現代主義西南部純珊瑚和綠松石戒指8.8 克。 所有貴金屬均經過測試和保證，任何被稱為銀或純銀的美洲原住民珠寶都保證是銀含量至少為 90%（硬幣），甚至可能更高。任何標記的內容都保證與其標記的一致，大多數手鐲都是在6 英寸的手腕（無毛）上拍攝的，戒指則盡可能在適當尺寸的手指上拍攝。對於手鐲，如果描述中未給出尺寸，則顯示內週長金屬與布捲尺上的數字相交的地方。 老弗蘭克·帕塔尼亞(Frank Patania Sr.) 於1908 年移民到紐約市。童工法禁止這位年輕人從事工匠工作，但第一次世界大戰後，他已經到了被一家重要珠寶公司聘為設計師的年齡。1924 年，他患上了肺結核，公司將他送往新墨西哥州聖達菲的一家療養院。帕塔尼亞被活躍的藝術殖民地和健康的氣候所吸引，選擇了即使在健康狀況改善後仍留在西南部。他的工作反映了他在歐洲接受的培訓以及他對普韋布洛和納瓦霍珠寶的接觸。 Frank Patania, Sr. 留下的遺產來自於兩種截然不同的融合傳統——一個是歐洲人，另一個是美洲原住民。一方面，Frank Sr. 汲取了義大利悠久歷史的創造精神，將技術專長與藝術想像相結合。他向他的家族灌輸了意大利對精湛工藝的承諾，以及意大利家族企業聯繫的習俗。 這種獨特的意大利傳統可以追溯到文藝復興時期，並提供了一種結構，在這種結構中，每個人工匠家庭的成員都有一份為家族企業做出貢獻的工作。這種家族制衡系統是帕塔尼亞家族多年來持續追求卓越標準的強大資產。但當 Frank Sr. 在 1920 年代接觸到西南美洲原住民珠寶商的作品時，他的風格發生了巨大轉變。 他的靈感是多方面的；他開始使用新的媒材——銀和綠松石——並擴大規模，並使用新技術。這兩種不同傳統的成功結合已成為每一代保持卓越工藝和設計傳統的基礎，這種傳統被稱為「帕塔尼亞雷鳥」風格。

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c1978 Frank Patania Jr Southwestern modernist sterling bolo with turquoise and100 peso Mexican coin. Bolo is 94 grams without the box of course. Comes with original Thunderbird shop box (3 out of 4 corners are split on box top. Bolo slide is 2.5" tall x 2 3/8" wide 38" long. I think this piece had to have been made in 1978, the year the coin was issued, a year or two later at the most.The training Frank Jr. received was a breath of fresh air in the history of contemporary American craft. To understand the importance of this instruction, one must look to Frank Sr., who came to America with his experience of the apprenticeship system from Italy in the wake of the Industrial Revolution. This had a lasting effect on the handmade tradition. Mass production became apart of everyday life. The need for the services of skilled, educated artisans declined, as did the apprenticeship programs that trained them. It was accepted that mass production pieces were in general of better quality than what most people could make. Many craftsmen were forced to close shop and join in the factory ranks as designers.The effect of mass production on jewelry design is evident with a glance of any "Sears and Roebuck" catalogues of the early 20th century. Since these products were being made for the masses, designs were often "dumbed down", reflecting "safe" motifs repeatedly rooted in past trends. Reproduction became the national aesthetic. There were however, "pockets" within the United States that were exceptions. The Kalo Shops and Roycrofter, for example, were teaching apprenticeship programs, but they were small factors compared to the overwhelming impact of mass production.Like many first generation American children, Frank Jr. was encouraged to follow a formal education. Interestingly, he did not choose applied arts, but rather American History, with a minor in Anthropology. Reflecting on his choices, he believes his father would have thought a degree in applied arts would have been "a waste of time," because nothing could compare to the crafts education he had already imparted to his son.By the time Frank Jr. joined the shop full-time, the climate towards crafts had undergone a major change. Postwar America witnessed an explosion in the development of architecture, industrial design, and the handcrafts. For the first time in decades, craft was enjoying a newfound appreciation, much of which was due to en masse support of craftsmen through universities and crafts schools. An indication of the health of the contemporary jewelry movement can be seen in the surge of important exhibitions during the 40s and 50s. The Museum of Modern Art in NYC took an important step by promoting the first major exhibition of contemporary jewelry in 1946. Magazines like Design Quarterly and Craft Horizon (now American Craft) devoted full sections to design and contemporary jewelry.By the 1950s, a number of people were making contemporary jewelry on a professional scale. That same year, The American Craft council held its first conference, attended by over 450 crafts men and women from 30 states. During the three day conference they addressed many concerns of the young craftsman, including: 1) the craftsmen's relationship to society in economics and social aesthetics; 2) design importance as it related to techniques; and 3) problems in professional practices in the small business. While many young craftsmen in the United States were just addressing these issues for the first time, The Thunderbird Shop of Tucson and Santa Fe had already found resolution in regards to these problems and had implemented them in to a system that allowed the creativity of the shop to flourish while maintaining financial success.Today, Frank, Jr. and his wife Donna travel between Tucson and Santa Fe. Frank, Jr. says he is grateful for the life he has been given, acknowledging his joy in being able to do what his loves for a living and finally arriving at a place in which he can create the pieces he chooses without the pressures of the market. (Fig 25-27) He looks to his son, Sam, to carry on the family name and traditions, recognizing the struggle of a young designer with a family and the pressures to meet payroll while still maintain ones own inimitable style.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise, coral, and Jet<br>scary monster bracelet. 1 11/16" (44mm) wide, 1 1/8" (29mm) gap, fits up to a 6<br>3/16" (157mm) wrist. 92.5 grams. Incredible design, quality, and . A work of art<br>by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise and coral<br>cobblestone inlay bracelet. 1 7/8" (48mm) wide, 1 1/8" (29mm) gap, fits up to a<br>6.25 " (159mm) wrist. 125.2 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Multi-stone intarsia<br>inlay/coral corn row bracelet. 1 5/8" (42mm) wide, 1 1/8" (29mm) gap, fits up to<br>a 6.75 " (172mm) wrist. 88.5 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece.<br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Spiderweb turquoise<br>bracelet. 1 5/16" (33mm) wide, 1 5/8" (42mm) gap, fits up to a 6 7/8" (175mm)<br>wrist. 82.6 grams. Incredible design, quality, and . A work of art by anyone's<br>standards, one of a kind piece. <br><br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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6.25" Norbert Peshlakai Navajo 14k Sterling, coral, jet, and shell bracelet and<br>ring set. Selling the set shown, purchased in Santa Fe in 1979. 6.25" bracelet<br>and size 9 ring. Both of the finest quality with no issues. 104.9 grams total<br>weight<br><br>Norbert Peshlakai, Diné of the Navajo Nation Jeweler<br>+ Add Artist to My Preferences<br>Artist Hallmark Signature of Norbert Peshlakai, Diné Silversmith.Diné of the<br>Navajo Nation artist Norbert Peshlakai is respected as a top award-winning<br>contemporary jeweler. He is a master goldsmith and works in silver. He uses only<br>the best natural gemstones. A circle with a middle dot over an X is part of<br>Peshlakai’s hallmark. His distinctive hallmark rests on the surface of the<br>bracelet rather than on the inside.<br><br>Norbert Peshlakai (1953- ) is Diné of the Navajo Nation, Towering House Clan. He<br>is active ca. 1972-present: contemporary jewelry, container, paintings. Norbert<br>is the great-grandson of Asah ĺ chei / Asant Chee; material grandson of Bessie<br>Steven and Fred Steven; paternal grandson of Billy Roanhorse, Margaret<br>Peshlakai; son of Ben Peshlakai and Lydia Peshlakai; bother of Leta McBride,<br>Calvin Peshlakai, Clifford Peshlakai, Hattie Peshlakai, Victoria Peshlakai<br>Venagas, Jasper Peshlakai, and Frieda Peshlakai; husband of Linda Peshlakai;<br>father of Aaron and Natasha Peshlakai.<br><br>Awards:<br>1978, 3rd; 2006, Most Creative Use of Stamp Work, 1st; 2010, 1st, Indian Market,<br>Santa Fe; 1st, (2), 2nd; SWAIA Fellowship; 1984.<br><br>Reference: American Indian Jewelry III: M-Z 2,100 Artist Biographies by Gregory<br>and Angie Yan Schaaf.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Jolene Eustace (Cochiti/Zuni) 18k/14k/sterling Carved Turquoise, coral, and<br>shell necklace. Jolene is an extremely talented artisan, the galleries that<br>carried her work seem to be mostly out of stock. I believe she has always been<br>quality over quantity, producing a very limited amount of jewelry as you can<br>tell she invests a lot more time/skill/money into her pieces than a large<br>percentage of todays Native American artisans'. Amazing piece as shown. Bottom<br>piece has 18k, 14k, and sterling(marked and tested), two side pieces 14k and<br>sterling. Approximately 17" total length, 144.6 grams total weight.<br><br>Jolene A. Eustace-Hanelt is respected as a master jeweler. She comes from a<br>family of jewelers and potters. She grew up helping her parents. In a cover<br>story for Indian Artist Magazine, Jolene shared: "I was eight when I made my<br>first piece. I got an order to do 100 tie tacks...That was over 100 bucks." She<br>bought a 10 speed bike with the money. She added, "Then I realized I could be<br>self-sufficient with my work as an artist...My work is my release. My work is my<br>meditation. It's a way of going back to Mother Earth." (Zuni/Cochiti, active<br>1985=-present: contemporary, gold, silver leaf, set stones jewelry, alabaster<br>sculptures)<br><br>(A note from Keishi Jewelers a retailer of her wearable art) Sharing our Keshi<br>"Jolene" story: Jolene is (obviously) quite a beautiful woman, and the staff of<br>Keshi commonly referred to her as "the jewelry dess." One day, someone fessed up<br>and told Jolene what she'd been nicknamed, and her reply was "I'm not the<br>jewelry dess, I MAKE jewelry FOR desses!" That response certainly endeared her<br>to us even more!<br><br>Jolene is a daughter of well-known artists Ben and Felicita Eustace. Ben, from<br>Zuni, was a jeweler who, in turn taught his Cochiti wife Felicita the art of<br>jewelry making. Felicita is also a potter, specializing in traditionally made<br>storytellers. The Eustaces passed their demand for quality on to their 13<br>children, including Jolene.<br><br>Jolene was educated at the Institute of American Indian Arts in Santa Fe. She<br>learned jewelry making from her parents and Hopi jeweler Duane Maktima. She has<br>been fabricating jewelry since the mid-80s.<br><br>Always seeking challenges, Jolene relocated to Essen, Germany in the mid-1990s<br>with her German-born former husband and infant son. Several times a week, she<br>commuted by train between her home and Europe’s renowned art school, the<br>Künstakadamie, in Düsseldorf. There she studied frawing and painting. Jolene is<br>a recipient of a fellowship from the Southwestern Association for Indian Arts<br>(SWAIA) and has worked with SWAIA’s mentor program, teaching jewelry techniques<br>to Native students.<br><br>Jolene’s jewelry is characterized by the quality of materials and its striking<br>individuality. She says, “Whoever said you have to play by the rules? I want my<br>jewelry to say something. It cannot be just jewelry. In my jewelry, design and<br>fabrication have to deal with personal experiences and traditional values<br>conflicting and collaborating with present society.”<br><br>Jolene’s parents once said to their children, “If you’re going to do jewelry at<br>tall, you have to do it our way, the right way.” It wasn’t the designs they were<br>talking about, it was the technical aspects of their work: setting stones,<br>welds, and engravings. From the time of their training, the Eustace kids learned<br>a respect for materials and techniques of their art.<br><br>Jolene’s hallmark is a stamped “JAE” and a trademark design which represents<br>sage that was designed by her Dad long ago.<br><br>Tribal Affiliation<br>Cochiti/Zuni<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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c1970's Lander Blue Turquoise Native American Silver bracelet. Fits up to a 6.5" (165mm) wrist including the 1" gap 1.7" or 43mm wide. Center stone approx 23mm x 14mm, smaller stones approx 16mm x 9mm. 80.2 grams total weight in which I think approximately 15 grams(75 carats) could be in stones very easily. This bracelet came from a significant collection of c1970's Native American jewelry. There was nothing extremely old in the collection and also nothing modern. While I don't know the story on the formation of the collection, my hypothesis is it was formed on a vacation or two to New Mexico during the 70's. All of the items were high quality. While anyone with eyes can see this is amazing, this bracelet would not have broke the bank in the 70's. It would have been appreciated at the time, but a very small fraction of the appreciation it would receive today. There were other pieces in this collection from the same era with values in excess of 10k, there were 5 Preston Monongye bracelets in theis collection.This bracelet has no artisan or purity markings whatsoever which would be appropriate for the early to mid 70's when i believe this bracelet was made. I believe it was made before the rarity of the stones was understood. Obviously it's a well made bracelet with obviously beautiful stones. I feel less than half of the artisan's of this period were marking their work.I was born in 1975, I didn't mine these stones, nor have I owned any other Lander Blue that I know of as it's extremely rare. It's the type of thing you could look your whole life for and never find. I have compared it to other stones I have including Chinese Hubei spiderweb turquoise which wasn't introduced to the US until the 80's. It's significantly different. I have ran this by some people which a lot more experience than me, people that have had/seen Lander Blue in person and the consensus was it's Lander Blue. I've spent much time myself looking over Charles Loloma's and other documented pieces that are without a doubt Lander Blue and I'm convinced.Unconditional guarantee no questions asked return privileges, also I would be happy to facilitate an in person inspection.Have you heard of Lander Blue Turquoise, the rarest turquoise in the world?In 1973, Rita Hapgood, a Blackjack dealer from the battle mountain, Nevada, went hiking with her sisters. While out hiking, she found some really fine-looking turquoise rocks. She then went back and filed a mining claim along Indian Creek, which borders the Lander ranch and Lander county.Rita then sold the claim to Marvin Simes and Hank Dorian, who then brought in Bob Johnson to work the mine.A "Hat" MineThe land of mine turned out to be a hat mine, which is a way of saying that the mine was so small that you could cover it with your hat.Only about a hundred pounds of high-grade Turquoise were extracted. Lander Blue Turquoise is now considered to be the finest and most rare turquoise in the world. It is known for its beautiful medium to deep blue spider webbing pattern against a dark, almost iridescent-looking matrix.

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6 7/8" Harry H Begay Ingot Silver and coral heavy stamped bracelet. Fits up to a<br>6 7/8" wrist, very well made and substantial bracelet with no issues.<br><br>Harry H. Begay began his jewelry making career in the early 1970s. He is widely<br>recognized as reviving traditional Native American silver smithing by building a<br>piece of jewelry out of ingot sterling silver. He heats the ingot and anneals it<br>prior to hammering out the desired shape. He then pulls the wire to be used in<br>the piece through an iron block with different sized holes to create different<br>gauges. Harry’s work is significant in that the resulting piece is so thick and<br>heavy that it could not have been purchased from sheet and wire at a commercial<br>supply store. This process is so labor intensive that it takes many times longer<br>to create a piece. It is for this reason that he only uses the finest turquoise<br>on the market. This includes the classic mines from Nevada, including Lone<br>Mountain, Pilot Mountain, Red Mountain, Royston, Candelaria, Carico Lake and<br>Godber Burnham. Harry’s contribution is so significant that he ranks as one of<br>the most collectible Navajo silversmiths of the twentieth century. With over<br>forty years of fine jewelry making behind him, we are proud to carry his work in<br>the twilight of his career.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Turquoise, Coral, shell and Jet<br>freeform bracelet. 45mm or 1.75" wide, fits up to a 6 3/8" (163mm) wrist<br>including the 1 1/8" gap 112.3 grams with no issues. Incredible design, quality,<br>and . A work of art by anyone's standards, one of a kind piece.  <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Michael Perry High grade turquoise Sterling tufa cast bolo tie. Bolo slide is 3<br>1/8" x 2 1/8" 174.7 grams total weight. Clean with no significant wear, no<br>damage to stones.<br><br>Michael Perry is an outstanding Navajo artist whose jewelry has taken the Native<br>American art world by storm. Born in 1972, Michael creates stunning contemporary<br>jewelry combining overlay, inlay and tufa cast techniques. He uses the very<br>finest natural turquoise and the deepest oxblood Mediterranean coral to create<br>his masterpiece bracelets, bolos, buckles and concho belts. His work has won<br>numerous awards.<br><br><br>Michael’s parents were silversmiths in the 1970’s. He grew up around a large<br>number of Native American artists who worked with his mother and father. Years<br>later, he picked up his parents tools and began to experiment. Influenced by<br>many of his contemporaries, he developed his own techniques and designs and,<br>several years ago, became serious about creating jewelry. Today, his jewelry can<br>be found in some of the finest Native American jewelry galleries in the world.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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1950's Frank Patania Sr(1899-1964) Modernist southwestern Sterling RC Bolo tie.<br>2" wide bolo slide 37.7 grams with no issues. Rare possibly one of a kind, Frank<br>Patania and his studio did a lot of custom pieces. This is obviously the RC Cola<br>logo but at this point I have no way of knowing if it were made for say a<br>company exec or someone with the initials RC. Shouldn't really matter, it's very<br>cool.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.<br><br>Frank Patania Sr. immigrated to New York City in 1908. Child labor laws kept the<br>young man from working as a craftsman, but after World War I he was old enough<br>to be hired as a designer for an important jewelry firm. In 1924 he contracted<br>tuberculosis, and the firm sent him to a sanatorium in Santa Fe, New Mexico.<br>Patania was seduced by the active art colony and healthy climate, and chose to<br>remain in the Southwest even after his health improved. His work reflects both<br>his European training and his exposure to Pueblo and Navajo jewelry.<br><br>The legacy left by Frank Patania, Sr. came from the integration of two<br>distinctly different traditions-one European, and the other Native American. On<br>the one hand, Frank Sr. drew from a long history of Italian creative spirit,<br>combining technical expertise and artistic imagination. He instilled in his<br>family the Italian commitment to fine craftsmanship, as well as the Italian<br>custom of family corporate bonding.<br><br>This uniquely Italian tradition can be traced back as far as the Renaissance,<br>and provides a structure in which each member of an artisan family has a job to<br>perform that contributes to the family enterprise. This familial check and<br>balance system has been a powerful asset to the Patania family's continued<br>standard of excellence through the years. But Frank Sr.'s style was drastically<br>transformed when he was introduced to the work of southwest Native American<br>jewelers in the 1920s.<br><br>His inspiration was multi-faceted; he began to work in a new medium-silver and<br>turquoise-as well as in increased scale, and using new techniques. The<br>successful marriage of these two disparate traditions has become the foundation<br>upon which each generation has maintained the tradition of excellence in<br>craftsmanship and design that has come to be known as the "Patania Thunderbird"<br>style.

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Rare 1970's Carol Kee Zuni Multi-stone Inlay Mickey Mouse bolo tie. Bolo slide<br>3.5" x 1.75" x 45 grams total weight, no issues. Carol Kee was a Zuni Native<br>American Artisan active in the 60's and 70's, the did other work but is most<br>famous for her extremely collectible character pieces. She made a lot less<br>bolo's than she did rings. Some of her character pieces have brought 2-3k at<br>auction and a few even more.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Gibson Nez (1947-2007) Jicarilla Apache and Navajo, Multi-stone inlay cuff bracelet. 6 1/16" including the 1 1/16" gap. No damage, very clean with hardly any wear whatsoever. Tapers from 9/16" to 7/8" 89.4 grams.Gibson Nez, Jicarilla Apache and Navajo, is known throughout the Indian arts industry and by collectors worldwide as the master of stampwork. No other craftsman comes close to the expert precision of his sharp, clean, impossibly close stamps. Parallel lines, a hairs-breadth apart, encircle bolos and bracelets like radiant energy, drawing your eye to the extraordinary, gem-grade stone Gibson hand-picks to feature in the center. Stampwork of Gibson’s caliber requires extreme patience and an eye for balance. “What is important to me is to make one nice piece, not a lot of mediocre pieces,” said Gibson.Gibson’s pieces have won ribbons and awards at all the major competitions, including Gallup Ceremonial, Santa Fe Indian Market, the Heard Museum, the All Mankind Jewelry Competition in Washington, D.C., and Casa Grande in Arizona. Asked what makes him most proud in his work, Gibson said, “I simply try to make a piece that highlights the stone.”Gibson’s work embodies unrelenting attention to detail. Each hand-struck stamp adds and builds on the last. Single, meticulously placed lines are, together, the power to Gibson’s work - a complete harmony of silver and stone.Gibson sadly passed away on December 1, 2007, but his work will be cherished for years to come. Long after those who knew him are gone he will still be remembered through his powerful jewelry.

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