Peering into his box of treasured turquoise gemstones, award-winning Navajo jeweler Darryl Dean Begay reaches in and chooses from his favorite selections. "Look at this one!" he exclaims in a reverent tone of voice. He turns the stone over and over, pausing to admire the golden web of lines that form the matrix.|
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Join us now as we delve into some of the mysteries of turquoise and provide details designed to help inspire greater appreciation for and knowledge of authentic, handmade American Indian jewelry, and the purchase thereof. More people collect Indian jewelry than any other type of Indian art or craft. Gene Waddell, a respected contemporary jewelry trader and owner of the Lone Mountain (Spiderweb) Turquoise Mine, notes, "Jewelry is really the backbone of the Indian art market." Many are amazed to learn that the American Indian art market has grown to more than $1 billion per year, and that Indian jewelry may account for up to half of that market. Turquoise Through the Ages The history of turquoise spans millennia and encompasses the world, with deposits centered in Africa, Iran, China and the American Southwest. It has been traded for eons over vast distances. A scientific test, neutron activation analysis, has proven that some ancient beads found in South America originally came from the Cerrillos turquoise mine near Santa Fe. A 7,000-year-old turquoise and gold bracelet was found in an Egyptian tomb. The Persian turquoise Mine of Isaac is said to date back to 2,100 B.C. In ancient China, turquoise was second only to jade in esteem and value. For thousands of years in the American Southwest, turquoise was combined with seashells, jet and other materials, mostly in the form of heishi (pronounced "he-she"-flat, disc-like "beads") used in necklaces and mosaic jewelry (cut stones laid in interlocking geometric patterns). Today, the great heishi center is New Mexico\'s Santo Domingo Pueblo. Zuni stonecutters are among the most famous for mosaic jewelry. Some Navajo claim Atsidi Sani was their first metalsmith, learning from Mexican plateros in New Mexico around 1853. Atsidi Chon was one of the first to set turquoise on silver, sometime around 1878. He shared his knowledge with other Navajos, as well as the first Zuni silversmith, Lanyade, and taught Sikyatala, the first Hopi silversmith. The art of jewelry making has spread today to perhaps 10,000 Indian jewelers. Turquoise from different mines have distinctive characteristics. (top to bottom): #8, Royston, Black Widow, Blue Diamond, Pilot Mountain, Indian Mountain, Blue Wind, Manassa, Evans Mine, Blue Gem, Denali, Morenci, Carico Lake, McGinnis. facing page: Rough ore with cut and polished stones from Kingman, Lone Mountain, Fox, Bisbee and Landers Blue Mines. The Landers ring was designed by jewelry master Charles Loloma (Hopi).
1. Quality of Materials. Gold often is stamped 24 kt, 18 kt, 14 kt or 10 kt. The higher the number, the purer the gold. Sterling silver is .925 (92.5 percent) pure; however, Indian jewelers rarely use the .925 stamp popular with Mexican silversmiths. Coin silver is made by melting silver coins. The quality of turquoise and other stones will be discussed below. 2. Techniques. Old, hand-wrought jewelry displays marks of hammers, chisels and filework. Hand-fabricated jewelry often has small irregularities. Sandcast and tufacast jewelry is made by first carving the form in sandstone or tufa (a porous volcanic stone), then pouring hot molten silver into the form. Tufa is similar to sandstone, with a beautiful natural texture. In contrast, mass-produced, spin-cast jewelry reveals striations caused by centrifugal forces in the manufacturing process, and are replicas of the originals. 3. Quality of Workmanship. Except for some contemporary styles, the design should be well balanced, not asymmetrical. Edges should be smooth, not sharp. Solder marks should be barely visible. Bezels that hold the stones in place should be well formed. In mosaic jewelry, the stones should be cut and placed with precision. In cluster and needlepoint jewelry (composed of many tiny pieces of stone), symmetry is sought in the placement of each stone. In traditional, hand-wrought work, every strike of the hammer on the chisel creates marks on the silver, achieved only through confident hand-eye coordination. 4. Physical Condition. Look for wear marks on old pieces. For example, an old concha belt will display wear marks where the tongue touches the buckle. Bracelets wear on the tips and edges. Check the backside for signs of old repairs, cracks or stress marks. New jewelry should be in mint condition. Old jewelry develops a tarnish called patina. Most collectors love the old patina, which requires decades to develop. Polishing it off will lower the value of the piece. Fake patina is created with a liquid called silver black, but it leaves telltale signs from being brushed on as a flowing liquid.
1. Tribal Styles. In general, Zuni jewelers tend to emphasize lapidary stonework (mosaic, channel inlay, cluster, etc.). Navajo jewelers (with many exceptions) emphasize the silverwork, including patterns from stamps, as well as fabricated flowers and leaves created with twisted wires and cutout forms. Hopi jewelers work mostly in tufacast and silver overlay-the latter a process of cutting out the design in sheet silver, then melding a back sheet onto the form. A new Hopi style is emerging by combining the two techniques to create "tufacast overlay." Southern Plains jewelers traditionally use rocker arm engraving on German silver (actually a nickel alloy). Northwest Coast jewelry mostly is engraved and/or carved with designs inspired by regional historic carved wooden panels. Iroquois jewelry, like that of the Northwest Coast, frequently is derived from clan symbols. Other tribes often incorporate traditional tribal designs and symbols in contemporary forms.
3. Age. Pre-1910 Indian jewelry is rare and valuable. Most of this material is in museums or traded among a small circle of serious collectors. Jewelry from the 1920s and \'30s often is called "Fred Harvey style," generally light in weight with pictorial stamps of thunderbirds, arrows and other popular symbols. In the 1940s and \'50s, a revival brought back high-quality, heavier silver jewelry and fine natural turquoise. The popularization of Indian jewelry from the 1960s to the 1980s attracted thousands of new artists and hundreds of thousands of collectors, including many rock musicians and movie stars. Squash blossom necklaces and concha belts became part of a national fashion trend. From the 1990s to the present marks the creation some of the greatest masterpieces in the history of Indian jewelry. However, it also is the time of a profusion of fake foreign imports and spincast knock-offs that violate federal laws and challenge all of us to become better-educated collectors. 4. Ranking in the history of jewelry. Historic importance of an artist may be judged by unique contributions to the field, the number of "students" who spread an artist\'s new innovations and how well the artist\'s biography has been recorded for history. Like Rembrandt and Picasso, Charles Loloma (Hopi) and Kenneth Begay (Navajo) succeeded on all these points. Loloma took tufacast jewelry to new heights of modern art. Begay became known as the "father of contemporary Navajo jewelry" because his refined style of repeating single design elements influenced hundreds of followers and created a "movement." In our American Indian Art Series (see author\'s biography), we also consider records of awards, exhibits, demonstrations, collections and more. One successful artist comments, "The collectors are the real judges." The highest price ever paid for a single item of jewelry reportedly was $100,000 for a gold sculptural bracelet by Bill Reid, the Northwest Coast master. Contemporary Southwest jewelry has reached $65,000 to $85,000 for "Best of Show" masterpieces. from top left: Jewelers use many different techniques to create their artwork. Raymond Yazzie (Navajo) cuts his own stones for his intricate mosaic work; Darrell Dean Begay\'s (Navajo) creates by tufa-casting; Kenneth Johnson (Seminole/Creek) uses rocker-arm engraving to produce complex designs; Angie Owen Reano (Santo Domingo Pueblo) uses the ancient technique of inlay on seashell; Duane Maktima (Hopi/Laguna) is known for mosaic inlay set in gold and silver.
Is It Real? In contemporary jewelry, seek to identify the artist through their hallmarks, initials or signatures, generally found on the back of the piece. Examine jewelry carefully. Ask yourselves how this item compares to other works by the artist. Award-winning jewelers search for the finest natural turquoise, coral and other materials. Turquoise is hydrated copper plus aluminum phosphate, formed under high temperatures near copper deposits. It is becoming increasingly difficult to locate large deposits of such stone, and artists have turned to stabilized turquoise, hardened through a chemical process. The Santa Fe Indian Market does allow some stabilized turquoise. For example, superfine heishi disc beads are actually best made from harder materials. Look in the cracks of the matrix. If you see an amber-like fill material, the turquoise is stabilized. Low-quality turquoise and coral sometimes have been dyed, but the color often is too intense. Identify plastic turquoise with a hot needle. Top grade natural Landers Blue turquoise sells for $100/carat. Number 8 Spiderweb ranges from $7 to $20 a carat. The average price of other forms of natural turquoise is between $1 and $10 a carat. A one-inch oval cab (a worked stone with a flat back ready for setting) weighs an average of 10 to 20 carats. The value of the finest turquoise on a single bracelet could be more than $1,500. In contrast, the same bracelet with dyed and stabilized turquoise might be worth less than $100. When buying Indian jewelry, you have a right to ask for a written statement and a guarantee. The federal law intended to protect consumers in the purchase of authentic, handmade Indian goods is called the Indian Arts and Crafts Act of 1990. The Indian Arts and Crafts Association (IACA; www.iaca.com) requires all members to uphold the highest standards of ethics and fair business practices. A similar organization for old Native arts is called the Antique Tribal Art Dealers Association (ATADA; www.atada.org). Members of these organizations will provide buyers with written documentation supporting authenticity. Where to Buy We enjoy visiting our friends in Indian communities. When you\'re at the right place at the right time, buying directly from Indian jewelers can be a fortunate opportunity. That is the reason why some of the most avid collectors camp out in front of the booths of their favorite artists at the Santa Fe Indian Market. We attend various Indian arts and crafts shows. We also sometimes commission pieces with select artists, and awaiting the piece\'s arrival is like the anticipation in the days before a childhood Christmas. The finest galleries often have the finest jewelry. If you want the best and are willing to hold onto the piece, the value will always raise higher for the finest-quality Indian jewelry and other arts. The best galleries also stand behind their material 100 percent. When buying at auction, remember purchases generally are "where is, as is," meaning "you buy it, you own it." Read the terms of the sale carefully. However, auctions, especially benefits, can be great fun for a good cause. from top right: Jimmy Calabaza (Santo Domingo) cuts and shapes his own stones for his traditional pieces, including his heishi beads; Lee Yazzie (Navajo) is a master silversmith creating pieces in the traditional Navajo style; Mike Bird-Romero (Tewa) uses the techniques of early silversmiths.
12 Artists to Keep an Eye Out For Darryl Dean Begay Darryl Dean Begay (www.redstreakdesign.com), a Navajo artist residing in Gallup, New Mexico, works predominantly in turquoise in a wide variety of jewelry forms. He makes a special effort to use Southwestern turquoise, and though it is hard to find he "occasionally hits a jackpot." Darryl was pursuing a degree in business when his jewelry-making uncle Bobby Begay asked him for his help in the summer of 1997. "That\'s when I discovered I had some talent," he says modestly. "My uncle helped me grow spiritually and taught me how to use the tufa stone technique used by the first Navajo silversmiths." This process, in which a design is carved in tufa and then liquid silver is poured into the form, produces Darryl\'s unique pitted look. Look for his newest work, miniature silver sculpture and boxes, at his booth at the Santa Fe Indian Market.
Kenneth Johnson (www.kennethjohnson.com) is a Seminole/Creek jeweler who lives in Albuquerque. He sets precious stones in silver, gold and platinum. His work features detailed designs in rocker-arm engraving, a technique popular among Southeastern and Southern Plains silversmiths. Johnson grew up in Oklahoma before moving to New Mexico. He is a top prizewinner at the Santa Fe Indian Market and other major Indian art shows. He explains his painterly style: "The metal is a canvas where I can tell a story." Duane Maktima (www.duanemaktima.com) is a Hopi/Laguna jeweler who works at his own gallery/studio in Glorieta, south of Santa Fe. His jewelry is known for precision mosaic inlay set in gold and silver. He grew up in Winslow, Arizona and studied at Northern Arizona University before establishing himself in New Mexico. Maktima has won more than 200 awards at Indian Market, the Heard show and other fairs and festivals. He comments, "My grandfather always said that from sunup to sundown, you should be doing something of value, and now I feel that I am." Naavaasya was raised within the Hopi Corn and Rain Clan traditions at Oraibi, Arizona-the oldest continuously occupied village in North America. In college at Fresno State, California, he developed under the guidance of Ed Lund, who taught "excellence in craftsmanship," says Naavaasya. In 1977, his gold necklace with disks of multiple stone projections won Best of Show at the Santa Fe Indian Market. While drawing from Hopi symbolism, he developed a unique contemporary style in gold, diamonds, turquoise and other precious materials.
Veronica Poblano has emerged as a leading contemporary jeweler from Zuni Pueblo after years of watching her famous parents, Leo and Ida Vacit Poblano. She began by carving small animal figures called fetishes. She then mastered mosaic inlay before creating a new contemporary style that has influenced her talented children, Brad, Dylan and Jovanna. Poblano taught her children well that "Believing in oneself combined with determination-staying focused and positive-will lead you to success." Angie Reano Owen is a master mosaic artist from Santo Domingo Pueblo. She has refined the ancient technique of inlaying finely cut pieces of turquoise, coral and other materials onto seashells. Her mosaic bracelets are highly prized. Owen has carefully studied the history of her art form. She teaches people about the important role of her pueblo in combining heishi necklaces with mosaic pendants. She and her family members have won a mountain of awards at major Indian art shows. Mike Bird-Romero is one of the few Tewa jewelers from San Juan Pueblo in northern New Mexico. He and his wife, Allison, have devoted decades to the study of the history of classic Southwest Indian jewelry. He works in both traditional and contemporary styles, while maintaining the old techniques of early silversmiths. He pours his own ingot silver, makes his own stamps and draws his own wire, and he cuts and polishes turquoise to near perfection. Roy Talahaftewa (www.hopisoohstunatya.org) grew up in Shungopavi, a Hopi village teeming with artists on Second Mesa, Arizona. His father was a master textile weaver, while his mother was a great basket weaver. Talahaftewa continued his art studies at the Institute of American Indian Arts in Santa Fe. He returned to Hopi and developed a new style, "tufacast overlay," by merging the two major Hopi jewelry techniques. He explains, "We needed to create something new." Talahaftewa has established a non-profit organization to support a growing circle of artists. Wes Willie soared into the contemporary Indian art scene in the mid-1990s after developing his techniques as a master metalsmith and lapidary. As a child he learned his Navajo grandfather\'s stories of Creation, the Universe and the Holy People. "I grew up surrounded by Navajo culture," Willie states. "When I hear these stories, my work seems to make more sense." His style features precision mosaic inlay of fine turquoise, coral and other gemstones. Lee Yazzie is a master Navajo jeweler and is respected as one of the finest stonecutters in history. He carefully cuts, shapes and polishes the finest turquoise and coral. Yazzie explains, "Turquoise is so rare now-like diamonds. You need to cut it just right to get the best surfaces." He encouraged his younger brother, Raymond, to achieve even greater heights. "When we know each other\'s potential, then we can compete for all the right reasons." Raymond Yazzie (www.yazzieindianart.com) is a master Navajo jeweler who works in fine mosaic inlay. He has been awarded Best of Show at the Heard Indian Market, and Best of Division and Best of Class at the Santa Fe Indian Market. He learned by watching his parents and other family members, including big brother Lee. "I get my inspiration from my family. My mother was incredibly supportive and always emphasized quality in my work." Yazzie cuts stones to perfection, from rainbow-shaped needlepoint to the tiniest points of color, inlaid as smooth as silk. from top left: Like any other group of artists, Native jewelers are creative and experimental, building on time-honored traditions to develop new techniques and styles. Roy Talahaftewa (Hopi) developed "tufacast overlay," by merging the two major Hopi jewelry techniques; Naavaasya (Hopi) continues to push the envelope with his contemporary visions; Veronica Poblano (Zuni), after mastering mosaic inlay, has forged a sculptural style all her own, illustrated by this leg cuff. Dr. Gregory Schaaf (Cherokee) is director of the Center for Indigenous Arts & Cultures, a nonprofit educational research center and small museum in Santa Fe. Schaaf and his wife Angie Yan Schaaf are publishing the 20-volume American Indian Art Series of fine reference books covering all Native art media. Already released are five books, including two volumes on pottery, a book on weavers, and book one of three planned on jewelry. Contact: P.O. Box 8627, Santa Fe, NM 87504-8627 or e-mail Indians@nets.com. | |||
Peering into his box of treasured turquoise gemstones, award-winning Navajo jeweler Darryl Dean Begay reaches in and chooses from his favorite selections. "Look at this one!" he exclaims in a reverent tone of voice. He turns the stone over and over, pausing to admire the golden web of lines that form the matrix. "This is Number Eight Spiderweb-one of the best forms of natural turquoise. See how the lines flow through the turquoise? This is why we call it Spiderweb." Flowing like veins through Mother Earth, each form of turquoise has a story, an origin and, for some, a deep spiritual significance.
Buying Tips
With some research, one can address more detailed points of interest:
Jimmy Calabaza of Santo Domingo Pueblo is known for his big and bold designs. As he says, "They aren\'t for the faint of heart." All his jewelry is totally handmade, including the cutting and shaping of his raw stones-a step many other jewelers forgo. He first began jewelry work in 1974, making traditional nugget necklaces that he would trade for blankets and other goods on the Navajo reservation. "It was like a hobby at first," he explains. Several years later he decided to focus on it as a career and has since then he has not looked back, mastering lapidary work, bead and heishi production, and silver- and goldsmithing along the way. His work can be found in the gift shops of the National Museum of the American Indian (as well as its permanent collection) in New York, the Southwest Museum in Los Angeles and the Museum of Indian Arts and Culture in Santa Fe, among other venues, yet he is, as he notes, "still a well-kept secret."
Verma Nequatewa was raised within the Hopi Badger/Butterfly Clan at Hotevilla, Arizona. She states, "When my uncle, Charles Loloma, came back to Hotevilla [in 1966], I watched and listened to him. Charles taught that beauty was all around us on Hopi, in the environment, in the culture, in ceremony." She further explains, "I enjoy inlaying with fine stones, discovering the personality and inner secrets of each."
