Artist Tribes
All of our pieces are hand made by artists that we have forged relationships with over the last 50 years. We are honored to share the history of some of their tribes with you.
History of navajo silversmith
One of the first Native American Indian silversmiths was a Navajo known as Atsidi Sani who learned to form black metal from a Mexican blacksmith living in New Mexico territory in about 1850. Around 1865, Atsidi was introduced to sliversmithing by observing mexican silversmiths. He worked to refine his skills and, thus, Navajo silversmithing began. Atsidi taught his four sons the skills and they, in turn, taught others.
Turquoise, a traditional favorite of the Navajos, began to be combined with silver work in the 1880s. Imported persian turquoise was incorporated into Navajo silver until the local supply of turquoise increased as more mines were opened in America.
Originally, Navajo silversmiths made jewelry for themselves and other Indians. After 1900, Navajo silersmiths began creating Native American Indian jewelry for commercial consumption. The availability of turquoise and silver, together with better working tools, allowed the Navajo silversmiths to supply the growing market among Indian traders and tourists, who were arriving in droves by railroad to visit the southwest. By 1918, Navajo women began working with the metal and creating beautiful jewelry as well.
American coins were the primary source of silver until 1890, when defacing US coins was outlawed. Mexican pesos were substituted until 1930 when their export the the American Southwest was forbidden. Sterling Silver Ingots, which were slightly more pure replaced the coins. In 1930, sterling silver sheets and wire forms became increasingly available from Indian traders. These sheets were, used and remain in use today.
Zuni history
Metal working had a different history among the Zuni. In about 1830, the Zuni learned to work with copper and brass salvaged from old kettles. They did not begin silver crafting until 4 decades later. Around 1872, the Navajo silversmith, Atsidi Chon, who traded frequently with the Zuni for livestock, taught a Zuni blacksmith named Lanyade, the skill of silversmithing. Much of the earliest Zuni silver jewelry was essentially identical to Navajo work.
Early Zuni pieces were plain, hand-wrought silver occasionally decorated with simple die stamping or rocker engraving. Around 1890, they began to incorporate turquoise into their work as had their Navajo neighbors. Until about 1920, the Zuni fashioned work mostly for themselves and other native people. By 1930, the Zuni were creating much of their jewelry for tourism. Within 10 years, jewelry making became their main source of income.
The emphasis on small stone work and inlay turquoise work began to emerge in the 1920s, developing partly from a revival of prehistoric designs. Today, this style of jewelry, needle point, petite point and inlay is most strongly associated with the Zuni jewelry making traditions.
Hopi history
Hopi silversmithing is of a more recent vintage than Navajo or Zuni. Early Hopi jewelry was made from natural minerals, turquoise, shell, wood and seeds. Silver working was introduced to the Hopi around 1890 when the Zuni silversmith, Lanyard, began to trade some silver jewelry among the Hoi, apparently in return for handwoven native cotton textiles.
Lanyade eventually taught his craft to a Hopi named Sikyatola. Early hand-wrought silver beads, rings and bracelets made by Hopi are virtually indistinguishable from those made by Zuni and Navajo silversmiths. Some Hopi created custom silver work as well. It was not until the 1930s that a distinctive Hopi style began to emerge, and it only happened with non native encouragement.
In 1938, Dr. Harold Colton and his wife, Mary Russell Colton of the museum of Northern Arizona, initiated a project encouraging Hopi silversmiths to create a unique type of silver jewelry that would instantly be recognized as Hopi. As a result, “silver overlay” is the most widely recognized Hopi silver work today. Using designs drawn from traiditonal pottery, textiles and baskets, Hopi silversmiths soldered together two sheets of silver after cutting out designs in the top layer so that the under layer is visible. The under layer is blackened or oxidized and usually textured with chisel marks or stamp work. Turquoise, coral and other materials occasionally have been set in Hopi overlay jewelry but, for the most part, the elegant silver overlay has stood alone.