I was going to share my thoughts with @Bluegreen concerning this, but Mike brings up a great point.
Contemporary master Navajo silversmiths, like Perry Shorty and Ernie Lister, are of very few (that I am aware of) that continue to work in the old ways. Melting down scrap silver and coins into ingots, forging the ingots, rolling them into sheet, or drawing them into wire, hammering, annealing, more hammering and more annealing, repoussé and stamp embellishment, the setting of stones, and the finishing of the work with a high polish, all done in the traditional manner. Ernie was taught by old Navajo smiths and medicine men that learned from First Phase smiths. His story in particular is a colorful one steeped in history. However, his pieces, along with Perry’s, fetch an absolute premium. Their work has dedicated followers, both here and abroad, especially in Japan, and the price of their work reflects the process.
Another fact is that people, in general, are lazy. Purchasing raw materials is far easier than making it. So, currently, it’s either pay dearly for raw materials, or learn how to hammer silver and bust up your hands, and charge a higher price.
Ernie has mentioned that he thinks those who work silver fit in one of the following three categories.
- The fabricator, who purchases sterling sheet and cabs, solders the silver together and places a stone.
- The caster, who carves a mold, pours molten silver, forms it and cleans it up.
- The silversmith, who goes about his work the way it has always been done, as he does.
I’m not saying I completely agree, but it is interesting to hear his thoughts concerning it. He’s very traditional, and I deeply respect that. At the same time, I also respect all Native American artists who have, over generations, overcome countless odds and continue to battle the fluctuations of both supply/demand and the volatility of the market to bring beautiful pieces of unique art to the world.