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Lot 145 |PROPERTY FROM AN OKLAHOMA PRIVATE COLLECTION
A CORAL, TURQUOISE, LAPIS LAZULI AND GOLD CUFF BRACELET, BY CHARLES LOLOMA
Closed6 December 2017
Price Realised
USD 40,000
More Information
A CORAL, TURQUOISE, LAPIS LAZULI AND GOLD CUFF BRACELET, BY CHARLES LOLOMA
The 18k gold cuff bracelet set with coral, turquoise and lapis lazuli inlay, 2 1/4 ins. diameter
Signed Loloma
The 18k gold cuff bracelet set with coral, turquoise and lapis lazuli inlay, 2 1/4 ins. diameter
Signed Loloma
A CORAL, TURQUOISE, LAPIS LAZULI AND GOLD CUFF BRACELET, BY CHARLES LOLOMA
The 18k gold cuff bracelet set with coral, turquoise and lapis lazuli inlay, 2 1/4 ins. diameter
Signed Loloma
The 18k gold cuff bracelet set with coral, turquoise and lapis lazuli inlay, 2 1/4 ins. diameter
Signed Loloma
Christie’s is pleased to present the following four lots of jewels by one of the most important Native American jewelers of the 20th century, Charles Loloma (1921-1991). Offered from a private collection in Oklahoma, these pieces are stunning examples of Loloma’s impeccable crafstmanship and design aesthetic. Born in Hotevilla on Third Mesa of the Hopi Reservation, Loloma’s parents were respected craftspeople in the community and instilled in Loloma a respect and love of the arts from a young age. By the time he was 18, Loloma was skilled enough as an artist to become an assistant to famed muralist, Fred Kabotie and aided in the creation of murals for San Francisco’s Golden Gate International Exposition in 1939 and the Museum of Modern Art’s historic exhibition ‘Indian Art of the United States’ in 1941. Serving in the army from 1941-1945, the GI Bill made it possible for Loloma to formally engage in artistic study, and he attended the School for American Craftsmen at Alfred University in New York. Working primarily in the ceramic medium during this time, Loloma developed a distinct style and received a fellowship from the Whitney Foundation. In 1954, along with his wife, he opened a pottery shop in Scottsdale at the Kiva Craft Center.
In 1955, Loloma turned toward jewelry as a creative outlet. Working in untraditional materials, such as wood, rich gold and serpentine, in addition to the conventional silver, turquoise and coral typical of Native American jewelry, Loloma was initially criticized for his choice of materials. His innovations were rejected as un-Indian by native authorities, but Loloma persisted with his passion for color and texture. In exhibit notes from a show in 2004-2005 titled Totems to Turquoise, The American Museum of Natural History in New York compared Loloma’s inlay technique to miniature landscapes, noting: “Raised or "chunky" inlay is a distinctive Loloma design element. These vertical slabs echo the angular mesas of the Southwestern landscape and the stepped patterns of Pueblo architecture.” They also compare Loloma’s graphic use of lines to architecture, noting: “Loloma's name means "many beautiful colors," and using nontraditional materials such as rosewood indeed gave him a rich palette. His angular patterns, while typical of the Southwest, also echo other artistic influences, including the architecture of Frank Lloyd Wright.”
By 1965, Loloma had established a jewelry-focused studio near Hotevilla, and at the height of his career, Loloma counted presidents, celebrities and wealthy tastemakers as clients. During the mid-60s, Loloma was commissioned by Lady Bird Johnson to create pieces for the president to gift to the Queen of Denmark and Imelda Marcos.
Although Loloma achieved worldwide fame and broke traditional Native American craftsman stereotypes, he remained dedicated to his culture and traditions. Living on the Third Mesa, he served as a religious leader in the Hopi Snake Society and remained dedicated to taking part in the ceremonial happenings of his people. Loloma passed away in 1991, and today his jewelry and artwork live on in important private collections as well as major public institutions including the Heard Museum in Phoenix, the Wheelwright Museum in Santa Fe, the American Museum of Natural History in New York, and the Philbrook Museum of Art in Tulsa.
In 1955, Loloma turned toward jewelry as a creative outlet. Working in untraditional materials, such as wood, rich gold and serpentine, in addition to the conventional silver, turquoise and coral typical of Native American jewelry, Loloma was initially criticized for his choice of materials. His innovations were rejected as un-Indian by native authorities, but Loloma persisted with his passion for color and texture. In exhibit notes from a show in 2004-2005 titled Totems to Turquoise, The American Museum of Natural History in New York compared Loloma’s inlay technique to miniature landscapes, noting: “Raised or "chunky" inlay is a distinctive Loloma design element. These vertical slabs echo the angular mesas of the Southwestern landscape and the stepped patterns of Pueblo architecture.” They also compare Loloma’s graphic use of lines to architecture, noting: “Loloma's name means "many beautiful colors," and using nontraditional materials such as rosewood indeed gave him a rich palette. His angular patterns, while typical of the Southwest, also echo other artistic influences, including the architecture of Frank Lloyd Wright.”
By 1965, Loloma had established a jewelry-focused studio near Hotevilla, and at the height of his career, Loloma counted presidents, celebrities and wealthy tastemakers as clients. During the mid-60s, Loloma was commissioned by Lady Bird Johnson to create pieces for the president to gift to the Queen of Denmark and Imelda Marcos.
Although Loloma achieved worldwide fame and broke traditional Native American craftsman stereotypes, he remained dedicated to his culture and traditions. Living on the Third Mesa, he served as a religious leader in the Hopi Snake Society and remained dedicated to taking part in the ceremonial happenings of his people. Loloma passed away in 1991, and today his jewelry and artwork live on in important private collections as well as major public institutions including the Heard Museum in Phoenix, the Wheelwright Museum in Santa Fe, the American Museum of Natural History in New York, and the Philbrook Museum of Art in Tulsa.
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.