Charles Loloma Badger Paw Pendant

When this piece arrived in an estate lot several years ago, I fell in love with it immediately – purely for its design and symbolism. I didn’t even look at the back – just thought it was an extraordinary piece.

Then I turned it over…..and………thought………..could it be?

I started googling and soon had a strong feeling this could be a piece by Hopi legend Charles Loloma.

So I wrote to the niece of Charles Loloma, Verma Nequatewa.

Sonwai is the artistic name used by Verma Nequatewa. Verma began working with her uncle, the late Charles Loloma, in the mid-1960’s and continued working with him until his studio closed in the early 1990’s. At that time, she opened her own studio and has been continuing his teachings through her own jewelry.

Here is the reply I received from Bob Rhodes in response to my photos and email to Verma : “The pendant has a tufa-cast back and inlay of turquoise, lapis lazuli, coral and ironwood. It is difficult to see the detail in the photo, so I may have missed something.
The piece represents what Charles called a “Badger Hand.” Charles was Badger clan and this is his concept of a combination of badger paw and human hand. It was most likely made at the Loloma Studio at Hotevilla, AZ in the late 1960’s or early 1970’s. At that time he often did not differentiate between turquoise from different mines. He had a wash basin that he put all sorts of turquoise in, then picked pieces out for different colors and shapes. He did only use natural, not treated, turquoise, so some of the stones will “mature” or change color as they are exposed to light, air and skin oils. What you have is a very representational piece of Loloma jewelry of that time period. ”

Well I got goose bumps and thanked them both so much for the thoughtful and detailed reply.

They appreciated the photos as they are collecting as many as they can of Charles Loloma’s pieces.

Charles Loloma (1921-1991) was an active Hopi artist from 1949-1991. He is one of the most innovative and influential Native American artists of his time. He used many techniques including tufa casting, lost wax casting, stone and wood inlay, and cobblestone.

Although he was also a painter and ceramicist, he is most well known for his jewelry.

This badger paw pendant is an example of the high stone-to-stone inlay he became so well-known for.

According to Loloma himself, “I am not versed in the exact date that I started working in jewelry, but my guess is it was in 1947 when I was a student at Alfred University. I was working in pottery and silver.”

In the mid 1950s Loloma moved to Scottsdale, Arizona and began making jewelry in earnest.

The name Loloma translates to “many beautiful colors” which is certainly evident in his work. He broke from the tradition of solely using turquoise and coral by adding unusual stones of bright color as well as fossilized ivory and imported woods such as iron wood.

Much has been written about Charles Loloma – see Southwestern Indian Jewelry, Crafting New Traditions by Dexter Cirillo.

Paula

Marcus Coochwykvia Hopi Silversmith

Eagle buckle by Marcus Coochwykvia

 

Marcus Coochwykvia

Marcus Coochwykvia has been working as a Silversmith since the 1970’s.  

Trained to make jewelry first by his brother-in-law Glen Lucas, then Roy Talahaftewa and through his association with Hopicrafts, Marcus appears in many books on Native American jewelry.

He lives in Mishongnovi and is a member of the Bear Clan.  Although some of Marcus’ pieces have a hallmark of a Bear Paw with Friendship Marks in the pad, some just have his initials MC.

My belt buckle has both marks.

Hallmark of Marcus Coochwykvia

 

 

Paula

Navajo Silversmith Roland Dixson

Navajo silversmith and artist Roland Dixson produces traditional sterling silver pieces with excellent stampwork.

Roland Dixson Naja Pendant

Roland Dixson Naja Pendant

Characteristics of his style include scalloped edges with deeply domed centers.

Roland Dixson belt buckle with scalloped edges

Roland Dixson belt buckle with scalloped edges

The stamping is deep, intricate and not repetitive from piece to piece. He also incorporates repousse as evidenced in the photo showing the back of the buckle.

Roland Dixson buckle back showing evidence of repousse

Roland Dixson buckle back showing evidence of repousse

Repousse is a technique whereby metal is hammered into relief from the reverse side.

From the pieces that have come through our store, it appears that Roland Dixson uses only natural, untreated turquoise. Here is his hallmark.

Roland Dixson hallmark

Roland Dixson hallmark

I don’t know much about this artist so if anyone has any biographical information, I’d love to hear it.

Paula

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Jacob Poleviyouma, Jr. – Hopi Bear Paw Watch Tips

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Jacob Poleviyouma, Jr.

Jacob Poleviyouma, Jr. was of the Hopi Sun Clan in the Shungopavi-Hotevilla Pueblo. He learned his craft at the Hopi Silvercraft Cooperative Guild in Second Mesa, Arizona and produced jewelry from 1976 until his death in 1986.

Hallmark of Hopi Jacob Poleviyouma, Jr.

Hallmark of Hopi Jacob Poleviyouma, Jr.

Hopi Silvercraft Guild

The Hopi Silvercraft Guild was formed in 1949 by the Indian Arts and Crafts Board and the Hopi Government Agency. For twenty years, the Guild provided classes, a central workshop and a stable marketing outlet for Hopi made items.

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Paula

Lakota Four Winds Pipes

Four Winds

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The Four Winds are evoked in many Lakota ceremonies. The Four Winds are all wakan. Wakan is a Lakota word which represents mysterious powerful beings or spirits.

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The first wind is the WEST, Yata. This is where Wakinyan (the Thunderbird) lives. It is where all animals are created and the West Wind is present when man and animals die. The West Wind is strong and mighty but good natured. It is where the sun goes to rest. The eagle is the akicita (marshall) of the West Wind.

The second wind is the NORTH, Woziya. The tonweyapi of the North are the white owl, raven and wolf. Tonweyapi are aides – they can be marshalls, soldiers, spies or counselors. The North Wind is strong and usually cruel but occasionally jolly. The things he touches grow cold and die. The North Wind decides if the dead people are worthy to pass or wander forever cold, hungry and naked.

The third wind is the EAST, Yanpa. The nighthawk is the tonweyapi of the East. The East Wind sleeps a lot. It is called on to help the sun and the dawn appear. And it gives a place for the moon to regrow. The sun and the moon know and see everything on earth and they tell it to Yanpa. Lodges face east to please Yanpa. The East Wind is evoked by the sick asking for a rest.

The fourth wind is the SOUTH, Okaga. The tonweyapi of the south are waterfowl and the meadowlark. The South wind makes beautiful things, flowers and seeds. It is the giver of life. It is kind and brings good weather. The south is a place where spirits can go after death.

The winds are sometimes at odds with each other over women or other things. Iktomi (spider wakan) purposely stirs up trouble among the Four Winds so he can have fun watching them fight.

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The Hand Symbol in Native American Art

Horse Fetish by Carol Martinez, Zuni

Horse Fetish by Carol Martinez, Zuni

The Hand

In Native American art, the hand usually represents the presence of man. From the earliest hand imprints on cave walls, the hand depicts a man’s work, achievements and his personal history.

When a hand had a swirl in the middle of it, that is said to be the “eye in hand” and represents a mystic, or all-seeing, hand, the presence of the Great Spirit in man.

Mystic Hand Pendant

Mystic Hand Pendant

A Native American’s horse was highly honored and often covered in symbols for various purposes. This would vary from tribe to tribe but hand prints were often used in various positions on a horse to mean different things.

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The most prized handprint was when preparing for battle, if it was a kill-or-be-killed mission, an upside-down hand would be placed on the warrior’s horse.

If a horse knocked down an enemy, right and left hand prints were put on the horse’s chest.

The Pat Hand Print was the left hand pressed onto the horse’s right hindquarters. It was put on a horse who had returned from a dangerous mission with his master unharmed.

Horse Fetish by Carol Martinez, Zuni

Horse Fetish by Carol Martinez, Zuni

Paula

Raven Crow Medicine

Lakota Kangi Pejuta Medicine Bag

Lakota Kangi Pejuta Medicine Bag. Kangi Pejuta means Medicine Crow.

RAVEN/CROW –  Raven and Crow are very similar in their strengths: both carry great responsibility to Spirit and are the messengers of magic and healing from the universe where all knowledge waits for us.

Raven Crow Feather Necklace by Apache artist Cynthia Whitehawk

NP574-feather-raven-whitehawk-2 Raven Crow Feather Necklace by Apache artist Cynthia Whitehawk

They also symbolize changes in consciousness, levels of awareness and perception.

Zuni Raven Fetishes

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Shamans, Spiritualists and Healers using Raven/Crow Medicine are able to use their gifts with deeper clarity, understanding and insight, developing greater power and skill in their abilities and their means to help one move forward in life.

Kangi Pejuta Smudge Kit

Kangi Pejuta Smudge Kit

Raven Crow Medicine Smudge Feather

Raven Crow Spirit Smudge fan by Apache artist Cynthia Whitehawk

Raven Crow Spirit Smudge fan by Apache artist Cynthia Whitehawk

Raven Crow Medicine Pouch

Raven Crow Medicine Pouch with hand carved and painted buffalo bone raven feather. Cynthia Whitehawk

 

Zuni Buffalo Fetish Carving
Raven – Crow – A symbol of Magic, Mystery, and a Shift in Consciousness
(from our conversations with Lakota and Apache healers)
Paula