Overview

The introduction of this book provides a brief history of the Southwest identifying the relevant tribes. The first chapter encompasses prehistoric beads, pendants and mosaics, as well as contemporary bead and mosaic work by the Santo Domingo Pueblo and carved jewelry by the Zuni. Chapter two focuses on the most familiar aspect of Indian jewlry: squash-blossom necklaces, concha belts, silver buckles etc. The 100-year history of Navajo, Hopi and Zuni silver work is recounted, and examples of new vqriations on traditional forms are explored. Chapter three begins with the inventive art of Charles Loloma, a Hopi artist who was the first to transform traditional jewelry by using unusual stones, exotic woods, gold, and semiprecious gems. His vivid work has inspired succeeding generations of artists, whose innovative creations are presented here. The final chapter is devoted to enabling collectors to collect wisely, and its features an extensive illustrated glossary of materials, techniques, objects and designs. There is also a directory of sources of Southwestern Indian jewelry.

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9781558592827

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Since prehistoric times, the native peoples of the Southwestern part of what is now the United States have used turquoise and shell, symbols of sky and water, in the jewelry they have made for personal adornment. Cirillo outlines how Native Americans worked other stones into this artistic vocabulary and how they borrowed silver and silversmithing from the Spanish in the 19th century. She traces the delicate relationship between traditional design and the demands of trade; the techniques usually associated with Navaho, Zuni, and Hopi artists; and the contemporary sharing and swapping of creative ideas. Much of the splendidly illustrated jewelry here is made by family groups who share both design and execution responsibilities; and though much of it is museum quality, none of it is unwearable. Cirillo ends with a glossary and a list of reputable dealers throughout the country (she includes New York's best gallery, so her sources are sound). Excellent for collectors and for those who seek to define the dance between art and commerce. - GraceAnne A. DeCandido, School Library Journal

Since prehistoric times, the native peoples of the Southwestern part of what is now the United States have used turquoise and shell, symbols of sky and water, in the jewelry they have made for personal adornment. Cirillo outlines how Native Americans worked other stones into this artistic vocabulary and how they borrowed silver and silversmithing from the Spanish in the 19th century. She traces the delicate relationship between traditional design and the demands of trade; the techniques usually associated with Navaho, Zuni, and Hopi artists; and the contemporary sharing and swapping of creative ideas. Much of the splendidly illustrated jewelry here is made by family groups who share both design and execution responsibilities; and though much of it is museum quality, none of it is unwearable. Cirillo ends with a glossary and a list of reputable dealers throughout the country (she includes New York's best gallery, so her sources are sound). Excellent for collectors and for those who seek to define the dance between art and commerce. - GraceAnne A. DeCandido, School Library Journal

Author Information

Dexter Cirillo is an independent scholar, curator, and dealer who lives in New York and Aspen.

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