TURQUOISE

A special selection of Southwestern Indian photographs from the A. C. Vroman Collection at The Natural History Museum of Los Angeles County, from the book: DWELLERS AT THE SOURCE By William Webb and Robert A. Weinstein Grossman Publishers New York 1973

This is the most extensive collection ever published of the Indian photographs of Adam Clark Vroman, which represent a peak achievement in the history of photography and in the documentation of the American Indian. Vroman photographed Indian life in the Southwest around the turn of the century, at a time when Indian culture still retained much of its old quality, but was threatened by anthropologists who were beginning to study the “curious savages,” by missionaries who were beginning to convert them to Christianity, and by the federal government, which, having rounded up the Indians, was beginning to strip them of their way of life.

Photography was Vroman's weapon in defense of the Indians. There are no inscrutable savages in Vroman's photographs; he pictured the Indians as human beings, products of a living culture that deserved to be preserved, not as curiosities or barbarians. Vroman was welcomed throughout the Southwest, at a time when few white men were. He took photographs of craftsmen, of families, of chiefs and braves that are absolutely stunning in their dignity; their humanity, and their astonishing success as works of art.

Vroman renounced all claims to artistry, but his work belies his modesty. He was one of the best of his time; indeed, Vroman's work may be compared, to his great advantage, to that of his East Coast contemporaries including Steiglitz who have been regarded as the only important photographers of the period. The two hundred photographes in Dwellers at the Source have been superbly printed by Rapport Printing Corp. in its Stonetone process. The photographs have been selected, and full notes about them written, by William Webb and Robert A. Weinstein. Mr. Webb, a creative photographer in his own right, has spent years printing the Vroman negatives and cataloguing them. Mr. Weinstein is a historian of photography at the Natural History Museum of Los Angeles County, where the negatives are housed.

ADAM CLARK VROMAN was at different times a railroad man, a fine-book collector and successful book merchant, an amateur archaeologist and historian of the American Southwest, a distinguished collector of Orientalia and Southwest Indian artifacts, a public-spirited citizen of note, and a serious photographer of uncommon sensitivity. A fine bookstore bearing his name still operates in Pasadena, California, and his personal collection of Japanese netsuke is in the Metropolitan Museum in New York City. But it is as an artist-photographer that he is most to be remembered.

He was born in La Salle, Illinois, on April 15, 1856, of Dutch parents who had moved from New York City to Illinois in 1835. Except that he attended the Illinois public schools little is known of his boyhood. In 1874, his eighteenth year, he began employment with the Chicago, Burlington and Quincy Railroad in La Salle; by 1892 he was in charge of the railroad ticket office.

In that year Vroman married Esther H. Griest, a victim of early tuberculosis. The couple moved to Rockford, Illinois, where Vroman continued his railroad career. Hoping to find a climate in which his young bride's health would improve, they moved to Pasadena, California, arriving there early in 1892. Her health declined rapidly, and Vroman brought her back to her birthplace, Flora Dale, Pennsylvania, where she died in September, 1894.

In November of that year Vroman opened a book, stationery, and photo-supply shop in Pasadena, in partnership with J. D. Glasscock. The shop prospered quickly, making it possible for Vroman to take his first trip to the Indian country of Arizona and New Mexico in the summer of 1895. He photographed extensively on that trip as well as on seven other trips to the same area between 1897 and 1904. Text continued on page 15

Actual size, one and one-half inches deep by one and five-eighths inches wide. TU-3

TURQUOISE AROUND THE WORLD

Part of the story of the evolution of turquoise adornment is illustrated on these two pages. The data accompanying the transparencies of the brooch, panel, opposite page describes the oldest piece used in our presentation. Its origin is Circa 1850; originally part of a necklace. The turquoise is superfine sky-blue Persian; the setting 24 Karat gold, in the style wrought by Chinese goldsmiths. The central stone is a white sapphire. The under side, shown at the right of panel, is multi-color cloisonne. The one-of-a-kind in all the world is priced at a conservative One Thousand dollars ($1000.00). at Gump's, a legend in San Francisco, now in its 113th year, one of the world's most respected and honored mercantile institutions.

The unusual and exotic necklace dominating the opposite page is representative of the avant-garde designs involving the use of turquoise and other adornment. Elliot Glasser, internationally known gem and precious stone importer uses material from world markets. His designs are executed for the most part by Indian artists and artisans. In addition to operating his Fifth Avenue Gallery, specializing in Turquoise, gold and silver, Glasser exportsto some of the best known shops and boutiques in the United States and Europe. Pictured at left: Smoky Mountain turquoise in silver, adorned with lion claw tips.

Turquoise has been used extensively from a very early period and today finds employment amongst peoples widely separated geographically and greatly differing in social and cultural development. Its application, both historically and ethnographically, covers a wide range and is largely dependent upon the appeal that its color has made to the minds of those who have valued it.

A long period intervened before metals became known and were utilized for enhancing the beauty of precious stones, and it was during this interval that the turquoise found its earliest use, following the development of a taste for its colors. It is safe to say that its greener shades were prized long before its blue tones were appreciated; indeed, today, there are some peoples who have not yet formed a liking for the latter. Of only moderate hardness and lending itself to shaping with comparative ease, the turquoise, once known, must soon have been fashioned into rough beads and crude pendants.

The story of Turquoise must begin with the origin of its name. It was born of French linguists to describe the stone which came from Turkestan, a vast region of Central Asia extending from the Capian Sea to the Gobi Desert, which now includes Russian Turkestan and Chinese Turestan. So from the old French (Pierre) Turquoise, Turkish (stone) came the Middle English Turkeis.

The earliest mining operations recorded by history were situated in the Sinai Peninsula. The oldest mines of turquoise in the world were worked at various times by the ancient Egyptians beginning with a period preceding the first Egyptian dynasty, approximately 5500 в.с. suggested by the finding of turquoise beads in pre-historic Egyptian graves and also by the refined use to which turquoise was put at the beginning of the first dynasty.

Archaeologists excavating in the cemetery of the royal tombs at Abydos, in upper Egypt, unearthed the oldest group of jewelry known in the world. Included in the treasure were bracelets of gold and turquoise, now in the Cairo Museum.

In the New Museum in Berlin, are two necklaces from Abydos, one of beads of gold, turquoise, and other precious stones, and the other of roughly polished balls of amethyst, rock-crystal, carnelian and turquoise.

For the past 3000 years the Sinai Mines have not produced anything of importance. Centuries before turquoise was mined in the New World, Persia was known and recognized as the center of the most important turquoise deposits in the world. Exactly when the Persian deposits were worked is not known. Although some ancient Arab historians relate turquoise beads found in ruins to a period of 2100 B.C., we cannot establish a foundation based on historical evidence earlier than the tenth century. The turquoise mines of Persia are and have been for centuries producers of the world's finest turquoise.

Jewelers and goldsmiths throughout the world, the American Southwest excepted, work turquoise only with gold. The most valued color of Persian turquoise is deep sky blue, as in the Gumps brooch, page 10.

Persian stones are exported to all parts of the world. Their importation to the United States has increased due to the growing interest in the Navajo and Zuni jewelsmith's demand for cut stones.

DWELLERS AT THE SOURCE from page 9

During those years he made other photographic trips to Yosemite National Park, to all of the Spanish Missions in California, and to the eastern United States, including Washington, D.C.; Rockford, Illinois; and Flora Dale, Pennsylvania.

Vroman toured Japan in 1903 and 1909, photographing and collecting choice Japanese art. In 1912 he toured Europe, photographing French châteaux in the Loire Valley and Rhine castles in Germany. His touring ended in 1914 with visits to the Canadian Rockies and the East Coast of the United States. Shortly thereafter he began a lingering battle with cancer, a struggle that ended with his death at the home of a business colleague, George Howell, in Altadena, California, on July 24, 1916.

He left an estate valued at close to $100,000, which he generously distributed to his family, friends, and employees. The Southwest Museum received much of his valued collection of Indian artifacts, including especially significant examples of both old Navajo weaving and kachina dolls. To the Pasadena Public Library he donated a large and well-chosen California collection; a sum of $10,000 to augment the collection; and a hand-bound, sixteen-volume set of platinotypes from his negatives.

These bare facts of A. C. Vroman's life tell little about him except that he was a successful businessman with a highly developed appreciation for the artifacts of vanished cultures. He was a man of sensitivity and education, at home in the drawing rooms of his time. He preferred intellectual company, enjoyed fine books, and collected netsuke. He was well traveled and enjoyed the

Something Old... Something New... Something Borrowed and Something Blue

Our title just about answers the question: "What is the January issue all about?"

We started with a nucleus of Turquoise. At this time of year scarcely a day goes by without someone calling or writing seeking information about Turquoise . . . where are best sources? What is the best turquoise? How much should I pay for this? Or how much can I get for that?

Being in the heart of the United States turquoise producing country made our work both interest-ing and difficult. We have been exposed to such quantity and quality turquoise that selection became, at times, a heartbreaking experience. Our final choices were made from more than 400 transparencies of prime selections. We regret that we are not able to represent and make mention of all the fine, reli-able, dependable and deserving dealers engaged in the industry. We designed our presentation to depict examples of the best known types and classes. Due to deadline limitations we chose to work with people we have worked with in the past. Many of the transparencies originally submitted were from sources too remote from our production center. To all sources who so graciously cooperated with Ray Manley, Jeff-rey Kurtzemann, Peter Bloomer and Neil Koppes we want you to know that your displays were not used because of a lack of quality, but by our own limitations to a 48-page magazine.

We owe an extra measure of thanks to Rick and Joe Tanner who spent hours working with our photographers; to Jerry Collings of Gila River Indian Arts and Crafts for his patience and willingness to furnish information regarding hard to qualify points about turquoise; to Dick Mullen, Dee Morris, Elliot Glasser and special consultant Preston Monongye. All contributed a quality which we believe will distinguish our presentation, not as one offering all you always wanted to know about turquoise, but rather all you really need to know about it. If we were to delete all of the words from this issue, save the title, "Something Old . . . Something New . . . Something Borrowed and Something Blue", we would have covered almost everything . . . for much of it is old, some is new, some borrowed and most of it is blue.

Our "Something Old" is represented by the marvelous Vroman photographs, both from the book DWELLERS AT THE SOURCE, and from the private collection of William Webb. With the "old" we must also include the old color photographs by Esther Henderson taken at the Gallup Intertribal Ceremonials (inside front cover and Page 19). New are the masterful photographs taken by Barry Goldwater in April of 1973. The Senator, a long time friend and contributor to Arizona Highways, is a frequent visitor to our Indian lands.

New to these pages, but old in the world of international art circles, is Fritz Scholder whose serene countenance and soft-spoken manner are quite unlike his bold eloquent paintings. New Yorker Lowren West reacted to his first visit to the Southwest by plunging into a bright new expression of the Indian theme.

One thing we don't want to borrow is trouble; and creating an image that the turquoise industry is a vile cesspool of unscrupulous tamperers is not true. What is true is that more than sixty percent of the turquoise colored stones on the market today are, in one way or another, treated, colored or stabilized. This is not because of dishonesty or frailities inherent in turquoise traders. It is simply because less than ten percent of the mined turquoise is fit to work and market. The supply of top grade turquoise will never meet the demand! In this special issue we are not involved or concerned with the part of the industry which, for reasons of survival, must find ways and means to meet production schedules. Turquoise has been faked, imitated, altered and synthesized from the earliest times, and as stated elsewhere in these pages - "it's all in the book," including ways and means of detecting the frauds and exposing the culprits. Elsewhere in these pages we state that our relationship with turquoise is based on people, nice people, honest, and for the most part, plain people who would think we were out of our mind if we approached them with a gallon of chemicals, a blow-torch and a knife to test the quality of their wares.

We feel our pictures are worth thousands of words and we are rewarded by the enrichment of our experience in bringing a touch of beauty and romance into your life.

Throughout our Indian lands the trading posts serve also as pawn shops with the trader usually involved in an earthy form of banking business part of the process known as pawning. Most reservation Indians convert their cash into silver and turquoise jewelry and woven articles made from their native wool. When in need of money or commodities their assets are used as securities for loans. At times the trading post vault is the safest place in which to keep valuables. In this case the Indian pawns the items for a minimum loan and is happy to pay the interest rate in return for the security of his goods. All pawn transactions are regulated by conditions in accordance with Federal laws. If articles are not redeemed after the contractual length of time, it becomes "dead pawn" and may be sold by the trader for whatever the market will allow.

LEFT: TU-12: Old Navajo necklace with clusters of fine cabochon cut Old Burnham turquoise, a darkish blue, high quality, dense spider web. This masterpiece of native American jewelsmithing represents untold hours in painstaking selection, grading, polishing and matching. Approximately 900 carats of turquoise make up the necklace and pendant. The fluted and tapered silver bead handwork enhance the appraiser's value at a conservative fifteen thousand dollars. Mrs. R. W. Mullen Collection.

One of the finest and largest collections of turquoise in the United States represents years of searching, and trading with artists, artisans and traders throughout the land. The pieces illustrated on these two pages, and top of page 29, are from the Don Hoel collection, Oak Creek Canyon, Arizona, which is acknowledged to be one of the most important sources of Indian jewelry and artifacts in the Southwest.

All Don Hoel photographs by Naurice Koonce and Ray Manley, Ray Manley Studios, Tucson, Arizona.

The following six pages and the necklace, lower page 29, are from Tanner's Arts and Crafts collections. Tanner's arts and crafts shops and galleries in Scottsdale, Arizona, Gallup New Mexico and San Diego California, are known for their exhibitions representing original works by the Southwest's leading artists and artisans whose top award masterpieces are sought after by international collectors.

TU-23: His and Her set by Joe Chee, noted Navajo jewelsmith. The turquoise is very rare Santa Rita from Grant County, New Mexico. Photograph By Neil Koppes

Persian turquoise has long been the world's standard of color and quality demanded by workers in gold. Only in the Southwest, where the turquoise is a deeper color, is it generally set in silver. Yellow gold ideally complements the pale delicate colorings of Persian turquoise.

RIGHT, TU-24: Traditional squash blossom with pendant by Mr. and Mrs. Francis James. Persian turquoise set in 14K gold.

BELOW, TU-25: Two fine art specimens by the Hopi master, Charles Loloma. The bracelet illustrates the combination of turquoise and other gemstones in gold. The ring, lower left, is slightly reduced from actual size with an extraordinary piece of Lone Mountain spider web mounted in gold.

The use of fetishes by Indians dates from pre-Columbian times but their use is probably as prevalent today as it was in the past. All tribes in the Southwest make and use fetishes but the Pueblo Indians have developed them to the greatest degree. Of the Pueblo tribes the Zuni have the reputation for being the most skillful at carving them. The purposes for which fetishes may be used are varied: hunting, diagnosing and curing diseases, initiations, war, gambling, propagation, witchcraft, and detection and protection against witchcraft. In addition to fetishes, Zuni craftsmen also produce a large number of animals and birds that are not used as fetishes. The so-called fetish necklace, figurines of rabbits, owls, dogs and humans, fall into this category.

Excerpts from Tom Bahti's introduction to the book "Zuni Fetishes" by Frank Cushing published by K.C. Publications.

TU-26: Edward Beyuka's mark on Zuni inlays, such as the Eagle Dancer bracelet, right, stamps them with the hallmark of the master artist.

TU-27: David and Mary Tsikewa use high quality turquoise in their peerless carvings which make up the most appreciated fetish necklaces in the Hoel and Tanner collections.

TU-28: Three strand bead and chunk segment, top quality Kingman turquoise with double jocla. This is old, matched turquoise, valued at approximately one thousand dollars per strand. Gila River Indian Arts and Crafts.

TU-29: Very old Morenci beads with random sized segments, double jocla. This necklace is valuable for its coloring and the patina-like character of finish brought about by age and the gentle alchemy of Indian skin oils. Shop of The Frightened Owl.

TU-30: Eight-strand, top-grade, hard Morenci beads with triple jocla. Heavy in carats and representing countless hours in drilling, selecting and grading, these are rare and very precious heirloom treasures. Private Collection.

TU-31: Multistrand beads, nuggets and chunks represent the best in turquoise adornment as universal complements in the world of "high fashion" jewelry. Below are several stars from the distinguished Don Hoel collection. Left-to-right: Top-grade Lone Mountain nuggets, unusual Persian jocla, superior Bisbee blue and coral chunks, top-grade Fox Mine Blue necklace, top-grade Morenci nuggets. Prices of from one to five thousand dollars per piece are consistent with today's market prices MV-97: Sheep, looking like a fetish necklace, wend their way across coral colored land near Monument Valley.

TU-32: Fossilized Lone Mountain spider web, three strand choker style necklace. Very rare from the only known fossil turquoise mine. Tanner collection.

ABOVE, TU-35: Actual size bracelet of top grade Morenci by Dee Morris. From a nugget similar to that shown, RIGHT, the expert cutter will slice a thin segment of polished turquoise. The designer's concept is for a finished piece to be set in an exotic mount, as above, with the stone surface level with bezel. A stone of this size must be structured to minimize breaking under heat and stress pressures especially during production.

BELOW, V-231: As if in search of the yet-to-be discovered, a lonely road winds its way beneath turquoise skies. - ALLEN C. REED

Bracelet from Ninibah, Sedona Private Collection

TU-36: Nugget from Tom McKee Collection JEFFREY KURTZEMAN