C.G. Wallace Codes

[Ravenscry]

In an effort to not perpetuate the act of withholding information, which seems commonplace among many portraying their desire to “…educate and inform those with less experience…” I wanted to share something that, a handful of years ago, took me a while to find.

As an aside, I’d reached out to Sotheby’s about copyright infringement, and never heard back. If I wasn’t concerned with getting sued, I’d scan and share the entire auction catalogue from the famed 1975 auction of C.G. Wallace’s collection, along with the estimates and realized price sheets, to aid interested parties. I guess the best I can do is to openly offer any photos or information from these publications to those who desire it. Simply send me a private message.

I’m sure that many members here already know this information, and some may even deem it common knowledge, but that’s certainly not the case for everyone. So for any and all that don’t currently possess it, and in the interest of aiding future researchers, the following info is yours for the taking.

In 1998, the Heard Museum in Phoenix, AZ displayed an exhibit titled Blue Gem, White Metal. It showcased pieces from the C.G. Wallace collection that the Museum had acquired. Accompanying the show was an exhibit catalogue by Deborah C. Slaney, and published by the Heard Museum, bearing the same name.

Among beautiful photos and a great many reads, there is some information pertaining to price code system(s) that the Wallace posts employed. These are often (but not always) found on the undersides of some of the jewelry that C.G. Wallace sold, and consist of hand scribed capital letters and numbers.

The Wallace trading posts used at least three different price codes.

-The earliest, PALMNESTRY, stood for 1234567890 and was used from 1928 into the 1940s.

-The second code, FICA=BOLEØ, was used prior to and during Wallace’s partnership with John Kennedy, until 1946. After that date, this code was used only for textile purchases at the Cedar Point Trading Post.

-The third code, KRAFTSZUNI, was used from 1947 until Wallace’s retirement in 1963.

-Wallace also combined letters from each individual code, with the possible addition of 0, H or a reverse F at the end (Wallace pers. com. 1998). Slaney, D. (1998) Blue Gem, White Metal. Heard Museum.

Taking into account the final note and knowing there were other codes, it’s easy to conclude that decoding these markings can require a fair amount of research, and often times they may be impossible to translate.

Here is an example.

This stunning Knifewing bears “MYY” as well as the “US ZUNI 1” stamp, which was assigned to C.G. Wallace by the Indian Arts and Crafts Board. The IACB stamp definitively dates this beauty between 1938-1943, and the scribed code provides an avenue of further research.

There are many other sources that touch on these codes, including Bille Hougart’s Native American and Southwestern Silver Hallmarks (5th Edition), among others.

I simply wanted to provide a small amount of published information that not all have access to. Being that it was originally shared by the Heard, it’s no doubt a reliable bit to potentially assist a curious mind.

[Phoenix7]

Thanks for sharing helpful info! @Ravenscry

[chicfarmer]

Great post, Aaron. This kind of info is so helpful as we research pieces that might have a CG Wallace provenance. To date, the codes are pretty scattered in publications and online, not to mention sometimes hard to read on the pieces themselves.

Also re the Wallace collection, let me add that Turkey Mountain Traders published an index to the famous (and now pricey) CG Wallace catalogue. The index is a useful resource for looking up specific artists and examples that were in the sale. But all the items sold were not illustrated and remain a question mark for a visual reference. One high-level expert on early jewelry and CG Wallace pieces in particular has seen those unpublished pieces, which I believe are in the Heard Museum collection.

[StevesTrail]

@Ravenscry

In an effort to not perpetuate the act of withholding information, which seems commonplace among many portraying their desire to “…educate and inform those with less experience…” I wanted to share something that, a handful of years ago, took me a while to find.

I agree. Most expounding to educate only regurgitate common information readily available.

I commend you for your offer of data.

[Ravenscry]

@chicfarmer

To date, the codes are pretty scattered in publications and online, not to mention sometimes hard to read on the pieces themselves.

This is so very true, @chicfarmer. I’d like to reiterate that there’s really nothing definitive about the information I shared, I just wanted it to be accessible for those that don’t own the publication.

@chicfarmer

Turkey Mountain Traders published an index to the famous (and now pricey) CG Wallace catalogue. The index is a useful resource for looking up specific artists and examples that were in the sale.

Thank you so much for adding this. As it provides access to a resource many aren’t able to peruse themselves, this is great!

@chicfarmer

But all the items sold were not illustrated and remain a question mark for a visual reference.

A very fine point and something many may not know. Thanks again, Chic.

While not containing code specific information, this short from Mike Ryan and his Turquoise in America channel on YouTube has some neat info, as well as a photo of C.G.’s personal, drop dead stunning ranger belt.

CG Wallace and Turquoise

[Stracci]

Thanks for this @Ravenscry

I was not aware of these codes, but now I will be looking for them!

I have a piece with mystery letters scratched into the back, TFFE. I was pretty excited to see if my piece was from Wallace, but the letters don’t denote a price, after all.

[mmrogers]

Great, informative post, Aaron. It’s also worth noting that virtually every trading company including my own had, or has its own cost codes. Since the 70s they’re almost always written in Sharpie marker either on the back of the piece directly, or on paper labels affixed to the pieces.

The point is seeing a code scribed into the back of a piece is not a direct indicator of C.G. Wallace provenance, but indicates that piece was at one time or another likely in the possession of a trading company dealing in Native American goods. Like anything else though, a sophisticated huckster can use these types of markings to falsely fabricate provenance and a back story for the piece.

[Ravenscry]

@Stracci

I have a piece with mystery letters scratched into the back

I think it’s important to consider these scribed codes as “supportive evidence” rather than a defining characteristic. As @chicfarmer points out, C.G.’s codes are kind of all over the place, with multiple iterations, which is made even more confusing by Wallace randomly intertwining them.

In my opinion, pondering possible attribution, a piece should be looked at as a whole while considering the overall design, quality of stones and stamps, wear, and bearing in mind the known works of the master silversmiths that Wallace employed and worked with, as well as any known stamps, like the IACB example, before any scratched letters or numbers lead one to believe anything.

@mmrogers

The point is seeing a code scribed into the back of a piece is not a direct indicator of C.G. Wallace provenance, but indicates that piece was at one time or another likely in the possession of a trading company dealing in Native American goods.

This is critical to remember, I feel. Thank you for pointing this out, Mike.

[TAH]

Very informative post, Aaron. Thanks for taking the time to compose it. And you are correct - that Knifewing example is stunning.

[Ravenscry]

@Stracci

I was pretty excited to see if my piece was from Wallace, but the letters don’t denote a price, after all.

Here is an example that I’m sure many on here know of, but this one is a clear case of why these codes are so tough to translate. This Dan Simplicio bracelet was sold in the 1975 auction, photographed for the catalogue, and has a picto mark tied to Wallace. It also has a scribed code that doesn’t correlate to the Heard Museum’s published translations, but at the same time, provenance doesn’t come much stronger than this.

I don’t have access to my catalogue at the moment, so please forgive the angled photos.

[Ziacat]

My husband and I were very fortunate to attend that exhibit, and I purchased the above catalogue. We just happened to be making our first visit to the Heard, and lucked out that it was going on. I was also interested at the time, because I had been told my dad’s buckle was a Simplicio (which I now believe was incorrect even though someone there thought it could be), and I really knew nothing about him. In general I knew very little about the history of Native American jewelry, and I’ll be honest, much of it is still goes over my head (I’ve read the book twice, and still can’t remember most of what is in there), but I know it helped to further my love of the art. And even though I’m pretty much an average collector (and that’s fine with me) who will probably never come across any of these pieces, I still appreciate learning the history. Thanks for the thread, Aaron!

@mmrogers, I learned fairly early on about the trader’s code since I have a couple pieces with them; one is a pawn ring from Cameron.

[Ravenscry]

@Ziacat

My husband and I were very fortunate to attend that exhibit, and I purchased the above catalogue. We just happened to be making our first visit to the Heard, and lucked out that it was going on.

I recalled you mentioning this in another thread, and thought how wonderful it must have been!

@Ziacat

even though I’m pretty much an average collector (and that’s fine with me)

I know that’s not true! You have a discerning eye and impeccable taste, Zia.

@Ziacat

In general I knew very little about the history of Native American jewelry

I feel the same, I’m just super passionate about it. I mentioned it earlier, but my motivation with this thread was strictly to share information that’s been published and that not everyone has easy access to. I’m glad everyone has enjoyed it!

[Ravenscry]

@TAH

Thanks for taking the time to compose it. And you are correct - that Knifewing example is stunning.

I don’t deserve any credit, Tom, but I thank you and everyone else for the kind words. I just put some stuff into one place for reference, similar to a janitor sweeping debris into piles.

That Knifewing and I have a bit of history, but regardless, it is one of the most beautiful examples I’ve ever seen.

[CyanideRose18]

This is an excellent idea for a thread I was looking online for info on this last night and found nothing.

[Ravenscry]

I understand that not everyone enjoys history, but for those that do, continue on.

@chicfarmer

One high-level expert on early jewelry and CG Wallace pieces in particular has seen those unpublished pieces, which I believe are in the Heard Museum collection.

I wanted to provide a bit of insight into this, for anyone that desires to know.

In the not too distant past, I shared a wonderful phone call with Michael Haskell concerning a very early Second Phase belt that he’d recently acquired. Michael is a wealth of knowledge on early silver and adornment, and he is a joy to converse with. He imparted to me a most enjoyable story that I wish to share.

Michael has been a trader since 1969, and spent time with the likes of Ron Munn, Clay Lockett, and Don Percival to name a few.

At an early point in his career, Don Percival invited Michael to his home and said, “I want to show you something.” Don led Michael to a bedroom full of early jewelry and headstalls. As he was in failing health, he asked Michael to purchase his collection. Which Michael did with the help of his father, at age 26 for $30,000.

A few years later, in the early 70’s, Michael had the opportunity to view the entire C.G. Wallace collection at Wallace’s De Anza Motor Lodge in Albuquerque, NM. (C.G. built De Anza in 1939, and owned it until 1983.)

C.G. Wallace had his collection at De Anza, and was looking to sell it. After spending the day together perusing the collection in it’s entirety, he had offered it to Michael for $250,000. Michael’s father was willing to aid him in acquiring it, but upon learning that a broker was involved and that their cut was 20% (as well as not being very knowledgeable on Zuni jewelry), Michael said he just wasn’t comfortable taking that kind of risk.

A few short years later, in 1975, what didn’t end up at the Heard Museum was sold through the infamous Sotheby Parke Bernet auction. Michael said that he didn’t attend, but that he had friends that did. Fast forward to a handful of years ago, and he purchased this ketoh that I recently shared in The Ketoh: Beauty in utility

Zuni, Juan de Dios, ca. 1925, Turquoise and Spiny Oyster, Michael Haskell Collection

I have to believe that this is a story he enjoys recounting, as just a couple of days ago I stumbled across the episode of Art Dealer Diaries that Mark Sublette had Michael on as a guest, and he shared with Mark the exact same tale.

[TAH]

Excellent post, Aaron! Looking forward to your first publication on Native American adornment and the men and women who dedicated their lives to support its legacy.

[Ravenscry]

Shoot, Tom, you give me far too much credit. I’m just a passionate nutjob.

When he was talking about C.G., I could tell that he held him in high regard. What an experience it must have been to go over the entire collection with the man responsible for it’s compilation!

It’s mind boggling to think about the opportunity Michael had. Through the lens of today, 250k for that collection, (equivalent to close to two million today), seems like a drop in the bucket. I can say that I’m glad he passed on the deal. Had the collection been sold privately, the Heard may not have wound up with the magnificent pieces it has, and countless people wouldn’t have had the ability to study or admire them through exhibitions.

I am thankful that Mark Sublette produces his Art Dealer Diaries. So much information and countless stories like these would be lost to time without it.

[Stracci]

@Ravenscry

Wallace’s De Anza Motor Lodge in Albuquerque, NM. (C.G. built De Anza in 1939, and owned it until 1983.)

The De Anza.

A landmark on Central. I used to know the lady who last owned it before they sold it to the City of Albuquerque.

I never did get to see the murals in the basement.

New Mexico: De Anza Motor Lodge (U.S. National Park Service)

[Ravenscry]

Awesome addition @Stracci, thank you for sharing this!

[Ziacat]

Thanks for linking the info. So apparently it has been remodeled and reopened into short and long-term apartments. I love that! A couple of my favorite hotels have been the remodeled RT 66 El Vado, and the Americana also on Rt 66 in Flag. Having people who are willing to take the time and effort to do this have my gratitude for sure.