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Flake News Center > Antique Indian Silver Jewelry : A Brief History of Indian Silver Work in the Southwest
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Antique Indian Silver Jewelry : A Brief History of Indian Silver Work in the Southwest
http://www.collectorsguide.com/fa/fa001.shtml
(Repoussage is the art of working the back of the metal,
usually with a hammer or stamp, producing raised surfaces
such as the rounded concha). As the smiths acquired better
tools, they produced more elaborately decorated pieces.After
1950, the use of pawn as collateral was prohibited on the
Reservation; however, it continues to exist today on the borders
of the Reservation.Older Indian jewelry (1880-1900) may appear
crude by today's standards. Collectors of these pieces look
for raised designs created with files and chisels and not
repoussé. (Repoussage is the art of working the back
of the metal, usually with a hammer or stamp, producing raised
surfaces such as the rounded concha). As the smiths acquired
better tools, they produced more elaborately decorated pieces.
By 1899, the Fred Harvey Company was supplying sheet metal
and pre-cut, polished turquoise to smiths through the trading
posts. The smiths then sold back to Harvey a supply of cheaply-made
souvenir jewelry for tourists.Soon, the Harvey Company was
commissioning Indian-style machine-made jewelry. Indians may
or may not have been employed for the handwork on these assembly-line
pieces. Other manufacturers followed, producing earrings,
bracelets, rings, brooches, pins, money clips, commemorative
spoons and other trinkets. Collectors of this souvenir jewelry--often
called "Harvey House" or "workshop jewelry"--look
for its machined-tooled precision and uniformity, affectation
of an Indian style, and relative delicate lines. The pieces
were generally small, sized to sell cheaply.
Turquoise, when used, was treated or coated to harden and
enhance color. Designs were usually stamped, and common motifs
were thunderbirds, lightning, and bows and arrows.The differences
between authentic and imitation silverwork are subtle, a condition
exacerbated by the tendency of smiths to copy what is the
most successful or profitable, and to lower their standards
for tourists who are often looking for cheap mementos.By the
early 1900s silver jewelry continued to change, reflecting
significant advances in tools and technology. Repoussé
improved as the smiths learned to temper and harden their
tools. Also, stamp work increased as jewelers acquired the
technology and supplies to make the stamps. This form of working
the metal from the front was quickly adapted as a favored
technique to accentuate repoussage or to stand alone.One example
of the evolving aesthetic, or the way the finished silver
should look, is the degree of polish on the piece. Currently,
silversmiths prefer a high polish, whereas silversmiths of
50 or 100 years past lacked the electric buffing wheel.
The older fashion left some areas tarnished, or darkened,
to enhance details.Perhaps the best advice for prospective
collectors is always to buy from reputable dealers and to
ask plenty of questions about the materials and techniques
used, and about the jeweler. Today, almost all silver is signed
or marked, or the maker is identifiable. Look for the mark,
and keep in mind that in New Mexico, it is illegal to proffer
non-Indian made jewelry as Indian-made. A reputable dealer
should be able to provide proof of authenticity in writing.
If there is any hesitation or avoidance, find another dealer.Many
buyers think they should shun treated turquoise. However,
much turquoise used today is treated in some way to strengthen
it. In its untreated state, the stone is porous, often mottled,
and marked with imperfections or inclusions.
There are various types of treatments, including coating,
dyeing, infusing with hardening agents, and even reconstituting
ground turquoise. Ask the seller if, and how, the turquoise
is treated. Obviously, collectors will weigh the advantages
of different types of treatments.Finally, collecting Indian
silver should always be enjoyable. It is still a very affordable
art, and collectors enjoy a wide range of styles and designs.
Learning about the history, techniques, materials and the
makers offers insights into cultures that are often trivialized
by our mass society. A fine, well-made piece of silver has
universal appeal; it wears well anywhere, anytime and with
almost any style of dress. Buy what you love and wear it often.
By Bruce Bernstein former Curator at the Laboratory of Anthropology
and the Museum of Indian Arts and Culture in Santa Fe. Photographs
by Blair Clark, Museum of New Mexico.Originally appeared inThe
Wingspread Collector’s Guide to Santa Fe, Taos, &
Albuquerque – Volume 4
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