Nancy and Ruddell Laconsello – Zuni Inlay artists

Nancy and Ruddell Laconsello are known for their beautiful Zuni inlay jewelry predominately birds.

Nancy Haloo, born in 1952, learned jewelry making from her father Jake Haloo. She began making her own style of inlay in 1972.

Nancy Haloo

Nancy Haloo Laconsello

She married Ruddell Laconsello and they began making jewelry together in 1976.

Nancy and Ruddell Laconsello

Nancy and Ruddell Laconsello

They are a successful husband and wife team who follow the tradition of Nancy’s parents, Jake Haloo and Lola Pinto Haloo, in their division of duties. Ruddell does the stone cutting, grinding, carving and polishing while Nancy does the inlay work.

Nancy and Ruddell Laconsello

Nancy and Ruddell Laconsello

Nancy and Ruddell’s work is characterized by birds in natural settings, such as on trees or with flowers or leaves.

Blue Jay pendant necklace by Ruddell and Nancy Laconsello

Blue Jay pendant necklace by Ruddell and Nancy Laconsello

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They also are known for the engraving they add to their mosaics which gives rich texture and detail to the image.

Engraved detail on vintage Laconsello eagle ring

Engraved detail on vintage Laconsello eagle ring

Nancy’s family is full of noted jewelers including Dolly Banteah, Rolanda Haloo, Lolita Natachu, Jake Livingston and others.

Ruddell and Nancy use variations of their hallmark RNL ZUNI on their pieces.

RNL ZUNI hallmark of Ruddell and Nancy Laconsello

RNL ZUNI hallmark of Ruddell and Nancy Laconsello

Vintage Laconsello ring

Vintage Laconsello ring

Paula

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Closing the Gap on a Native American Inlay Cuff Bracelet

When this beautiful inlay bracelet by Merle House Jr. came into our store,

Inlay Bracelet by Navajo artist Merle House, Jr.

Inlay Bracelet by Navajo artist Merle House, Jr.

I just had to have it…………it matched a pendant and ring I have by him which I love to wear.

BUT the bracelet was gallons too big. Made to fit a 7 1/2″ wrist, I didn’t know if it could be closed up enough to fit my 6 3/4″ wrist.

BEFORE – The 1 3/4″ gap was so large that the bracelet would roll and fall off my wrist.

The silver measured 5 3/4″ end to end. It was the gap that was the bad boy – at 1 3/4″ it would allow the bracelet to roll and fall off my wrist. If it could be closed at least 1/2″, down to a 1 1/4″ gap maximum, I think that could work for me – still enough of a gap to get on and off but it would stay on. It would likely be a little lose but for these big heavy ones, I kind of like them moving a bit.

I asked Diane at Old Town if Henry could possibly do that and she said “NO PROBLEM!”

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AFTER – Here it is after resizing – With the gap closed to 1 1/8″, the bracelet now goes on and off very easily and stays put on my wrist !

I asked Diane what is involved in resizing an inlay bracelet and here is what she said:

“It’s a commonly held belief that inlaid bracelets cannot be sized because of the risk of stones popping out or breaking.  It can, however, be done by a skilled silversmith with the right tools, materials and experience.

 
The simplest style to resize have stones inlaid on less than half of the length of the bracelet (like Paula’s). 
Inlay confined to just the front of the bracelet - that's good news in terms of my hopes of getting this resized downward.

The inlay is confined to just the front of the bracelet – that was good news for getting this resized downward.

Special tools and a lot of patience will allow the silversmith to bend only the sections of bracelet that have no stones.  The inlaid portion will not change its shape, and the stones will remain secure.
 

If more than half of the length is covered with stones, the silversmith can lift the stones out of the bracelet, reshape the bracelet, and then carefully set the stones back in place.  There are a few adjustments to be made, however, as the “bed” for the stones will now be a different size.  If the bracelet is being made smaller, the curved bed will become longer – then tiny slivers of stone will be added to fill the gaps.  More difficult is if the bracelet is being made larger – the curved bed becomes shorter so some of the stones will be filed ever so slightly to fit correctly without binding.

 

Resizing a favorite inlaid bracelet can be time consuming, but may be well worth the investment for the enjoyment of wearing it! “

 

So here it is back to me and WOW, my dream came true.

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Many thanks to Diane and Henry for yet another successful jewelry modification/repair !
Paula

We recommend Old Town for Native American jewelry repairs. They do all of the repairs for our store and we are thoroughly satisfied with their work.

Contact:
Diane Radeke
Old Town Trading Co. / Jewels of the West
4009 N. Brown Ave.
Scottsdale, AZ 85251
602-350-4009
info@oldtownjewels.com

Large Mosaic Shell Pendant – Let’s Look

Here is another one of those mystery pieces that came in a 100+ piece estate lot. Most of the items in this gentleman’s collection (he collected for over 60 years) have strong provenance and/or hallmarks.

So I am going to give this a good examination. First I will post photos of the item I am examining, then I’ll follow with the reference material I dug up on these large mosaic shell pendants.

The specs:

The entire necklace weights 252 grams

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The necklace is 24 inches long and made of very nice turquoise nuggets that are strung on a metal wire. I am of the opinion that this is a married piece, that is, the more contemporary necklace was added or substituted later. Perhaps if this shell pendant originally came with a traditional heishi necklace and the pendant was attached to it with fiber or thread (as was done and you will see below in the reference section), the necklace or attachment might have broken and this was what the owner did to make it work.

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The shell pendant is is 5 1/2″ wide and 5″ tall. The shell is relatively flat.

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It is attached to the necklace by sterling silver wire. This might be a more recent evolution of the necklace ( see my comment above about married piece.) You can see where there were several attempts to drill a hole on the left to find one where the pendant balanced correctly.  Remember this when we later look at one of the research pieces.

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The inside of the shell is mostly white with faint hints of peach. It is of the shape and size of a large spiny oyster shell.

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Here are some closeups of the inlay. Note the black material between the turquoise pieces. The white mosaic pieces appear to be Mother of Pearl but I am not sure if the black is Acoma Jet, old phonograph records or other substitute material. The reddish brown tiles are pipestone, a material that was noted to be used in the Santo Domingo pueblo (Baxter Encyclopedia page 156).

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southwest design border669

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NOW I AM SHIFTING GEARS TO THE RESEARCH MATERIAL………..HERE’S WHAT I FOUND

Shell pendants are some of the earliest jewelry found in archaeological sites in Arizona. The Hohokam, Salado, and Sinagua peoples obtained the shells by trade or travel. The shells are native to the Gulf of Mexico or the Pacific Coast.

Prehistoric people used lac or pine pitch to adhere the mosaic to the shell.

lac  – a resinous substance secreted as a protective covering by the lac insect, used to make varnish, shellac, sealing wax, dyes, etc.

Pine resin is a clear sticky substance secreted by damaged limbs or roots of pine trees. The resin can be used as is or made into a more useful pine pitch or pine tar which is black.

This tradition of mosaic inlay on shells is associated with Santo Domingo (Kewa) Pueblo of New Mexico.

From the Encyclopedia of Native American Jewelry (Paula Baxter) “Between 1920 and 1950, not all Santo Domingo jewelry making was of good quality and pieces from this period betray inventive uses of substitute materials – especially when the traditional materials were not available (such as using pieces of phonograph records or automotive battery cases in place of jet or onyx).”

The contemporary revival of the art form is mainly due to Angie Reano Owen. Santo Domingo artists Mary Coriz Lovato and Jolene Bird also makes mosaic inlay on large shells.

Today the main difference is that black epoxy glue is now used instead of pine pitch.

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from North American Indian Jewelry and Adornment – Dubin

 

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North American Indian Jewelry and Adornment – Dubin

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A Contemporary Santo Domingo Necklace shown in Southwest Art Defined page 141 Caption should say “Angie Reano Owen”

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Southwest Silver Jewelry – Baxter

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Note that this pendant is suspended from the heishi necklace by a fiber tie. There are several holes drilled in the shell to allow this. This necklace is said to be from the 1920s.

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Fine Indian Jewelry of the Southwest: The Millicent Rogers Museum Collection

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Fine Indian Jewelry of the Southwest: The Millicent Rogers Museum Collection

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EVALUATION SUMMARY:

This is a married piece.

The necklace is more contemporary and was added later, attaching the pendant to the necklace with sterling silver wire.

The shell pendant shows the following positive signs for it being a vintage Native American made piece:

It is based on the proper size and shape shell.

The adhesive between the turquoise is black which is traditional, whether pitch or glue.

Pipestone and Mother of Pearl are associated with Santo Domingo work. It is possible the color of the base spiny oyster shell was faded or off color, so the artist decided to add the pipestone mosaic to brighten up the piece.

The black material is unidentified at this point – it could be jet or an old record or car battery.

What do you think? Please leave comments and additional reference information below.

Paula

 

V/L Hallmark on Zuni Longhorn Kachina Inlay Belt Buckle

I’ve replied to hundreds of your queries on hallmarks and now its my turn !! HELP !!

I wonder if any of you have seen this V/L hallmark before. See the photos for the hallmark and the buckle itself.

BU128-BG-inlay-kachina-VL-1BU128-BG-inlay-kachina-VL-4

The buckle is from a collection we purchased from a gentleman who bought buckles over the last 10-40 years and kept them in a display case so they are NOS (New Old Stock).  The prong on this buckle was shaky so we had the prong replaced – that is the only new part on it.

It is a Zuni inlay of Longhorn Kachina also known by and associated with other kachina names including Saiyatash, Sai-astasana, Zuni Rain Priest of the North, and Hututu. Some say that Longhorn Kachina is usually accompanied by his “Deputy” Hututu. They look quite similar.

Longhorn Kachina has a single long horn sticking off to the right side of his mask and is always seen with his distinctive black and white (striped or checkered) neck ruff.

He has a long left eye which is said to bring a long life to good people. In addition, he is called a hunter/warrior and the Rain Priest of the North who has the ability to control the weather.

I’ve researched the hallmark in all of my references and online and so far this is what I came up – it is NOT the same as either of these other VL hallmarks.   Any ideas?

Vera Luna Virgil LeekyaBU128-BG-inlay-kachina-VL-3Paula

Since artists do change their hallmarks over the years and since one reader showed me a piece by Vera Luna that seems to be a match to this buckle, I will surmise, this buckle was made by Vera Luna. Here is the bolo. Except for the fact that the kachina on the buckle has one extra black feather, these are twins !

vera luna full piece

Zuni artist Charlotte Dishta makes beautiful blanket pattern inlay

Charlotte Dishta has been making jewelry since the 1980s and is known for her mosaic rug pattern inlays.

Here is a beautiful example of a rug pattern on a vintage NOS (New Old Stock) belt buckle.

She uses the traditional four color materials of Acoma Jet, Turquoise, Mother of Pearl and Coral.

BU126-BG-inlay-dishta-1 BU126-BG-inlay-dishta-5Paula

Benjamin Becenti Inlay Storyteller Concho Belt shows Navajo life

Born about 1950, Benjamin Becenti is the son of Robert Becenti, Sr and the
brother of Robert Becenti Jr. He is from Crownpoint, New Mexico. He has been
active in inlay work since the 1970s.

He is well known for his wonderful inlay storyteller belts. Each panel shows a different scene from Navajo life.

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CB58-CCC-storyteller-becenti-7 CB58-CCC-storyteller-becenti-8 CB58-CCC-storyteller-becenti-9 CB58-CCC-storyteller-becenti-10 CB58-CCC-storyteller-becenti-11 CB58-CCC-storyteller-becenti-12 CB58-CCC-storyteller-becenti-13 CB58-CCC-storyteller-becenti-14 CB58-CCC-storyteller-becenti-15 CB58-CCC-storyteller-becenti-16

He uses turquoise, mother of pearl, acoma jet, red coral and orange spiny oyster for his inlay work.

This belt is NOS, New Old Stock,  vintage but never used.

CB58-CCC-storyteller-becenti-2Paula

Can I wear this inlay ring to do dishes and shower without worry?

Hi Paula,

Can I wear this ring to do dishes and shower with out worry
Thanks Daniel

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Dear Daniel,

What??????

PR708-WB-owl-kallestewa-1No, you would have to worry big time. Inlay items are made of many small pieces of stone and shell that are affixed to a backing and to each other. Getting inlay wet such as in a dishpan or shower would allow water to get under the inlay and loosen it. It is NOT a good idea.

Inlay, properly cared for, will last decades as shown by the many wonderful pawn and estate lot pieces we receive. But any inlay, old or new, should be treated with respect and common sense.

Paula

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