One of the main reasons I consider Native American jewelry studies my livelihood is the sheer amount of information out there. Much is easily accessible, but there are hidden pockets that reveal a much deeper understanding of the art form than is normally offered. My best source has been the collectors and dealers I communicate with; people who have a long association with the art form.

I handle so many pieces that I have time to closely examine the techniques used and have formed some opinions on certain aspects. One area that I have found particularly interesting is the Tufa casting work, which is commonly known as Sandcast. This was one of the first techniques used by Native Americans to create jewelry for everyday adornment, ceremonial applications, and as gifts to tribal members.

The pieces are usually heavy and feature bold designs. The above pieces are usually rough in nature and the design elements are left bare, giving them a bit of a primitive look (I really like that!). With the advent of mass production and precision measuring tools, much of the character has been removed from the job. Molds for parts made before this had to be “watched” as to the shapes and thicknesses of the item. A cast would be made and used until its integrity faded and a new cast was required if the design was to be duplicated. The nice thing is that the molds were rarely recreated once they were depleted and if they were, the duplicate mold was different from the original, rendering each mold as a unique and individual design.

Designs are almost always symmetrical with matching elements that, when viewed, do not end up the same as their sister elements. These older pieces are what I strive to acquire – their handcrafted nature is endearing and speaks to the artisan following the edicts of early jewelry making where they let the gods guide them through all aspects.

One such piece that I acquired many years ago is a huge bracelet that was selected from the Witte Museum in San Antonio, Texas. It has been dated to between 1900 and 1920 and is a stellar example of early Navajo foundry work featuring many of the aforementioned attributes.

Much of what I have mentioned here has taken me a while to digest. With each new acquisition of a sterling casting of considerable antiquity, I learn more about this important technique, its cultural origins, and its craftsmanship charm.