Property of Another Owner Charles Loloma Hopi, (1921-1999), comprising a tufa-cast silver pendant with banded zigzag design, the artist's iconic signature an integral part of the concave interior; along with an unmarked pair of similarly conceived earrings and another solitary example, of hammered silver with chisel-work decoration. length of pendant 4 3/8in, length of each earring 1 1/2in Fußnoten Provenance Purchased directly from the artist by Charlotte Eldridge, an early Phoenix television personality, thence by descent. Writing, narrating and directing the "Arizona Highways with Charlotte Eldridge" program for KPHO-TV in the early 1950s, Ms. Eldridge would frequently focus on the art, culture and histories of Southwestern Native peoples. See Struever, Martha Hopkins, Loloma - Beauty Is His Name, Wheelright Museum of the American Indian, Santa Fe, NM, 2004 for a nearly identical pendant, pictured in a series of fashion photographs taken circa 1956 by Stuart Weiner, p.13, fig. 13., and a similar example in the collection of the California Academy of Sciences, p.53, fig. 23. Struever notes that "For some of his earliest tufa-cast silver, Loloma carved his signature into one side of the mold, which made it stand out in relief on the finished piece. He apparently signed this way for only a brief period of time." Ibid. p.198
Property of Another Owner Charles Loloma Hopi, (1921-1999), comprising a tufa-cast silver pendant with banded zigzag design, the artist's iconic signature an integral part of the concave interior; along with an unmarked pair of similarly conceived earrings and another solitary example, of hammered silver with chisel-work decoration. length of pendant 4 3/8in, length of each earring 1 1/2in Fußnoten Provenance Purchased directly from the artist by Charlotte Eldridge, an early Phoenix television personality, thence by descent. Writing, narrating and directing the "Arizona Highways with Charlotte Eldridge" program for KPHO-TV in the early 1950s, Ms. Eldridge would frequently focus on the art, culture and histories of Southwestern Native peoples. See Struever, Martha Hopkins, Loloma - Beauty Is His Name, Wheelright Museum of the American Indian, Santa Fe, NM, 2004 for a nearly identical pendant, pictured in a series of fashion photographs taken circa 1956 by Stuart Weiner, p.13, fig. 13., and a similar example in the collection of the California Academy of Sciences, p.53, fig. 23. Struever notes that "For some of his earliest tufa-cast silver, Loloma carved his signature into one side of the mold, which made it stand out in relief on the finished piece. He apparently signed this way for only a brief period of time." Ibid. p.198
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
