Knifewing

Knifewing, also Knife Wing, is a half man, half eagle Zuni spirit with razor sharp feathers made of flint. He is the ultimate warrior.

Anthropologist Frank Hamilton Cushing, who lived with the Zunis from 1879-1884 described Knifewing this way:

“This curious god is the hero of hundreds of folklore tales, the tutelary deity of several societies of Zuni. He is represented as possessing a human form, furnished with flint knife-feathered pinions, and tail. His dress consists of the conventional terraced cap (representative of his dwelling place among the clouds). His weapons are the Great Flint-Knife of War, the Bow of the Skies (the Rainbow), and the Arrow of Lightning. His guardians or warriors are the Great Mountain Lion of the North and that of the upper regions. He was doubtless the original War God of the Zunis.”

Horace Iule (also known for his crosses) is credited with creating the first Knifewing design in the late 1920s, cut and filed out of wrought silver. Afterwards, other Zuni, Navajo and Pueblo began producing Knifewing designs. The Knifewing became one of the first designs that the Zuni inlaid with stones.

Raymond Sequaptewa: Bracelet

Raymond Sequaptewa 

Raymond Sequaptewa 

Here is a bracelet by Raymond Sequaptewa, whose work ranks among the greatest contemporary artists and resides in the best museums and galleries. 

This piece features a theme based on antelope horn but which also evokes Avanyu, the great water serpent which is credited with saving the Zuni tribe in ancient tales. The coloration is brilliant with a rich dark blue turquoise and a dark red coral offset by abalone shell, heishi "eyes," and some gold as well as a bit of brass. This is a piece that fills the heart and soul. It is so powerful and fabulous.

Raymond Sequaptewa is a medicine man, healer and visionary. His jewelry is dramatically one-of-a-kind, totally original in character. Surely it can never be confused with anyone else’s work. For Raymond, creating jewelry goes beyond artistry; his jewelry is prayers, thoughts to make life better.  His work is quite imaginative even magical. Healing is a significant theme although it isn’t always just about healing.  Sometimes, his work depicts things he sees in nature or human nature. There is a strong spiritual, even mystical quality pervading everything he does. 

Charles Loloma was Raymond Sequaptewa's mentor and teacher. His deep, artful, Hopi jewelry style is certainly reminiscent of old-time Hopi greats like Charles Loloma and Preston Monongye who shared their vision of the world rather then conform to the accepted norm of the period. Like Monongye and Loloma, Sequaptewa takes Southwest Jewelry in a direction all his own, and is impressively unique. Raymond Seqaptewa's visions and his dreams appear in his art. As a result, Raymond Sequaptewa jewelry is a felt experience as much as it is visual.

Preston Monongye Mudhead Pin/Pendant

Preston Monongye

Preston Monongye

Preston Monongye

Preston Monongye

This is a sterling silver pendant and brooch by the renowned artist, Preston Monongye (1927-1987). He was adopted by the Monongye Hopi family and won multiple awards for his tufa cast style and creative designs. This piece features a "mudhead" dancing figure -- a lively piece. It measures 2 5/8-inches x 2-inches and weighs 35.7 grams.          

Hubert Koonuk: Baleen Basket

Hubert Koonuk

Hubert Koonuk

Hubert Koonuk

Hubert Koonuk

Hubert Koonuk

Hubert Koonuk

Masks

Southwest Indian Jewelry by Dexter Cirillo

Lelooska The Life of a Northwest Coast Artist by Chris Friday

North American Indian Jewelry and Adornment by Lois Sherr Dubin

Makah Basket/Ink Well

Paul St. John: Sweet Grass and Quill White Crow Basket

Paul St. John 

Paul St. John 

Paul St. John 

Paul St. John 

Paul St. John 

A rare white crow with Wabanaki double-curve symbols of porcupine quill enhance this basket by Mohawk craftsman, Paul St.  John. With the use of the natural brown tips of the quills, St. John accents the wing, legs and neck of this strutting bird. The addition of the double curve with triangles at center Wabanaki design at top and bottom makes for more nice design elements.

This basket is one of St. John's larger-sized, coiled tidal sweetgrass, round, sewing baskets. It is 8-inches in diameter and  3.5-inches high. The birch bark medallion at center top is 6.5-inches in diameter.  There is a braided border of tidal sweetgrass around the lid's birchbark medallion.

Paul's Passamaquoddy (his mother's tribe) name is the word for "crow" -- Kahkakuhs. The crow is a highly-intelligent bird with a sassy attitude. Paul's rendition of this crow hints at both its intellect and attitude. A white/albino crow is rare, and several Native American tribes  -- including the Kiowa and Sioux -- have legends and stories about white crows.

St. John makes coiled tidal sweetgrass baskets with a variety of animals and bird (and some floral designs), created with porcupine quills on their lids.  
  Paul St. John lives in Maine, near his mother's family. She is Passamaquoddy, Maliseet, and MicMac.  He grew up on the Mohawk lands in New York (his father's homeland) and is an enrolled Mohawk tribal member. While quill work and coiled sweetgrass baskets are historically Maine Native traditional crafts, currently no one in Maine but Paul St. John is actively practicing this craft. Passamaquoddy basketmakers, Jeremy Frey and Otter, both have used some quill work on their baskets -- but quill work on coiled sweetgrass baskets are Paul St. John's specialty.

  

Harry H. Begay Rings

Harry H. Begay

Harry H. Begay

Harry H. Begay

Harry H. Begay

Harry H. Begay

Grace Medicine Flower

Grace Medicine Flower

Grace Medicine Flower

Grace Medicine Flower

Grace Medicine Flower

Preston Monongye Bolo Tie

Preston Monongye 

Preston Monongye 

First Nations Map

Ray Adakai Sterling Silver Cuffs

Ray Adakai

Ray Adakai

Ray Adakai

Ray Adakai

Ray Adakai

Ray Adakai

Ray Adakai

Ray Adakai

This is a Navajo sterling silver deep-stamped-work cuff by Native American silversmith Ray Adakai.

Master Navajo Silversmith, Ray Adakai is celebrated for his repousse work mimicking 1860s-1930s style Navajo jewelry. The son of Jack Adakai, some of Ray's pieces may also be marked Three Smokes Trading Co.