Last night, I watched this short reel composed by Mark Sublette.
Personally, I couldn’t agree more. While I certainly appreciate perfect craftsmanship, and wholly admire the skills needed to perform it, I’ve found that I prefer pieces of a rougher nature.
The following examples are so clearly masterfully made, and are, I feel, testaments to incredible talent and flawless execution.
As Mark points out in his video, imperfections embody character, and I see them as storytellers. Mis-strikes in stamp work and/or repoussé, marks transferred to the silver from tools and working surfaces, misaligned chisel marks, and even repairs made during the piece’s conception all tell the story of a determined silversmith to see his work through to the end.
Generally speaking, I’ve always been more comfortable around people and objects that far outdate me. The stories listened to and felt in their presence have always hit deeper than those of my peers and the “latest and greatest, new, shiny what-have-you”.
Here are some examples of pieces I find breathtakingly beautiful.
This got me wondering about all of the fine members of our community. So what say you, Turquoise People? Do you prefer perfect execution that exemplifies master craftsmanship? Do less refined works in silver and turquoise that are a bit “rough around the edges” speak to you at all or do nothing for you? Perhaps you enjoy and deeply appreciate both?
I’m very much looking forward to everyone’s thoughts and opinions. Any and all manner of which are desired.
I couldn’t agree more. I’ve always gravitated towards what I term “old school” craftsmanship. The imperfections are what give a piece character and the personal touch of the silversmith. So much of the new pieces are great in their perfect execution but seem a bit sterile by comparison.
I feel this is a big part of what draws me to it as well. I’m also a fan of evident “whoops” moments in the silver, where one can tell a mistake was made, but the smith continued on.
I’m a bit of a perfectionist in my work, and I mostly prefer perfection in most everything I own but, when it comes to NA jewelry, the imperfections don’t bother me much at all. In fact, I think it kind of humanizes the piece when I find a few stamp strikes that are off on silver stamping, or one of the turquoise nuggets in a cluster piece with major natural “flaws”. I find most NA jewelry an excercise in rustic perfection
Great topic, Aaron, and you have shared some perfect examples of what I find attractive.
I couldn’t agree more with Steve. While I deeply appreciate the extraordinary talent and precision workmanship of past and current top-tier silversmiths, it’s the old pieces that capture my heart. There is something about seeing obvious signs of hand-worked silver like a rougher finish or little imperfections, and knowing these pieces were created during a time when minimal resources were available that is very endearing to me.
You’ve nailed my feelings eloquently, Tom. That such beautiful work was completed with so few resources is inspiring, and it speaks to the dedication, grit, and perseverance of the early smiths.
Even in the earliest era Navajo silversmiths favored balance and harmony, with a center out of which the energy flowed. I expect to see that in Navajo jewelry, rendered as well as the tools and tech of the era could permit. Most skilled makers aim for as good as they can produce, and I honor that. I get that irregularity is in part the human touch, but also that makers aim to make as proficiently as they can. If someone in 1910 could make a very carefully rendered bezel but someone else made it more unevenly, each can have its beauty but it helps to appreciate what they were attempting to produce.
This is very similar to the chat surrounding so-called folk art painting. You know, the portraits where the perspective is off as if a room is sloping toward the viewer. The folk art field wants to say it has its charm because of its awkwardness–but the artists themselves were aiming to do work as competently as the academy painters.
As someone who does a bit of silversmithing, I will say that I truly appreciate symmetry and perfection in jewelry.
Because I know that in hand wrought pieces, it is VERY hard to pull off.
I actually loupe all my solder points and bezels as I work on a piece, to be sure that I’ve done it accurately. I am my own worst critic, for sure.
Solder sometimes flows in the wrong direction. Sometimes the file slips and you can severely damage the piece you are working on. Too much pressure on a bezel and the stone cracks. Heat causes things to shift during soldering.
My work is far from perfect, but I try really hard.
I expect super quality work in modern made pieces by all our favorite smiths, who charge big prices. I expect perfection from them.
Certainly all these things can be overlooked in vintage or antique pieces. But it still might bother me, to be honest!
Couldn’t watch the video yet—I’ll try to watch it later—but I agree with @chicfarmer. I absolutely love the oldest Navajo pieces, but part of what makes them so amazing, beautiful, and collectible to me is the amazing detail, finesse, and consistency they were able to achieve, even in the earliest of pieces and with the crudest of tools. When you look at the earliest examples at the Heard or the Wheelwright and think what these artists had available to them it’s mind blowing. And Native artists and communities have always strived for and valued this level of craftsmanship. So while I’ll tolerate imperfections to a point, and certainly wear and tear over time and evidence of repair in older jewelry, I always strive to collect what I consider well executed examples.
It’s really interesting to me that you shared as an example this belt for sale at Brown’s Trading @Ravenscry
I have been wanting a second phase belt, and for a while I was actually considering trying to add this one to my collection, given that it’s an authentic second phase belt, and published at that, at a relatively favorable price point. Ultimately though I decided (and after discussing with a knowledgeable collector friend), that it was a little too crudely executed for my taste. Even considering it’s age, most other examples show more skill and finesse. Although, after I decided that I had the chance to see it in person in Santa Fe and thought it looked pretty good on me after all .
I did not. I was considering making a second phase belt a goal for the trip, but that would have required me to go into the trip prepared to purchase almost nothing else, and perhaps also trade towards it. With all that’s available to choose from during Santa Fe market week, this would have been impossibly limiting myself, and I decided against it.
Interestingly enough, I believe @Ravenscry did purchase the second phase belt that I was really lusting after. I believe you purchased one from Silver Plume a few years ago Aaron? I had been watching that one when one day to my dismay it disappeared off the website, only to reappear on our own Belt Buckles and Concho Belts thread.
As do I, @chicfarmer, and I feel it’s important! I also believe that the rougher look I’m attracted to showcases the smith’s path to more refined work. That it exemplifies the struggles of beginning their venture into silversmithing, before they attained the skills and tools to craft much more polished work. As I’ve a penchant for history, and its romanticization, the roots and foundations I find most intriguing.
This couldn’t be more true, and there’s no doubt that a balance exists. I often think of the times before commercialization was even a thought, when silver was worked and crafted for personal use, or for those closest to the smith. As you well know, some of this very early work is incredibly detailed and highly symmetrical, which is super impressive, I feel.
I agree with all of your points, @chicfarmer, and understand your analogy with the so-called folk art painting. Thank you for that insight and viable viewpoint!
This is very evident in your impeccable work, @Stracci.
I’m not blindly handing out compliments but more giving praise where it’s due, when I say that the craftsmanship you impart in your work is on the same level as many of the master smiths we all admire. Everything you create is so tightly executed, well balanced, and tastefully done!
You bring up a very valid point and I would think of anything less as laziness, honestly, especially with the tools, processes and improved work environments that many of the contemporary smiths perform their craft with and in.
This is completely understandable when you’re making, with your own hands, such lovely work!
My first thought is that I am an equal opportuist - I love it ALL.
You know, I used to think I preferred the older jewelry, but after meeting and purchasing from artists at the Eiteljorg I have changed my mind. There is something so special about holding a piece that the person in front of me handmade with love, and knowing that they are carrying on this truly unique art form. This has also caused me when I’m out west to look in the trading posts/stores at newer work. When we were at Twin Rocks Post last spring the passion the owner had about working with the artists was infectious.
TBH, I don’t really own anything that’s truly “old” (maybe one thing), and the beautiful old items that I would choose are out of my price range. Fortunately I have been able to increase my budget over the last decade or so, and I have found newer beautiful pieces that fit better within it.
One last thought (for now anyway ) on this. I don’t understand thinking that these beautiful “new” pieces are “sterile.” What??? As I read that, I looked down at my Derek Gordon cuff, and thought about the heart and talent that went into designing it. Then I pictured, for example, my Anthony Lovato cuff. Sterile? No freakin’ way. And you know, even in these well executed modern pieces if you look closely you can still find evidence that they are handmade. And without the new, this art would die.
But isn’t it wonderful that there is such a wide range of Native American jewelry to accommodate all of our preferences? And that we have this great forum to discuss it!
@OrbitOrange, I completely understand not wanting to put your whole budget on one item when you’re out in the center of the world of Native American art. For me that is partly why I haven’t purchased a concho belt or squash (but only partly - I am still a cuff gal).
This, in my opinion, takes great discipline and I admire the effort you put forth in your endeavors. You always share such stunning pieces!
This is totally understandable, and easy to see. As you well know, even in the published description of this belt, it’s mentioned that the repoussé is rather crude and that there is clear evidence of repair, perhaps due to improper annealing and the silver cracking severely.
It really is lovely, I feel, even with all of its scars and crudeness. I bet it looked magnificent on you!
Reading this made me feel terrible, @OrbitOrange. I don’t relish the thought of being in this position, but please know that it’s in a very loving home!
Maybe “sterile” is too harsh. The NA silversmithing has evolved to artistic perfection and in doing so I feel something was lost in the “natural” look and appeal that I gravitate to. And I take nothing away from a craftsperson striving for perfection. I admire it and do likewise.
Having the ability to converse with the artist is truly special, and obviously something I’m unable to do concerning the works I’m most passionate about. That is, until I finish my time machine, then I’ll be all set.
It’s great you were able to feed off of this! I feel that this is one of the most inspiring aspects of any subject. When someone is incredibly passionate, in it’s own way, it can light a fire within those they interact with. Even if what fuels the passionate individual does nothing for anyone else, it’s the idea of being so intensely enthralled that warms the heart.
Personally, I feel that this may be rooted in a deep passion for history, as a whole. For some people, newly crafted anything doesn’t move them because it doesn’t have the wear, tear, and decades of use and love that they enjoy seeing and thinking about. I can see this, but at the same time I can appreciate the jewelry that was crafted yesterday and feel the love that went into its creation. As you point out, Zia, the new art is the continuance of the early originators. All have played important roles, and many talented artists continue to flawlessly further this highly unique and important form of art.
Each of us certainly has our own definition of the term “beautiful”, and only individually can we know what speaks to us, but it is truly wonderful! That we can all openly share our thoughts and preferences is definitely satisfying!
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