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They melted the coins down to make silver jewelry for their personal adornment and a store of wealth as well as serving a growing market for Navajo jewelry. Pawnbrokering was practiced by many trading posts. Navajo income was seasonal, depending in the 19th century mostly upon harvests of wool, and Navajos would pawn their silver jewelry and ...
North American Indian Jewelry and Adornment: From Prehistory to the Present. New York: Harry N. Abrams, 1999: 170-171. ISBN 0-8109-3689-5. Haley, James L. Apaches: a history and culture portrait. Norman: University of Oklahoma Press, 1997. ISBN 978-0-8061-2978-5. Karasik, Carol. The Turquoise Trail: Native American Jewelry and Culture of the ...
Charles Sequevya Loloma (January 7, 1921 — June 9, 1991) was a Hopi Native American artist known for his jewelry. He also worked in pottery, painting and ceramics. A highly influential Native American jeweler during the 20th century, [1] Loloma popularized use of gold and gemstones not previously used in Hopi jewelry.
The original structure of the traditional Navajo trading post included designated areas for trading wool and lambs, loading areas for wagons, storage, and an elevated area for overseeing the trading area. [8] The trading post was a venue for Navajo producers to trade and sell their products. It also served as a social hub in the community. [7]
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Squash Blossom Necklace by Annie Eagle 19th-century Navajo jewelry with the popular concho and dragonfly designs. Silversmithing is an important art form among Navajos. Atsidi Sani (c. 1830–c. 1918) is considered to be the first Southwest Indians to learn silversmithing.
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Navajo families process the wool and sell it for cash or spin it into yarn and weave blankets and rugs for sale. The Navajo are also noted for their skill in creating turquoise and silver jewelry. Navajo artists have other traditional arts, such as sand painting, sculpture, and pottery. Sheep remain an important aspect of Navajo culture and ...
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