Like any other area of collection, the market for American Indian Art has its "hot" areas. Serious collectors will usually stick to their area of interest (or obsession, as the case may be) but the more casual collector can be influenced by what is considered to be popular. And this year, there was a clear winner in that category:
Good turquoise.
Not the types of turquoise that everyone considers top of the line, like great Lone Mountain, #8, Landers and Bisbee. Though those remain very popular, the hottest area of collecting was the turquoise in the next level, like Blue Gem, Kingman, Morenci, Royston and the Mountains (Indian and Red). Very fine stones all, but pricewise a notch below the most expensive stones, and therefore a good value. Most pieces with these stones do not have great age, since those mines were generally not open before 1930, but it is the quality and vibrancy of the stones that is the appeal.
Friday, September 9, 2016
Thursday, July 28, 2016
Plains versus Woodlands--the Battle of the Beads
When the phrase “American Indian Beadwork” is used, the image that comes to most people’s minds is that of a pipe bag or warshirt covered with geometric beadwork. Of course, those are completely valid images, and some examples represent the art at its very highest level, but they represent Plains beadwork, which is only one part of the greater category. Tribes from the Plains had their own distinctive styles and techniques for beadwork, as did cultural groups from the Eastern Woodlands, Southeast, Southwest, Subarctic, Plateau, Prairie and Northwest Coast.
The earliest beading tradition resides in the Northeast, where items decorated exclusively with beadwork were collected as early as 1807. This great antiquity has led to many different variations in styles amongst the numerous tribes of this densely populated region, but there are some common denominators that differentiate the work done in the Eastern Woodlands from that done by artists of the Plains tribes.
BEAD TYPES
As with the tribes of the Plains, the glass beads used by the native artists of the Eastern Woodlands were imported to America from European production centers such as Bohemia and Venice. (The answer to the commonly asked question of how the Indians made their glass beads is, of course, they didn’t.) Being so close to the main East Coast ports of Boston, New York and Philadelphia, it stands to reason that tribal groups in the Northeast would have earlier and better access to a variety of bead colors and sizes. From an early date, probably in the late 1780s and early 1790s, beadworkers of the various Woodlands tribes (mainly Iroquoian and Algonquian) made use of very small, brightly colored seed beads, in sizes as small as 20 beads per inch. The opening of the Erie Canal in the 1820s made visitor access to Native lands, as well as transport of these seed beads, even easier, and an increased non-native market for beaded items led to the use of larger seed beads that could cover more space more quickly. By the 1900s, the small beads were out of favor, replaced by those in the 8-14 per inch sizes.
In stark contrast, the early beads used by the Plains tribes generally appear around 1830, and are of the larger “pony bead” style, which are usually size 8-10 per inch. (Part of this is likely due to a lack of metal needles on the Plains, which were necessary for manipulating the tiny seed beads.) They were also in very limited colors, generally white, black and blue. (Woodlands beadwork of the 1830-40 era also incorporates pony beads, but normally only as edging rather than as part of the main design.) The tiny seed beads so favored in the Northeast do not show up in any meaningful profusion on the Plains, even fifty years later. Reservation-era Plains beadwork makes use of beads in the 10-12 per inch sizes, with very uncommon exceptions.
BEADING TECHNIQUES
Though both Plains and Eastern Woodlands beadwork makes heavy use of the lazy stitch technique, where a line of beads is sewn down in spots to give a series of low loops, their use of this stitch was quite different. Woodlands work started as completely flat, but by the 1840s had developed a dimensionality that came from placing the ends of the lazy stitch loop close together, which caused the loop of beads to stand up off the surface of the object. The high loops could be grouped together to create convex designs, which was especially effective in rendering flowers. This “embossed beadwork” eventually became a trademark of many tribal groups, especially the Mohawks of Kahnawakee, whose huge pillows and purses of the 1890-1920 period were covered in huge layers of embossed beadwork.
It was quite different on the Plains, where lazy stitch was one of the generally preferred methods for covering an entire surface with a single layer of beads. The lazy stitch sections were laid flat against the surface and then sewn down, leaving a beaded design that was uniform and regular. Design elements and background colors were both done in beads, while the background of Woodlands pieces was generally left unbeaded. Some tribes also used spot stitch to cover large areas, a technique that was not used at all in the Woodlands.
DESIGNS
In both Plains and Eastern Woodlands beadwork, the earliest designs mimicked quillwork designs of earlier generations. The difference was that early Woodlands beadwork was lacy and open, while that of the plains was done in solid blocks of color. As time went on, the greater variety of bead colors available to beadworkers of the Woodlands, as well as easy access to high-quality needles, sent the designs created by the artists in many different directions. Pieces from the same community could be quite different in appearance, though the forms were generally the same. The years between 1830 and 1870 were especially notable for the huge variety and incredible creativity expressed in the small beaded pouches that became the favored form. After the 1860s, when European floral embroidery designs were introduced, nearly all Woodlands beadwork became rigidly floral to meet the demand of the non-Indian buying public.
With rare exceptions, floral beadwork was never a popular style on the Plains as it was in the Woodlands. Geometric designs were predominant, with each tribe having their own distinctive motifs and styles. The Northern, Central and Southern Plains styles encompassed many tribes, and within these separate regions were numerous tribal variations. Pictorial designs were also not uncommon on the plains, while such elements are extremely rare in Woodlands beadwork.
FOUNDATION MATERIALS
Though very early Woodlands beadwork was done on deerskin, most 19th Century work was done on fabric and sewn with cotton thread. In contrast, it is uncommon to find a Plains beaded item that is not done on some sort of animal hide, and sewing with sinew was common.
The earliest beading tradition resides in the Northeast, where items decorated exclusively with beadwork were collected as early as 1807. This great antiquity has led to many different variations in styles amongst the numerous tribes of this densely populated region, but there are some common denominators that differentiate the work done in the Eastern Woodlands from that done by artists of the Plains tribes.
BEAD TYPES
As with the tribes of the Plains, the glass beads used by the native artists of the Eastern Woodlands were imported to America from European production centers such as Bohemia and Venice. (The answer to the commonly asked question of how the Indians made their glass beads is, of course, they didn’t.) Being so close to the main East Coast ports of Boston, New York and Philadelphia, it stands to reason that tribal groups in the Northeast would have earlier and better access to a variety of bead colors and sizes. From an early date, probably in the late 1780s and early 1790s, beadworkers of the various Woodlands tribes (mainly Iroquoian and Algonquian) made use of very small, brightly colored seed beads, in sizes as small as 20 beads per inch. The opening of the Erie Canal in the 1820s made visitor access to Native lands, as well as transport of these seed beads, even easier, and an increased non-native market for beaded items led to the use of larger seed beads that could cover more space more quickly. By the 1900s, the small beads were out of favor, replaced by those in the 8-14 per inch sizes.
In stark contrast, the early beads used by the Plains tribes generally appear around 1830, and are of the larger “pony bead” style, which are usually size 8-10 per inch. (Part of this is likely due to a lack of metal needles on the Plains, which were necessary for manipulating the tiny seed beads.) They were also in very limited colors, generally white, black and blue. (Woodlands beadwork of the 1830-40 era also incorporates pony beads, but normally only as edging rather than as part of the main design.) The tiny seed beads so favored in the Northeast do not show up in any meaningful profusion on the Plains, even fifty years later. Reservation-era Plains beadwork makes use of beads in the 10-12 per inch sizes, with very uncommon exceptions.
BEADING TECHNIQUES
Though both Plains and Eastern Woodlands beadwork makes heavy use of the lazy stitch technique, where a line of beads is sewn down in spots to give a series of low loops, their use of this stitch was quite different. Woodlands work started as completely flat, but by the 1840s had developed a dimensionality that came from placing the ends of the lazy stitch loop close together, which caused the loop of beads to stand up off the surface of the object. The high loops could be grouped together to create convex designs, which was especially effective in rendering flowers. This “embossed beadwork” eventually became a trademark of many tribal groups, especially the Mohawks of Kahnawakee, whose huge pillows and purses of the 1890-1920 period were covered in huge layers of embossed beadwork.
It was quite different on the Plains, where lazy stitch was one of the generally preferred methods for covering an entire surface with a single layer of beads. The lazy stitch sections were laid flat against the surface and then sewn down, leaving a beaded design that was uniform and regular. Design elements and background colors were both done in beads, while the background of Woodlands pieces was generally left unbeaded. Some tribes also used spot stitch to cover large areas, a technique that was not used at all in the Woodlands.
DESIGNS
In both Plains and Eastern Woodlands beadwork, the earliest designs mimicked quillwork designs of earlier generations. The difference was that early Woodlands beadwork was lacy and open, while that of the plains was done in solid blocks of color. As time went on, the greater variety of bead colors available to beadworkers of the Woodlands, as well as easy access to high-quality needles, sent the designs created by the artists in many different directions. Pieces from the same community could be quite different in appearance, though the forms were generally the same. The years between 1830 and 1870 were especially notable for the huge variety and incredible creativity expressed in the small beaded pouches that became the favored form. After the 1860s, when European floral embroidery designs were introduced, nearly all Woodlands beadwork became rigidly floral to meet the demand of the non-Indian buying public.
With rare exceptions, floral beadwork was never a popular style on the Plains as it was in the Woodlands. Geometric designs were predominant, with each tribe having their own distinctive motifs and styles. The Northern, Central and Southern Plains styles encompassed many tribes, and within these separate regions were numerous tribal variations. Pictorial designs were also not uncommon on the plains, while such elements are extremely rare in Woodlands beadwork.
FOUNDATION MATERIALS
Though very early Woodlands beadwork was done on deerskin, most 19th Century work was done on fabric and sewn with cotton thread. In contrast, it is uncommon to find a Plains beaded item that is not done on some sort of animal hide, and sewing with sinew was common.
Monday, May 9, 2016
Shop Marks, Hallmarks and Other Marks of Distinction
When Indian silversmiths began to use hallmarks, it made life immensely less complicated for generations of future collectors and dealers. Finally, there was a way for people years away to know exactly who had made something without having to think too hard about it. In some cases, it was even a clue as to when it was made, and where. For those so inclined, it was a wonderful view into the past--a way to view the development of an artist's work over time and space. The only problem is that a book is only as good as the reader, and there are some hallmarks that are not really that at all, but rather shop marks.
A hallmark, by definition, is a mark or device placed or stamped on an article of trade to indicate origin, purity, or genuineness. With jewelry, this has come to mean the particular mark, normally either stamped or engraved, that indicates the individual maker of the piece. An item made in a shop by more than one hand, assembly-line style, will often have the mark associated with that particular shop or company. (Charles Loloma and Preston Monongye both worked this way, having inlay work done by other artists, but the current marketplace accepts these pieces as individually made because they were not done as multiples, as is the case with more modern shop artists like Ray Tracey.) However, there is another kind of shop mark that is distinctive to the Indian Southwest, where an individual artist would make a piece but only mark it with the shop mark. For collectors, this is a dangerous type of mark that can leave itself open to much misunderstanding and false conclusions.
A perfect example is the Thunderbird Shop, Frank Patania Sr.'s establishment in Santa Fe (and later Tucson.) From early in the history of the shop, silver produced there was marked with a stamped thunderbird to indicate its origin. Later, Patania put his own hallmark, a conjoined FP, on to his own pieces along with the thunderbird, while items made by other shop smiths, of whom there were many, would have only the thunderbird shop mark. Since Patania and the other smiths were all working off designs done by Patania, similar work was very common, and often the only true distinction between a Patania piece and a shop smith piece was the presence or absence of the FP. With the passage of time, it has become common for many pieces with just the Thunderbird Shop mark to be attributed to Patania, making them more valuable.
Some shops only used the shop mark, and the individual artists did not use their own hallmark--the Navajo Guild, for example, and the UITA posts. It is impossible to know exactly who made those pieces, but the shop mark serves as a clue to the origin and quality standards that were in place. However, with the Thunderbird (and the White Hogan, in Scottsdale), the shop mark was only part of the information. The accompanying hallmark is the true story, and all collectors and dealers should know how to read it.
Thursday, March 10, 2016
Not Old, but Still Cool
Deborah and Steve just returned from our old stomping grounds in Scottsdale, where we had a great week with Bill Bishop at his incredible gallery on Main Street. (If you have never been, put it on your bucket list. His business card says "The planet Earth is well represented in these shops," and it is a totally apt thing to say. Ask him where that saying came from--it is a very cool story.) We also went down to the Heard Market to visit friends (hello to Perry Shorty, Kee Yazzie, Cody Sanderson, Ken Williams, Wes Willie, Jeremy Frey and many others) and to see what was going on in the contemporary market. Some nice things, of course, but did anything stand out? Actually...
The one thing we saw that stood out the most was a bracelet by Earl Plummer, one of the really fine Navajo smiths. It was done in matrixed turquoise, maybe Kingman, and inlaid on a silver cuff was a spiderweb pattern with a domed coral cab in the center. Very reminiscent of Preston Monongye's spider bracelets, but with an inlaid design rather than a cast one. It won an honorable mention for jewelry, which baffled us because we saw no other jewelry that we thought was more deserving--maybe the category winners had already sold, and we never saw them. Whatever the case, it was the best thing we saw at the market, and he sold it later in the day, so congrats to Earl.
Anyone who is interested in seeing really fine and creative silverwork should check out Earl Plummer at the next Indian Market. Turkey Mountain Traders does not represent him, nor do we have any of his pieces for sale; we just like to recognize excellence when we see it, even if there is nothing in it for us.
The one thing we saw that stood out the most was a bracelet by Earl Plummer, one of the really fine Navajo smiths. It was done in matrixed turquoise, maybe Kingman, and inlaid on a silver cuff was a spiderweb pattern with a domed coral cab in the center. Very reminiscent of Preston Monongye's spider bracelets, but with an inlaid design rather than a cast one. It won an honorable mention for jewelry, which baffled us because we saw no other jewelry that we thought was more deserving--maybe the category winners had already sold, and we never saw them. Whatever the case, it was the best thing we saw at the market, and he sold it later in the day, so congrats to Earl.
Anyone who is interested in seeing really fine and creative silverwork should check out Earl Plummer at the next Indian Market. Turkey Mountain Traders does not represent him, nor do we have any of his pieces for sale; we just like to recognize excellence when we see it, even if there is nothing in it for us.
Sunday, January 31, 2016
"Funny" silver, which isn't funny at all
Turkey Mountain Traders has exhibited at the High Noon Old West Show in Mesa, Arizona for a very long time, maybe the last twenty years--honestly, we've lost track. Safe to say, long enough to see lots of dealers come and go, and lots of things come through the doors, some great and some not so great. One thing we have been seeing a lot of lately is silver done in the style of old Navajo pieces, but done recently with the intent to deceive. This does not mean the work of Indian smiths like Perry Shorty who work in the old style, nor does it mean pieces by non-Navajo smiths such as Jock Favour and Jesse Robbins, whose work stands on its own. Rather, we're talking about anonymous pieces that are not hallmarked, and are then marketed (either knowingly or unknowingly) as genuine old Navajo pieces.
Some of these pieces are simply laughable efforts that would not fool anyone who has read the John Adair book even once. Others are not badly done, but have one or two glaring errors that make them easy to spot. (A commercial bezel or a #8 turquoise on a bracelet from 1910? Really?) But then there are some that are good examples of craftsmanship, and are only distinguishable from the real (old) thing after careful examination. We call these pieces "funny silver", because while there may not be anything immediately obvious that identifies them as fakes, they give us a funny feeling when we first see them. The Mesa show was, unfortunately, full of these to an even greater degree than in years past, so we had ample opportunity to look at some carefully.
The main thing we learned? "Funny silver" has a consistent sheen to it, while real old silver tarnishes in some places more than others. Also, "funny silver" can have a pitted look to it, which may be from being treated with an artificial aging agent like propane (seriously!). There may also be signs that certain things have been cast, such as the blossoms on a necklace. That does not mean they are sandcast, which has been done by Navajo smiths for nearly 150 years, but rather spin cast, a method of producing multiple copies from a single original mechanically and at low cost. If every blossom on a necklace has the same sheen and an identical shape, right down to certain surface flaws, then it is likely that the necklace is "funny", or at least the blossoms are.
There is a great deal to know about old Navajo silver, and nobody knows everything, but those who take the time to read the books, visit the museums and examine examples that are known to be good carefully can develop their eye to the point where things that are "funny" will become quickly evident. And if a purchase is made, always be certain that the dealer will tell you exactly what you are buying and offer a money-back policy if something turns out to be wrong. Everyone makes mistakes, and the honorable dealers will take the time and money to make it right.
Tuesday, December 8, 2015
Some Predictions for the New Year
At TMT, we spend all day, every day thinking about the Indian art market in general, and the Antique Indian art market in particular. (It's our job.) We look at what has been selling at shows, how things have been selling at auctions, and anything else that might give us a glimpse into what the market is doing and will do in the future. Some things are by nature unpredictable, but in general, the market as a whole moves in regular patterns. So, as a public service to our clients and followers on social media, here is what we think might happen in the coming year.
1. The market for living artists has never been stronger, and that seems sure to continue. By living artists, we mean those who have proven themselves worth of a serious collector's attention through artistry, quality and longevity. It used to be a truism that artists are their own best salespeople, and that is still true, but the work of artists who do truly great things has done quite well on the secondary market. It is amazing to think that pieces by certain living artists sell for higher prices than pieces of similar quality by deceased artists, but that is exactly the case.
2. We thought that the supply of truly great old pieces couldn't possibly diminish any more, but it did. Woe unto anyone who stakes their happiness on finding a truly great pre-1910 Navajo bracelet for under $6K, for they will remain miserable.
3. The new jewelry wing at the Wheelwright Museum in Santa Fe has been a shot in the arm for the jewelry business, which was already healthy. Social media has also been very good for the high-end industry as a whole, because it has exposed a larger group of potential collectors to true quality. The middle end of the market is still healthy, but it has not shown price appreciation for some time now, and probably will stay that way.
4. The top echelon of turquoise (Lander, Lone Mountain, #8, Bisbee) is still the top echelon, and probably always will be, but the great examples of the next tier (Blue Gem, Morenci, Red Mountain, Burnham/Godber) are doing better and better. Good turquoise of any type is very hard to find, and savvy collectors are happy to find great examples from any of the quality mines. (Of course, this is limited to high quality stones--lousy #8 will go begging, just at a slightly higher price than lousy Morenci.)
More to come....
1. The market for living artists has never been stronger, and that seems sure to continue. By living artists, we mean those who have proven themselves worth of a serious collector's attention through artistry, quality and longevity. It used to be a truism that artists are their own best salespeople, and that is still true, but the work of artists who do truly great things has done quite well on the secondary market. It is amazing to think that pieces by certain living artists sell for higher prices than pieces of similar quality by deceased artists, but that is exactly the case.
2. We thought that the supply of truly great old pieces couldn't possibly diminish any more, but it did. Woe unto anyone who stakes their happiness on finding a truly great pre-1910 Navajo bracelet for under $6K, for they will remain miserable.
3. The new jewelry wing at the Wheelwright Museum in Santa Fe has been a shot in the arm for the jewelry business, which was already healthy. Social media has also been very good for the high-end industry as a whole, because it has exposed a larger group of potential collectors to true quality. The middle end of the market is still healthy, but it has not shown price appreciation for some time now, and probably will stay that way.
4. The top echelon of turquoise (Lander, Lone Mountain, #8, Bisbee) is still the top echelon, and probably always will be, but the great examples of the next tier (Blue Gem, Morenci, Red Mountain, Burnham/Godber) are doing better and better. Good turquoise of any type is very hard to find, and savvy collectors are happy to find great examples from any of the quality mines. (Of course, this is limited to high quality stones--lousy #8 will go begging, just at a slightly higher price than lousy Morenci.)
More to come....
Wednesday, March 26, 2014
The Future of TMT
Most of you probably know that Tom Begner, one of the co-founders of Turkey Mountain Traders, died peacefully in his sleep recently. He left behind Deborah, his wife of 49 years; his children Steve and Allison; their spouses Diana and Jonathan; and his grandchildren Evan, Joshua and Christopher. He also left behind a lifetime of friends and good memories, and a company that will move on without him but will never replace him.
Turkey Mountain Traders will continue on, with Steve and Deborah doing what they have done for the last twenty years. In addition, Steve's wife Diana will be a full-time part of the company starting in June. Those of you who have become used to seeing a trio of Begners in Santa Fe and at other major shows will notice a change only in that one of them will be much prettier than before.
We hope that our old friends and clients will continue to come to us for the finest old American Indian art and jewelry available, and we look forward to meeting all the new people who come our way.
Turkey Mountain Traders will continue on, with Steve and Deborah doing what they have done for the last twenty years. In addition, Steve's wife Diana will be a full-time part of the company starting in June. Those of you who have become used to seeing a trio of Begners in Santa Fe and at other major shows will notice a change only in that one of them will be much prettier than before.
We hope that our old friends and clients will continue to come to us for the finest old American Indian art and jewelry available, and we look forward to meeting all the new people who come our way.
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