Ingot silver was hand-crank mill-rolled into sheet and drawn into wire for the fabrication of this fine bracelet. Silver wire was swedged into a filed steel groove, creating the half round domed bars forming the outer two ribs of the split shank.
These heavy gauge 1/4" wide pieces were also ornamentally stamped with an instrument cut from a file. The spacing is meticulous and precise. An inner bar was created with two lengths of "rope twist" wires turned to mirror image each other producing a "braided" effect. To this center "braid" and to each of the stamped half round bars were soldered the sheet backed bezel settings for three stones and half sphere silver "rain drops". These latter were made of ingot sheet utilizing a hand cut steel male-female stamp that could also be used to make small buttons and the halves of beads.
There are three hand cut, nicely domed cabochons--a triangles in the center 3/4" X 7/8" with soft rounded points and two ovals, each 5/8" X 1/2".
Description | Ingot silver was hand-crank mill-rolled into sheet and drawn into wire for the fabrication of this fine bracelet. Silver wire was swedged into a filed steel groove, creating the half round domed bars forming the outer two ribs of the split shank. These heavy gauge 1/4" wide pieces were also ornamentally stamped with an instrument cut from a file. The spacing is meticulous and precise. An inner bar was created with two lengths of "rope twist" wires turned to mirror image each other producing a "braided" effect. To this center "braid" and to each of the stamped half round bars were soldered the sheet backed bezel settings for three stones and half sphere silver "rain drops". These latter were made of ingot sheet utilizing a hand cut steel male-female stamp that could also be used to make small buttons and the halves of beads. There are three hand cut, nicely domed cabochons--a triangles in the center 3/4" X 7/8" with soft rounded points and two ovals, each 5/8" X 1/2". |
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About the Artist | (1896-1974) Navajo silversmith known as either son or the nephew of Slender Maker of Silver, he served an apprenticeship with him. Later Fred taught jewelry at the Fort Wingate School. One of his best known students was Kenneth Begay, a man who became known as the "father of contemporary Navajo jewelry". Fred Peshlakai was legend. Several examples of his jewelry are featured in Gregory Schaaf's book American Indian Jewelry III: M-Z 2,100 Artist Biographies. |
Culture | American Indian, Navajo |
Medium | Sterling silver and natural turquoise |
Troy ounces | 2.34 troy ounces |
Size | Inside measurement is 5 7/8" with a 1 3/16" gap opening. Height at center is 1 1/16" slightly bar footed terminals. |
Signed | Unmarked |
Date of creation | 1930's |
Condition | Excellent |
Turquoise | High grade natural blue green and green to teal turquoise has a blond to red brown dark matrix occuring in spots instead of the more common "branches". |
Description | As in several other Peshlakai bracelets, there is an intended sensuality. With stunning stones set far apart on the open work, a wearer's skin becomes an integral part of the color texture and design. |
Provenance | KW, Acquired from a collector who bought it from Fred Peshlakai |
Gram weight | 72.5 grams |