I really enjoy all of y’alls photographs and descriptions. I enjoy things more when I better understand the creation process.
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That’s it @Ravenscry . It’s an age old process, and sure does make you feel good when you look at the finished stamp.
I imagine scrap yards, farmers, and tradesmen were visited for broken files, worn down chisels, and other scrap steel and purchased raw for pennies. I still remember visiting old yards that existed back at the turn of the 20th century. Lots of old steel.
It was a different world back then.
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I agree, Steve.
I know that rail spikes, and, in later years, leaf springs from cars, were commonly utilized, as well. There’s record that many smiths were still crafting First Phase jewelry well beyond what is generally accepted as the end of that phase, being ~1920, mainly due to them being so far removed from civilization. Residing in more remote areas, they didn’t have access to tools and refined soldering technology that others had gained being closer to centers of population.
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We use what we have. I imagine whatever the phase, if you had a silversmith producing into their later years they could well overlap since they would continue to produce what they knew. I can imagine the old timers would be the most resistant to change. I agree, remoteness would be a factor in methods and tools, not to mention style and fashion changes.
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This is the coolest thread. As a farrier (blacksmith) in a past life, I have such an appreciation for the tools of a trade, and their care and making. Thank you all for sharing!
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One never knows what can come from conversation. Last week, I caught up with a dear friend who owns and operates an antique shop in Allen, Michigan; the likes of which I’ve never seen or set foot in. She used to sell beads and necklaces to Ralph Lauren vintage buyers: her photos and stories from those days are quite memorable. She and her husband used to travel to Mexico and the Southwest, passionately hiking and off-roading. He passed over years ago, but she still makes the trek for the Whitehawk and SWAIA shows every year. During the Michigan winters, she resides at the adobe that she and her husband built in Mexico.
Yesterday, an envelope from her containing this old chevron punch arrived. She’d noted that she picked it up while visiting friends near Fort Defiance in the 80’s. I love the barely visible pattern indicating that it was crafted from a file, and the mushroomed striking end tells stories of heavy use. 
Speaking of repurposed files, I also wanted to share an old wooden pump drill that utilizes one for its drill bit. This one came from Taos, NM.
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These are great antique tools, Aaron! Creative history recorded in iron, wood, leather, and twine.
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Ditto what Mike said and your photography is publication worthy.
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@mmrogers and @TAH, thanks guys! I’ll agree with Tom, Mike, you put it perfectly. That’s precisely what I see and feel when holding these tools, creative history. It should look neat once everything’s placed together.
It will be fun cleaning and dusting all of it, too. 
Thank you for your generous words, Tom. You always share such lovely photographs: your comment is humbling. 
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This is too cool, Steve. Congratuations!! 
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Sweet anvil Steve. Perfect for forming bracelets or horseshoes. I’d lay odds this was used as a Ferrier’s anvil at some point.
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So cool! I Never knew anvils were made out of railroad ties.
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These are fabulous. I love old tools of any type, especially when they e been give a bit of love! My son has a shop where he keeps his old tools (many gifts from me), we enjoy going on hunts together!
Well crafted stamped sliver pieces are exceptional! In the past Navajo smiths made incredible stamps. Since you mentioned Atsidi Sani, I’ll share one of the best examples of stamping (in my opinion). This is a cuff I have by Fred Peshlakai, showcasing his amazing stamps:
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These stamps really are amazing, @Bmpdvm . With few exceptions, almost all are what I call compound stamps, meaning two or more other stamps were likely used to create the intricate patterns in each. Each one being complex and uniquely beautiful. Even among the others, which are beautiful works of art in their own right.
The elongated crescent stamp along the sides is particularly impressive for the unique rectangular reversing key pattens which look to me as if four or more separate small stamps were required to make the graduated pattern. Also impressive is the sheer size of this stamp, which required a tremendous amount of force (repeated heavy hammer strikes) from a really expert hand to pull off without a single area being double stamped.
Thank you for sharing this. It’s a real treat to see stamps made this way!
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Thank you for sharing your beautiful cuff made by one of the venerable masters, @Bmpdvm. Fred’s work is easy to lose oneself in. When you find it convenient, would you be willing to share a few more up close photos of it?
That was the first stamp I was drawn to, Mike. Every stamp Fred used on this is highly impressive, but I really like the overall shape and all of the detail present in this one. I also think a lovely balance was struck with the adjacent, shorter, elongated crescent stamp; in the graduated pointed spires present in each. That these also vary in length along the span of the stamp is mind blowing.
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@Bmpdvm And please throw in a photo of the top, so we can see the rest of this beauty. 
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Railroad ties are wood; it’s from track (rail).
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Thanks so much for your input @mmrogers, @TAH and @Ravenscry ! I appreciate exceptional stamping, and have other impressive pieces, but this cuff is amazing. I didn’t realize the compound, complex nature of these elongated stamps; it certainly makes sense! I drool over the pictures of Fred’s stamping in Steven Curtis’ book. Here’s a few additional pictures:
Blue Gem turquoise per Steven Curtis
And very interestingly, I recently found a very similar cuff by Fred on eBay. Instead of the silver drops, it has fluted buttons. He must have been very pleased with the overall design of this cuff
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What a fabulous cuff @Bmpdvm! Exceptional. Is it hallmarked?
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