PRESTON MONONGYE - HOPI / (1927-1986) BRACELET, SPIDER Turquoise , SILVER Cuff for Sale

On eBay Now...

PRESTON MONONGYE - HOPI / (1927-1986) BRACELET, SPIDER Turquoise , SILVER Cuff For Sale

When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.

PRESTON MONONGYE - HOPI / (1927-1986) BRACELET, SPIDER Turquoise , SILVER Cuff:
$3249.95

100% Genuine PRESTON MONONGYE ! Vintage cuff! 1960-1970 circa. If get and don’t like, return it! Be satisfied your getting a real legit Preston Monongye sterling silver cuff!

The best priced one online! Price to sell!!

Investment grade jewelry. This cuff wil only go up in value. Preston Monongye passed in the 1980s. So the cuffs that are out there are only ones. Will only go up. The measurements are

77 Grams. The cuff opening is 1 1/4”in. End to end measured from inside is 5 1/4” in. The width is 2 1/2in. The height is 1 1/2”in tallest point. Dont miss a chance to own this rare piece of history! These bracelets can go for over $20k. If look up online, you will see another spider collection one thats for sale $13,000. This Will only go up in value. He passed in 1987 and his stuff only keeps going up. This is 1960-1970 circa. Has his peyote bird trademark on inside.

This stunning bracelet by renowned Hopi artisan Preston Monongye features exquisite turquoise and red coral stones set in a sterling silver cuff. The piece is a rare find and a true collector's item for anyone interested in Native American jewelry.

The bracelet is signed by the artist and is handmade with great care and attention to detail. Its unique design and craftsmanship are a testament to the rich cultural heritage of the Hopi tribe. Don't miss your chance to own this beautiful piece of history.

Message me if have any questions!

Have a great day!

Good luck!

Here some history -

Preston Monongye (1927-1987) was an influential proponent of what he called “the new Indian art.” He wrote, “We may use old techniques, along with old designs taken from potsherds or pictographs, but then we redesign them or add innovations of our own.”

Preston had an unconventional and late blossoming path to jewelry making. He served in two wars, worked in law enforcement, and was an employee for the Bureau of Indian Affairs. It was later in life that he decided to dedicate himself full time to jewelry making, which was received numerous awards. He had always experimented with jewelry and craftsmanship, but did not receive acclaim until fully committing to his art. Preston primarily did the metalwork and design for his pieces, letting his friend and acclaimed lapidary artist Lee Yazzie do the inlay, and later allowing his son Jesse Monongye to do his lapidary work. His pieces are exhibited nationwide.

Born in East Los Angeles, California, to Mexican and Mission Indian parents, Monongye was adopted by a Hopi family at age seven. He was raised Hopi, speaking the Hopi language and participating in the Katsina Society. At age nine, Monongye began apprenticeship with his uncle, the master silversmith and painter Gene Pooyama.

“He taught me how to live the ‘Hopi way,'” Monongye recalled. Throughout his career, Hopi colors and images were prominent in Monongye’s work.

But Monongye was adamant that Native jewelry not be bound by the past, explaining, “An old piece of philosophy given to me by my father and other men of the Hopi Mesas is, ‘If you can progress without hurting your tradition or your religion, you should do so.”Born in 1927, in Los Angeles he was abandoned at Hopi at age seven and adopted by a prominent Hopi family. Monongye attended reservation schools and became a full participant in Hopi religious and social life.

Following his service as a paratrooper in World War II, Monongye became a Kachina painter, working occasionally for trader Roman Hubbell and the Fred Harvey Company. Monongye re-enlisted during the Korean War and later worked in law enforcement for the Bureau of Indian Affairs while continuing to paint and make silver jewelry.

After leaving his job in favor of jewelry making in the early 1960s, Monongye quickly became recognized as an innovative designer and technician, immersing himself in “the new Indian art,” using traditional techniques and motifs to create a contemporary new look. He was best known for cast silver set with stones that often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye taught his art at various schools and workshops and lectured widely on contemporary Native design. He won many awards at shows and competitions and his jewelry appears in museum collections such as the Museum of Northern Arizona in Flagstaff and the Wheelwright