Published in association with the Heard Museum. The bolo tie, also called a string tie, is a western necktie consisting of a piece of cord or braided leather with an ornamental clasp. While the exact origin of the bolo tie has been debated, its impact on western style and culture is without question. The bolo is the official neckwear of several states, including Texas, New Mexico, and Arizona. Native American artisans in the Southwest began producing bolo ties in the mid-twentieth century, at the height of America's fascination with cowboy and western culture, and in response to tourist demand for finely crafted Native American jewellery. This publication is the first to showcase a wide variety of Native American made bolo ties produced in the Southwest over the past sixty years. Drawing from collector Norman L Sandfield's collection as well as pieces from the Heard Museum's permanent collections, Native American Bolo Ties presents over zoo examples of bolo ties, vintage and contemporary, primarily created by Zuni, Hopi and Navajo artists and silversmiths, among others, and incorporating a variety of styles, materials, and designs which exemplify the fine lapidary and silverwork that distinguish Native December jewellery. This book is published to coincide with an exhibition at the Heard Museum, Phoenix, Arizona, in December 2011.

Explores the acclaimed ceramic traditions of the largest pre-Columbian civilization in northern Mexico.

The jewelry of Jesse Monongya is fully described and each piece tells a story that combinnes authentic concepts from his culture with cutting edge materials and techniques. 142 colour & 30 b/w illustrations

The patterns in this book are presented in the three formats most popular among beaders - colored freehand drawings; non-colored freehand drawings and patterns drawn on size 11 beading graph paper. The last two can be copied and colors filled in by the beader. The patterns can be used for embroidery and painted works. Designs include Sioux Star with a Bear Paw, Buffalo Spirit, several Geometrics, Four Feathers, Sunburst, various Butterflies, Medicine Buffalo, Flowers, Dove of Peace, Turtles, Feathers, Dragonflies, a Horse, a Fish and more. There are also templates for barrettes, bolos, hairties and more. There are 24 photos of beaded pieces that show different patterns and combinations, including Bear & Salmon, Medicine Wheels, Roses, and Geometrics. Most are detailed enough to show how the beads are sewn into the pattern. May your creative juices flow as you use this book! 48 pages in full color. 142 illustrations.

For the Southwestern Indians, painting was a natural part of all the arts and ceremonies through which they expressed their perception of the universe and their sense of identification with nature. It was wholly lacking in individualism, included no portraits, singled out no artists. But the roving life of the Plains Indians produced a more personal art. Their painted hides were records of an individual's exploits intended, not to supplicate or appease unearthly powers, but to gain prestige within the tribe and proclaim invincibility to an enemy. Plains painting served man-to-man relationships, Southwestern painting those of man to nature, man to God. Such characteristics, and the ways they persist in contemporary Indian painting, are documented by the 157 examples Miss Dunn has chosen to illustrate her story. Thirty-three of these pictures, in full color, are here published for the first time.

The lovely stone inlay work in Zuni jewellery is world famous and here it is shown in popular forms for men and women. 90 brilliant colour photographs and a brand new price guide present hundreds of Zuni jewellery forms to tempt and delight collectors throughout Asia, Europe and America. Modern artists are identified.

The author has matched maker's marks used on jewelry, pots, fetish carvings, rugs, and baskets with their names, tribes, relatives, and style notes.