HALL OF FAME CLASSICS

The Arizona Highways Hall of Fame Classics A Special Collection of all Indian Jewelry, Related Arts and Artifacts

The evolution of the Indian jewelry industry has been one of the most amazing phenomenons in the history of art and commerce. The making of jewelry is not unique to the cultures of this hemisphere. Archaeological evidence proves that prehistoric peoples, the world over, made, wore, traded and appreciated personal adornments in art forms native to their cultures. Our principal interest in the story of native Southwest American Indian jewelry is with that of the past half century and mainly with the last twenty of those fifty years. From the early 1920's through the mid 1950's, Southwestern Indian silversmithing attained a degree of artistic excellence which rivalled that of distinguished silversmiths throughout history. The C. G. Wallace collection of Southwestern Indian jewelry and artifacts is convincing evidence of the quality representative of Navajo and Zuni genius. We have deliberately reproduced our Hall of Fame selections as near actual size as space limitations will allow so that our readers may experience an "eyeball to eyeball" sensuous confrontation with the truly great classics by the great Indian masters.

Sharing classic honors with the prestigious Wallace Collection are distinctive examples from Don and Nita Hoel, Tanner's Indian Arts, The Jewel Box Vault Collection, Robert Ashton, Charles Loloma and the private collectors who have requested their identities be withheld.

Regardless of when the Navajo and the Zuni learned silversmithing, who taught them, and what they learned from each other - the past fifty years represent the golden age of their art. Three factors were acutely responsible the influence of the Anglo traders and their dedication to progress and profit, which motivated in the Indian an awakened sense of pride in professionalism; Navajo competed with Navajo for the traders' goods and patronage, Zuni competed with Zuni; while traders competed with each other for the growing market to satisfy a discerning clientele. The real traders used Navajos for silversmithing, Zunis for lapidary expertise and Santo Domingos for heshi spacers. Theirs was an unincorporated guild system which produced many of the masterpieces shown in our Classic Edition and is the system basically used by many modern day traders who supply silver, gold, turquoise and materials under limited contract arrangements. Three traders may acquire three strands each of fetish birds from carvers of comparable quality. One year later one trader's necklace will have won many more awards and commanded greater price than the other two. The difference would be the quality of the heshi used, and the talent of the stringer who in the final process determines the composition of colors, spacing and that indiscernible something which makes the dollars and cents difference.

Elsewhere in our text we note: "What you see here is a lot of Soul." That more-or-less applies to all the Indian jewelry shown in this edition. In a market loaded with treated turquoise, machine made beads, squash blossom findings, and multi-unit centrifugal castings, we have aimed at a bull's eye of hand made, one-of-a-kind original pieces. Keen eyes and more knowledgeable minds may prove us wrong beyond the five percent error we allow ourselves. The contemporary masters of our Hall of Fame selection have the benefits of electric tools and devices which their predecessors could not afford. We must not disparage their talent, however, because the time saved is more than balanced by the degree of meticulous application to a higher degree of perfection. Note please, the art of contemporaries Edward Beyula, Elliott Qualo, Dennis Edaakie, Frank Vacet, Lee A. Yazzie - each a Grand Master at his medium, possible only with the speed and accuracy of modern tools and materials. Their talents are attuned to contemporary trends and demands related to the past twenty years. Theirs is a different art than that of the Grand Masters of the 1920's, 1930's and early 40's, whose efficiency and skill expressed in the branch coral and turquoise (pages 18-19) compares with the master lapidaries of the old world. There is a touch of greatness represented by the works of our Hall of Fame artists and artisans, regardless of origin, place of abode, period or sex.

IJ-29... Classic hand carved fetishes and beads by Leekya Deysee. C. G. WALLACE IJ-30... Panel insert, top: Heavy 16 inch silver platter engraved with Yei design by master Navajo silversmith, Kenneth Begay. WHITE HOGAN, SCOTTSDALE IJ-31 Panel insert, center: Zuni necklace, channel work in turquoise and coral on silver. Feather shaped fringe. Collected 1948, McCormick Collection. Purchased at auction by Mrs. James Fowler. On display at Tennessee Fine Arts Center, Nashville, Tenn.

IJ-32... Panel, lower: Heavy silver box. Zuni rainbow god figures set in channel work by Elliot Qualo. WHITE HOGAN, SCOTTSDALE

IJ-33 . . . Classic masterpiece ensemble using branch coral and Villa Grove turquoise in a rare setting of double tipped, pollened squash blossoms to complement the superb pendant. Artist, Dan Simplicio, 1945. C. G. WALLACE IJ-34... Left: Superfine turquoise cluster by Lee Edaakie, 1942. C. G. WALLACE IJ-35... Right: Elegance in silver is the coral and turquoise cluster necklace by Lee Edaakie, Zuni. C. G. WALLACE IJ-36... Below: Turquoise pendant and matching earrings completely hand wrought by Zuni master jewelsmiths, Lee and Mary Weebothee. - THE EAGLE DANCER, SEDONA IJ-37... Below: Spectacular coral ensemble; 3-part bracelet, earrings and ring. Designed by Carl Luthey, executed by Navajo Luke Yazzie. - DON AND NITA HOEL

IJ-38, below: The masterful lapidary expertise of Navajo Lee Yazzie on a heavy silver casting designed by Preston Monongye. - TANNER'S INDIAN ARTS, SCOTTSDALE IJ-39, right and IJ-40, below: Classic bracelets from the c. G. WALLACE collection.

IJ-41, above: The Navajo "Tahe" signs the contemporary bracelets which are much sought after by knowledgeable fashion coordinators. - THE JEWEL BOX, PHOENIX IJ-42, left: More classic masterpieces from the C. G. WALLACE collection.

IJ-43, below: Outstanding examples of Contemporary channel work bracelets found at better retail outlets. FROM PRIVATE COLLECTIONS IJ-44, left: Inlay-mosaic by master Tommy Singer; center, Jim Terpin; right, John Nelson. R. W. MULLEN

Apparel and Jewelry Saks Fifth Avenue, Phoenix Photography by Paul Markow

IJ-51, left: Fox Mine turquoise nuggets set in pollen-tipped squash blossom forms. Roger Skeet. C.G. WALLACE IJ-53, right: Extra fine double squash using Poe Mine turquoise. Harold Tucson, 1935. C.G. WALLACE IJ-52... Rare beauty with carved shell surrounded by turquoise. Dishta, 1938. C.G. WALLACE

1J-54... Classic Hall of Fame Masterpieces. - C. G. WALLACE

Concha belts are one of the most striking articles of Indian jewelry. The medallions or plates of silver vary in number from 6 to 12, according to size. The older type had holes in the center, separated by a bar, through which was passed the strap forming the belt. The first belts were made only of conchas, with leather thongs used for fastening. Later a silver harness buckle was used, then slides of soft copper were used to attach and slide the conchas on belts and finally elaborate buckles replaced the leather thongs and simple buckles. The use of turquoise and other adornment on conchas date from the 1920's. The C. G. Wallace Collection of belts and buckles is beyond comparison for the variety of sizes, materials and quality of silversmithing and lapidary masterpieces, with every piece being hand wrought and crafted.

Apparel and Jewelry Saks Fifth Avenue, Phoenix Photography by Paul Markow IJ-55, right: In all the world there is only one priceless masterpiece as the Blue Gem turquoise medallion conchas by Lambert Homer and Roger Skeet. Note the superb silversmithing to contain the 714 stones. - C. G. WALLACE

IJ-56, left: Bird inlay conchas and spacers, by the contemporary master Dennis Edaakie, and the Kachina head conchas with Eagle Dancer buckle represent the apex in this art medium. — PRIVATE COLLECTION Photograph by Ray Manley Studios Apparel and Jewelry Saks Fifth Avenue, Phoenix Photography by Paul Markow The Leekya and Tsikewa families represent the standard of comparison in fetish carvings. Any aspiring carver must grade up to their art and craftsmanship. Next to treated turquoise, fetish carvings are naturals for "getting stung" in the commerce of the trade. Inferior substitutes are being loaded into the market from foreign sources, and are worth only a fraction of the authentic Zuni carvings. Although Fetishes from Santo Domingo pueblo are native Indian made, neither the workmanship nor the quality of turquoise matches the Zuni. A three strand treated turquoise bird necklace is not worth more than one hundred dollars per strand, while one of authenticated Zuni origin of pure turquoise must be rightfully appraised from one thousand dollars per strand valued according to the maker and characteristics. In the aquisition of a fine fetish necklace one must rely on a reputable dealer who must authenticate the piece.

A pencil point scales the size of the tiny bird carved by "Old Man" Leekya, with watchmaker files and cutting tools imported from Switzerland by C. G. Wallace. - RAY MANLEY

First Prize masterpiece ensemble of contemporary needlepoint by Naleen Hattie. From The Eagle Dancer, Sedona, Arizona. - PETER BLOOMER Petit-point cluster necklace by Charlie Quetawki was the Blue Ribbon Winner in the 1959 Navajo Tribal Fair. Mrs. Wilma Elmer Collection. Left: 15 rows of petit cut turquoise in a classic Zuni bracelet. Mrs. Wilma Elmer Collection TRUE NEEDLEPOINT: Stone shaped and finished to a fine point at both ends with each piece set in a silver bezeled compartment.

PETIT POINT: Any modified version of true needlepoint, such as one round end or very small oval, or round cut stones. C. G. Wallace was directly responsible for developing this more recent innovation.