I have been reading some of the threads here dealing with American Indian jewelers and the works they create and thought I would share some of my own experiences. I owned an Indian jewelry store for twenty years, where we sold my own work and that of others. I also sold my work to galleries and stores, at shows and pow-wows, primarily in California but also in Arizona, Nevada, and New Mexico.
Everything we carried was Indian made using only natural turquoise. Why am I so certain? For my own work, for example, I bought rough Red Mountain turquoise from the owner of the mine and then cut it myself. As to the work of others, for one thing I dealt with traders whom I had found to be reliable. Also, I knew some of the artists and bought directly from them: for example, Rick Manuel, the deservedly well-known Papago silversmith, along with his son, would stay with us for a few days a couple of times a year and use my shop to make pieces to sell to other stores in the area. It made not the slightest difference to me that he was a direct competitor of mine selling high-end pieces to my competition in my own city.
As a rule, competition is really not an issue among us. At a show in Tucson, former U. S. Senator Ben âNighthorseâ Campbell, the renowned Cheyenne silversmith, was set up selling his own jewelry. A pair of customers came to me and said the senator had sent them to me as I had what hey were looking for and he had not.
Regarding the stones used by others whose work we carried, there are ways we use to tell natural turquoise from artificial, or, if you prefer, âstabilizedâ turquoise. First and foremost is its color. I believe, though others will certainly disagree, that the beautiful blues and greens of natural turquoise in all its glorious variations simply cannot be matched artificially. Some years have passed since I left the jewelry business for the practice of lawâfrom which I am now retired and returning to jewelryâand there have surely been significant improvements in the color of dyes used over time, but I am convinced that nature can never be perfectly represented through artifice.
Touching the tip of your tongue to turquoise will often reveal an artificial stone by the way it feels due to its porosity. A knife blade will not scratch gem-grade turquoise, but instead will simply leave a silvery mark; one surefire way to tell whether the stone in a piece you are considering is as good as you are being told it is is to pull out a knife and start to run the edge across it. If itâs artificial or low-grade turquoise, you can be certain that the seller will stop you instantly.
Among Indian people, the tribal affiliation of others is so utterly irrelevant that I cannot remember having ever been asked a question about it by anyone but non-Indian people. The situation is, of course, just the same among Indian silversmiths. My own style has necessarily been influenced by many persons of various tribal affiliations. My greatest influence was that of some Navajo silversmiths whom I am honored to call my friendsânamely the internationally renowned Orville Tsinnie, as well as Richard and John Begayâwho showed me the right way to make jewelry. Again, tribes really donât matter at all, at least not to us. I happily admit that my style is largely Navajo, but then thereâs Hopi and a little bit of Zuni as well. All of them have influenced the style of my original designs. Iâm not alone in working that way. For example, Ben Nighthorse was heavily influenced by Charles Loloma, who was heavily influenced by Zuni inlay style as well as his own Hopi overlay style, which was actually invented by non-Indians in 1946 to give returning WWII Hopi veterans a trade.
Anyway, those are some of my experiences with Indian jewelry. I hope some of it is helpful in providing a little insight into the truth about it, at least as I came to know it.
Michael