All Native American Indian Sterling Silver and turquoise jewelry, southwestern
jewelry, turquoise necklaces, artifacts, pottery and paintings on this site
are authentic handcrafted pieces from Navajo, Zuni, Hopi, Sioux, Laguna silversmiths,
goldsmiths, potters and other craftsman unless otherwise noted. Jewelry is .925
sterling silver and stones are genuine turquoise or other stones/shells as noted.
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As you browse our site, you will find thumbnails and full size pictures of over
850 southwestern jewelry items including turquoise rings, turquoise necklaces
Zuni inlay rings and other turquoise jewelry that we try to keep on-line at
any given time. You will find turquoise jewelry, southwestern jewelry, turquoise
necklaces, money clips, sterling silver lighter covers with turquoise, 14K Gold
bracelets, 14K Gold rings, sterling silver and turquoise crosses, turquoise
belts and turquoise belt buckles, turquoise earrings, and turquoise necklaces.
All of our turquoise jewelry items are sterling silver. Money clips are sterling
silver artwork on base metal to give them the stiffness needed to function.
Lighter covers are entirely sterling. The turquoise used in our Native American
turquoise jewelry and turquoise necklaces ranges from polished raw turquoise
to stabilized turquoise. Our Native American jewelry, turquoise jewelry, southwestern
jewelry does not use "reconstituted (blocked) turquoise" or "plastic turquoise."
The majority of our Native American turquoise jewelry and turquoise necklaces
are from New Mexico with a small portion originating from Arizona. If you have
any questions or concerns about our Native American turquoise jewelry, turquoise
necklaces, shipping, etc. please do not hesitate to call our order number listed
above. The History of Native American Turquoise Jewelry Indian jewelry, as it
is known today, had origins that probably predate the advent of the persons
we describe as American Indians or Native Americans. However, for the purpose
of this paper we will consider prehistoric man as prehistoric Indian. Archeological
evidence shows us that stones (including turquoise), shells and fetishes predate
the Christian (epoch). Turquoise was found in Hohokam excavations in southern
Arizona that date 200 B.C., in central Mexico approximately 600-700 B.C. and
in South America ca. 900 B.C. Other beads are even earlier. As Indian jewelry
and turquoise are so closely associated this paper will discuss both. Turquoise
as a mineral deposit is isolated to a rather limited geographical area in the
southwestern United States. Some is found in Mexico but very little and there
are some deposits in western South America. We will concentrate on that found
in the United States. Prehistoric Indians mined turquoise and turned this product
into jewelry, primarily drilled beads and other hanging ornaments. However,
archeological findings do include applique on shell and other rock which means
that it was probably used with wood for ear decoration as well (the wood would
have deteriorated.) Extensive evidence of prehistoric mining operations have
been found in several areas to include: The Cerillos and Burro Mountain regions
of New Mexico, the Kingman and Morenci regions of Arizona and the Conejos area
of Colorado. Turquoise jewelry found in southern Mexico and in excavated mounds
east of the Mississippi have been analyzed and proclaimed to be from New Mexico's
Cerillos mining area. As this article deals with our Southwest other mining
localities are not discussed. Turquoise, although dominant in the jewelry finds
(for example several thousand pieces of turquoise were found in Chaco Canyon),
it is not the only important jewelry find. The spiny oyster shell (Spondylus
Princeps) is found in only one area in the Western Hemisphere- off the coast
of Baja California. This shell has been found in abundance in archeological
excavations of the Anasazi, Mogollon and Hohokam of the desert southwest. It
has also been found in the same eastern mound excavations in which turquoise
was also found. These finds not only prove early man and prehistoric man's interest
and use of jewelry but it reveals important economic information. It shows the
existence of trading in his lifestyle. It also provides a glimpse into probable
status levels of the people. One might argue that the above has little to do
with the development of Indian jewelry as we know it. However, as some (the
Hopi and Pueblo cultures of the Rio Grande) are indeed descended from the Anasazi
and many believe from the Mogollon and Mimbres as well, it seems to be a valid
beginning of a historic tracing. The Navajo, on the other hand, entered the
area fairly recently. Some say as early as the 14th century, others, as late
as the early 16th. The Navajo, whenever they arrived, had to be influenced by
the existing Pueblo cultures and later were profoundly influenced by the early
Spanish. It is the hypothesis of this writer that a study of the Navajo will
give one the best historical trial for the development of Indian jewelry in
the Southwest. The Navajo, as we will see, were instrumental in the spread of
this craft to other southwestern tribes. The Navajo must be considered nomadic
within their "Dinetah" or homeland. They were farmers only to the extent that
they would plant a crop, leave it to the vagaries of the weather and eventually
return to reap the harvest, if any. They and their Apache cousins could be likened
to the early Mongols of the 12th and 13th centuries. They not only raided but
also took, kept and developed that of the conquered that suited them. Beaded
necklaces as a symbol of prestige, decorated "ketoh" or bow guards and concha
(concho) likely originated with their most frequent contacts, the Spanish and
their Pueblo neighbors. The Navajo were in constant contact, some hostile, some
friendly, with the Spanish as they continued to populate the Southwest from
the late 16th century on. From these people the Indians developed a great appreciation
for personal adornment. Some of the early Spanish designs such as the Moorish
inspired crescent and the pomegranate blossom became key to Navajo jewelry design
(More on this later in the discussion of the origin of the Squash Blossom Necklace.)
In time the Spanish became dominant in the area. Although raids continued into
the 19th century, the period was better described as one of "suspicious-cautious
co- existence." It was a 200 plus year period of close association and the sharing
of the best of the several cultures. The Navajo wore the ornaments of those
they conquered or from trade with those they could not beat. These were made
from German silver (a copper-nickel-zinc substance) that was bright and wore
well, to copper, brass and to a much lesser extent, silver. They learned to
appreciate and hold dear the symbols of their prowess or their wealth. (No doubt
early Navajo wearing of a cross or the crescent shaped naja on a rawhide necklace
did not reflect their appreciation for Christianity or for the Moorish influence
on the Spanish.) Rather it was simply an ornament of beauty and pride. And,
if one person had one, others wanted one also and if possible, something even
better. Thus the pendent cross evolved as did the naja into a multitude of variations
and blendings. The simple thong on which they were displayed gave way to stone,
shell, silver or other metal beads. The studies regarding the actual date that
the Navajo began making silver jewelry vary. The two best works are by John
Adair and subsequent research and writings by Carl Rosnek and Joseph Stacy (see
suggested reading list.) All seem to agree that Atsidi Sani (Old Smith) was
the accepted first Navajo silversmith. He learned the blacksmith trade in the
early 1850's and possibly even dabbled in silver in the early 1860's. After
much warfare, the warlike Navajo were captured by the United States Cavalry
and marched into captivity in 1864. Approximately 8000, to include Atsidi Sani,
were sent to Ft. Sumner in eastern New Mexico where they were to be weaned from
a nomadic and warlike lifestyle and taught to be farmers. The experiment failed
and in 1868 they were returned to the four corners area, the "Dinetah." Although
this date 1868 is accepted by many, to include the great Navajo leader of the
time, Chee Dodge, as the year Atsidi Sani learned the silver making skills,
there is evidence that this is not wholly correct. There is a tantalizing comment
by a Major Henry Wallen, the Commandant of Ft. Sumner in 1864. "Some of them
are quite clever as silversmiths." Of course he may have mistaken German silver
for "real silver." In any event Atsidi Sani wears the mantle as the first Navajo
silversmith. The early Navajo silver work concentrated on concha (concho) belts,
bracelets, bow guards, tobacco flasks and necklaces. Rings, earrings, pins,
hair ornaments, buckles and bolos evolved from these. A full line of silver
jewelry existed throughout the reservation by the 1880's. The earliest Navajo
work consisted of hammered work with file decoration. Turquoise, a very popular
and much respected stone by the Navajo, made its appearance in silver jewelry
ca. 1880. It is important to note that turquoise, as a jewelry item, had existed
for centuries. It had been used in combination with other stones, shells and
metals long before 1880. However, the early Indian glued or otherwise attached
the turquoise to the stone, shell or metal. It is known that Mexican silversmiths
(plateros) toured the Indian pueblos and Navajo enclaves in the early-mid 1800's
selling and trading silver jewelry for Indian products. This is the likely origin
of silver ornamentation in the Indian possession prior to ca. 1860. It is fairly
certain that there was no indigenous Navajo or pueblo silver industry. Early
Navajo smiths used Mexican and US coins for their silver. Often if they were
given a special order from a trader or local rancher or businessman they would
receive silver in the form of candlesticks, tea pots, etc. to melt for their
work. The Navajo preferred to use melted Mexican silver coins as they were the
easiest to work (.90275 fine.) Next preferred was what ever sterling silver
was available (.9025 fine.) Least desirable but the most durable was silver
from melted US coins (.900 fine.) The latter was the most readily available
source. In 1890 the United States made it unlawful to melt of deface (such as
soldering on hooks, eyes, jump rings or "doming" coins for beads.) As this was
difficult to enforce, United States coinage continued to be used in the developing
Navajo silver industry. Now that there was a demand for materials and tools
the reservation traders began to stock many of the needed items. Although the
Navajo were able to make a flux out of native materials, the commercial flux
was superior. Cutting, grinding and fine polishing materials were commercially
more desirable than home made ones. This was the beginning of a new economy
involving the Indians, traders and eastern suppliers. Very shortly, following
Atsidi Sani's beginning Navajo silver smithing, the craft spread across the
area. He taught his sons and they taught others. The craft made its appearance
in Zuni ca. 1872. Atsidi Chon (Ugly Smith) taught his close Zuni friend, Lanyade,
the skills. The Zuni were already skilled in metal working making items in copper,
brass and iron. Research shows that a forge existed in Zuni in 1852. It is reported
(see Rosneck and Stacy) that Lanyade paid Atsidi Chon "one good horse" for his
instruction. Lanyade learned the trade well. He began touring the various pueblos
selling his jewelry. While on Hopi First Mesa at Sichomovi, he taught the first
Hopi silversmith, Sikyatala, the skills. As Lanyade was taught by a Navajo and
the Hopi taught by Lanyade all the jewelry of the period was Navajo in style.
As a side note this is why provenance (history of origin-ownership) is so important
for 19th century jewelry in properly identifying its origin. It's too easy to
say that because it looks like Navajo work it is therefore of Navajo origin.
During these early years the use of solder was learned and developed. Accompanying
this was the skills of making silver dies. The former permitted the artistic
and permanent joining of two or more metal pieces resulting in a multitude of
design possibilities and the setting of stones. Die making was probably adopted
from the many leather tooling dies that existed and were used by Spanish, Mexican
and later Indians in both leather work as well as tin smithing. As the years
progressed the styles that were basically of Navajo origin were gradually modified
by their pueblo students. For example: the Zuni, since prehistoric times, were
excellent lapidaries. These skills slowly changed their work to the fine inlay
and channel inlay we have come to associate with them. However, the Hopi change
occurred a bit more abruptly. In 1938 the Museum of Northern Arizona in Flagstaff,
Arizona, working with Hopi silversmiths, Paul Saufkie and Fred Kabote, began
a program of developing a style that was exclusively Hopi. The work was interrupted
by World War II. Following the war a government grant helped a silversmith training
program with the Hopi Guild. The "overlay" technique they created involved the
cutting of designs in a heavy gauge silver sheet and then soldering this to
a solid silver sheet. The designs were usually adapted from the pottery shards
found in the Sikyatki Pueblo ruins of the 15th and 16th centuries. These pre-Hopi
designs were mostly bird motifs. The Hopi Guild also used kachina symbols, animal
and clan motifs. Today's Indian silversmiths are in many cases also goldsmiths
and lapidaries as well. They cross tribal design boundaries with a will and
with abandon. No longer can one look at a piece and say "It's Zuni style so
it must be Zuni made." The artist of today may incorporate in a single piece
all the styles available as well as his or her own innovation. Indian jewelry
today transcends tribal styles. Native American Squash Blossom Necklace When
Indian jewelry is mention the symbol that pops to mind is the squash blossom
necklace. It is the cornerstone of most Indian jewelry collections. However,
most people owning one or more pieces have no idea of its origin or meaning.
The following may help one to appreciate more fully this striking piece of jewelry.
This particular art object is truly an Indian creation. However, it developed
slowly and has roots deep in non Indian culture and history. The principle part
of the necklace is the crescent shaped pendent. This was first seen by the Southwestern
Indian as iron ornaments on the horse bridles of the Spanish Conquistadors in
the late 1500's and early 1600's. Captured or traded for, these ornaments soon
graced the necks of the local Indian populace. Their acquisition was a matter
of pride and the ornament was reproduced in the various metals and was proudly
displayed during ceremonials. These crescent shaped pendants, originally brought
from Spain, reflected the influence of earlier Moorish conquests and the occupation
of Spain. As generations came and went, the pendent, referred to as a najahe
or naja, became symbolic with the various ceremonials. As most ceremonials were
related to the agricultural cycle the naja was associated with crop fertility.
Once silver beads came into fashion around 1880 what more logical place was
there to display the naja than on this string of beads? The earlier acquired
najas were undoubtedly hung around the owners neck by a simple thong. The first
beads were large, unornamental and round. From these, more complicated ones
developed, such as fluted beads and oval beads. Often dimes and quarters were
fastened to a silver shank and strung between the beads. Occasionally these
coins were domed, filled and made into beads. The necklace referred to today
as the Squash Blossom necklace probably didn't originate much before 1880. This
is taken from the fact that Washington Mathews did not mention this type of
jewelry in his "Navajo Silversmiths" Second Annual Report, 1880-81. Arthur Woodard,
in 1938, pointed out that the Navajo and Zuni beads were originally Spanish-Mexican
trouser and jacket ornaments which were fashioned to resemble the pomegranate.
The pomegranate was a common Spanish decorator motif, often seen carved or painted
on missions in Mexico and often a clothing decoration. If one examined an early
Navajo "squash blossom" bead, a striking similarity would be seen to exist between
the Mexican ornament and the pomegranate Still, in spite of the similarities,
there is quite a bit of doubt that the Navajo attempted to depict this blossom
in his bead. The Navajo word for the "squash blossom" bead is "yo ne maze disya
gi" which means simply "bead that spreads out." Nothing in the word denoted
squash or pomegranate blossom. Perhaps the word was coined by a white man who,
asking a Navajo what the bead represented, (the white man is obsessed with what
something means, he is rarely satisfied that something is simply attractive)
was told that it looked like a squash blossom (the Navajo understands the white
man's obsession and often attempts to satisfy it as painlessly as possible.)
It is doubtful that the Navajo intended that the bead represent the squash blossom.
Because the Indian ceremonials largely dealt with the agricultural cycle, and
the first jewelry was worn during these occasions, coupled with the fact that
the beads along with the chain looked like pomegranates or squash blossoms,
all have tended to portray the necklace in a crop-fertility ceremonial light.
The squash blossom necklace serves as a reminder of the close interaction between
the Pueblo and Navajo Indians since the mid-1800's. The necklace itself is Navajo,
adopted by the Zuni. Yet the incorporation of turquoise on each of the blossoms
is an advent of the Zuni later adopted by the Navajo. This brief summary is
the author's considered judgment on a subject that has little historical documentation.
Undoubtedly there are some solid truths, particularly from the crop fertility
standpoint, but equally true is the existence of merely extrapolated conclusions.
Turquoise in Native American Jewelry In our earlier presentation "Turquoise,
A Brief Overview and History" printed, November 1992, the history of turquoise
worldwide was discussed. We also covered its occurrence, physical properties,
various qualities, grades and a discussion of what can and has been done to
turquoise to improve its appearance and durability. We highlighted not only
stabilizing techniques and treating techniques but also mentioned fake and synthetic
turquoise. Turquoise, as mentioned earlier has been native to jewelry in the
Southwest for over 2000 years. Then, as now the stone was deeply appreciated
and held in much reverence. No doubt the prehistoric Indians as well as the
ancestors of our current Native Americans ascribed a multitude of properties
to this stone. For example: -The Pima of southern Arizona- Turquoise was a talisman
of good fortune and strength to renounce ailments. However, if you lost a turquoise
you would be afflicted by a physical ailment treatable only by a medicine man.
-The Zuni believed the blue turquoise was male and of the sky, the green was
female and of the earth. Most Zuni fetishes were either made of turquoise or
had turquoise properties such as eyes, mouths, or attachments of turquoise to
give it more power. Turquoise was powerful and important to most early Indian
ceremonials. -The Rio Grande Pueblos- Most held the turquoise color came from
being stolen from the sky and preserved in stone. Their most precious idols
were adorned with turquoise. They also employ turquoise for good fortune. -The
Hopi have many traditions regarding turquoise. They, like their Rio Grande Pueblo
and Zuni contemporaries adorn their most important fetishes with turquoise to
enhance their powers. One legend has turquoise as the excrement of lizards.
The lizard is greatly respected for his above-below world connections. They
hold that turquoise can hold back the floods. (Floods were a common problem
in the desert southwest.) -The Apache felt turquoise attached to a gun or a
bow will cause the weapon to shoot straight. It brought rain and could be found
at the end of all rainbows. It was key to the strength of their medicine men.
-The Navajo- Wearing turquoise brings good fortune to the wearer and insures
their favor with their Yeis (mediators between man and the supernatural). When
thrown into a river with the proper ceremonies it will aid in bringing rain.
Turquoise is offered to the Wind Spirit to appease him. The Navajo myth is that
when the wind is blowing it is searching for turquoise. The Navajo carve fetishes
out of turquoise for increased powers and fortunes. Turquoise is the sacred
stone and color of the South and the upper world. The Sacred Mountain of the
South, Mt. Taylor near Grants, New Mexico, is made from a mixture of turquoise
and earth. The mountains are inhabited by Turquoise Girl. Far to lengthy for
this paper, suffice to say, turquoise plays a multitude of roles in healing
ceremonies and sand paintings. The Southwestern Indians use an abundance of
turquoise in their jewelry. Some of the turquoise is of exceptional quality
and some is not even turquoise. Most range between these extremes. What is the
best turquoise? For more on the intrinsic qualities that make up the "best"
as well as other grades and qualities, please review our November 1992 newsletter
on Turquoise (see above). But what is the best turquoise for jewelry? Now we
proceed along a different path. Lets look at the variables as they apply. What
type of jewelry is desired? If the piece is to be "one of a kind" competition,
top investment quality, the turquoise should be gem grade and rare (see November
1992 newsletter). The stone should compliment the artist and the gold or silver
work. The turquoise cost per carat can exceed $40.00 per carat. Very high quality
jewelry, equal to that mentioned above and also of investment quality will require
gem grade turquoise but not necessarily rare stones. The beauty is there but
the cost is not. These stones can cost from $10.00 to $20.00 per carat. On the
surface these pieces will be equal in every respect but one- rarity. A breathtakingly
beautiful spider web cabochon of Chinese or Tibetan turquoise can cost 75% less
than a gem quality piece of Lander or Lone Mountain turquoise for example. If
the goal is to produce, in quantity, high quality jewelry at a price the top
25% of the market can readily afford, then a very high grade to high grade turquoise,
properly selected for color, matrix balance, etc. is the goal. Turquoise should
cost in the $5.00 to $7.00 per carat range. The vast majority of jewelry using
natural turquoise is made from stones classified as: Jewelry quality, high quality
and investment quality (note: good stones, nice luster but not sufficiently
hard to preclude long term color change.) These stones are too good to stabilize
and should please nearly everyone. Their cost will be $2.00 to $5.00 per carat.
Jewelry that involves the use of many matched cabochons or pieces of inlay nearly
always use a good quality turquoise that is stabilized so the color will not
change. A beautiful inlay or needle point necklace will loose its appeal if
the turquoise near the weavers neck begins to shade toward green because it
is absorbing skin oils while the remainder remains sky blue. Good stabilized
turquoise is usually sold by the pound as so much is wasted in cutting and grinding.
In this work the value of the turquoise is simply part of the value of the art
work and over all material cost for the piece. Good to average quality , mine
run, and stock qualities of turquoise are stabilized and used for carving and
craft shop jewelry. By and large this is an extremely valuable area economically.
It is estimated that over 70% of the Indian crafts persons use this type turquoise
either individually or as a shop worker. The result is a beautifully balanced
piece and remarkably low priced for the craftsmanship involved. This is the
quality of turquoise that created the Indian jewelry market as we know it today.
This stone is sold for approximately $80.00 per troy pound but better color
can double this. The lowest qualities, chalk, chip stock and bulk must be stabilized
to be used. Often this turquoise is "color shot." In other words, artificially
colored. Much of this is used for assembly line manufacturing, machine stamped
work, etc. It too has a place in the market. It is sterling silver, it is turquoise
and it portrays the "Santa Fe look" at a remarkably low price. Many collectors
get their start here, liking the look and becoming interested in the whole field.
As they learn more their tastes change, almost always upward. This type of turquoise
is $20.00 to $30.00 a pound. Fake and synthetic turquoise is often found in
"Indian" jewelry made overseas- It too is available in the United States and
some of the Indians use it. It has a place in the market also as long as its
looked at as art and craftsmanship. Look at the jewelry as you would a painting.
Don't look for material value... only the value of the art... the creation.
Its cost on the market is approximately that of the chip stock or bulk stabilized
turquoise that is discussed above. As you can see, turquoise values range dramatically
and it is not always easy to apply a value even though it is easy to establish
a cost. In other words value often exceeds cost because of the art work/craftsmanship
involved. Sometimes turquoise must be viewed as one does an oil painting. The
individual components have little or no value individually but as a whole the
art work has significant value. Suggested Readings- Nearly every book or paper
on Indian jewelry and turquoise starts, however briefly with some history of
the stone and of the trade. We recommend that the interested reader refer to
the readings listed in our first paper, Turquoise - A Brief Overview and History,
Lee Anderson, November 1992 and: 1. John Adair, The Navajo and Pueblo Silversmiths,
University of Oklahoma Press, 1944. 2. Carl Rosnek and Joseph Stacy, Skystone
and Silver, Prentice Hall, Englewood Cliffs, New Jersey, 1976. 3. Margery Bedinger,
Indian Silver, Navajo and Pueblo Jewelers, University of New Mexico Press, 1973.
4. Larry Frank, Indian Silver Jewelry of the Southwest, Schiffer Publishing
Ltd., Westchester, Pennsylvania, 1990.
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