14 K yellow gold sheet, mill rolled from ingot, was utilized in fabrication of the cuff's structure. Highest grade natural turquoise rough, from at least four mines, was precisely cut into wedged tabs, pierced, then strung on heavy gauge wire. This wire was then secured within each golden terminal. (A special formula adhesive may also have been used in the channel floor to insure a perfect fit, preventing any movement.)
This stunningly handsome cuff is one of Charles Loloma's iconic creations. More "low key" than one of his height bracelets, this very wearable work of art has a variable inlay profile reminiscent of cliff pueblos. The surface of each of the 63 turquoise inlays, retains matrix valleys and anomalies adding depth and interest to the highly polished deep hues of blue, blue green and green filling the framing walls of gold from terminal to terminal.
Description | 14 K yellow gold sheet, mill rolled from ingot, was utilized in fabrication of the cuff's structure. Highest grade natural turquoise rough, from at least four mines, was precisely cut into wedged tabs, pierced, then strung on heavy gauge wire. This wire was then secured within each golden terminal. (A special formula adhesive may also have been used in the channel floor to insure a perfect fit, preventing any movement.) This stunningly handsome cuff is one of Charles Loloma's iconic creations. More "low key" than one of his height bracelets, this very wearable work of art has a variable inlay profile reminiscent of cliff pueblos. The surface of each of the 63 turquoise inlays, retains matrix valleys and anomalies adding depth and interest to the highly polished deep hues of blue, blue green and green filling the framing walls of gold from terminal to terminal. |
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About the Artist | (1921-1992) This innovative man from Hopi pioneered in jewelry design, as well as painting, printmaking, pottery and with bronze castings. A member of the Badger Clan, Charles Loloma was born in Hoteville, Arizona. Artistic blood ran through his family. His father was a weaver, while his mother made baskets. In Hopi, his name, Loloma means "beauty". Following World War II, this GI used his benefits to study ceramics at the School of American Craftsmen at Alfred University. While at Alfred University, he received the Whitney Fellowship to study Hopi ceramics. Not until the mid 1950's did he begin to work in silver. At this time he and his wife opened a pottery shop in Scottsdale, Arizona. Around 1959 Charles began making jewelry featuring gold, silver, ironwood and stones using a variety of techniques. Loloma's solo exhibitions took place at the Heard Museum in Phoenix, Arizona, at the Wheelwright Museum in Santa Fe, New Mexico and in Paris, France. Awarded the Arizona Indian Living Treasures award, Mr. Loloma was named a Fellow of the American Crafts Council. Purchase and read Loloma Beauty is His Name by Martha Hopkins Struever, published in 2005. |
Culture | American Indian, Hopi |
Medium | 14 K yellow gold, natural turquoise |
Troy ounces | 1.74 troy ounces |
Size | Inside end to end is 5 1/2" opening is 1". Center width is 11/16" tapering to 1/4" at each terminal center. Rise is 3/8" approximately tapering down to 1/4" at each end. |
Signed | "Loloma" chiseled signature on cuff interior |
Date of creation | 1970's |
Condition | Excellent |
Turquoise | Highest grade natural turquoise rough from multiple mines |
Description | Charles Sequevya Loloma was one of but a handful of great 20th century artists whose innoivative designs re-interpreted the essence of his indigenous traditional roots--bringing their spirit into the modern world for all time. |
Provenance | De Hu |
Gram weight | 54.1 grams |