Where we were, where we are and where you should be--who to collect, part 1.

Time was, Turkey Mountain Traders was the purest of the pure. If a piece of jewelry was made after 1940, we did not want to handle it. A simple rule, enforced with an iron fist. We were ANTIQUE Indian arts dealers, after all, and we had to draw the line somewhere. So, 1940 it was. If it was hallmarked, no dice (with very rare exceptions.) And now--what has happened? Our website is absolutely littered with post-1940 pieces, and there are even pieces there by (gasp!) LIVING ARTISTS. Crikey! What happened to our pureness? Did we fall out of love with the truly old material? How do we sleep at night? Do other dealers and collectors look at us funny?

The answers to these questions are all very simple, and come down to two main points. First, the really good pre-1940 material is rare and VERY hard to find. To support a viable business, it was necessary to broaden our horizons. (We do like to eat, after all.) And second, the best material from the 40s, 50s and 60s was truly great. As connoisseurs of Indian art in general and Indian jewelry in particular, how could we not love the mid-century work of Fred Peshlakai, Kenneth Begay, the great early Hopi masters and pieces incorporating stones from the top Nevada mines that were coming on to the market? From there, it was a small step into the 1970s, which have a generally bad reputation for Indian silverwork but saw the full flowering of the genius of Charles Loloma, Preston Monongye, Larry Golsh and other great innovators. One thing led to another, and it was on to the 80s and what we all consider "contemporary". We decided that what was most important was not age, but rather quality and authenticity. SInce the finest work being done today rivals the best of any other era in Indian silverwork, why would we not want to handle it when we could?

Which leads to a question we are often asked by newer collectors: what artists should we collect? A tough question, because the first answer to that question is always "buy what you like", but the full answer should go deeper. We would never tell someone not to buy something they love, but we would ask them to spend the time beforehand to hone their knowledge and their eye as to what is truly great. "Great" is the most overused word in the art business, just ahead of "genuine", and sometimes the only way to tell good from great is to see the two side by side. Sack did this for antique American furniture with his "Good, Better, Best" books, but collectors of Indian silverwork do not have a comparable reference; they have to rely on the advice of others and their own knowledge. That is where a dealer comes in--very few collectors have the time to spend all day, every day looking at things like dealers do. And thus, a list of contemporary artists we like and think are worth collecting.

This will be a 3-part entry. The first entry today will focus on the traditionalists, artists who mostly worked after 1980 whose work could be classified as "traditional" rather than innovative. There is absolutely nothing wrong with traditional work, as long as it is done with care and skill--some of our favorite artists fall under this category. The second entry will be the innovators, and the third entry will be the uniques. So, onward to the traditionalists.

Perry Shorty, Navajo--the pre-eminent contemporary Navajo smith working in traditional forms (cuff bracelets, squash blossom necklaces, concho belts) and using traditional materials (coin silver, turquoise.) That is not to say that he doesn't do some different things now and then, but he is best known for his mastery of the more traditional forms.

Bernard Dawahoya, Hopi--the heir to the mantle of premier Hopi overlay smith. His wonderful small silver vessels are unsurpassed in quality.

Norbert Peshlakai, Navajo--though many of his designs are innovative, his techniques are quite traditional. The great master of stampwork, often using the same stamp multiple times to create an intricate aggregate design like a rabbit.

Mike Bird-Romero, San Juan Pueblo--very few people can work "heavy" like him, with large stones and thick-gauge silver.

McKee Platero, Navajo--the undisputed king of working "heavy". His use of traditional techniques such as repousse and filework is unsurpassed.

Did we miss anyone? Undoubtedly we did. Let us know who else you think should be on this list.

Next entry--the innovators.