The Indian Trader Newspaper May 2019 - Celebrating 50 Years!

50 Years And Still Going Strong!

Volume 50, Number 5 / May 2019

George Washington Gift Returned to Seneca Tribe

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The Pima and Their Basketry See Page 12

See Page 10

Lebel’s 29th Old West Show & Auction Reaps Solid Results See Page 8

Silver Hallmarks See Page 5

Indian Trader Newspaper

Ki-on-twog-ky or Corn Plant, a Seneca chief.

Illustration courtesy of the Library of Congress.

November 2015

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THE INDIAN TRADER

May 2019 THE INDIAN TRADER

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Collector’s Corner: Silver ������������������������������������������������������������������������������������������������������� The Richardsons: FiveHallmarks Generations of Navajo Traders ................................................55 Upcoming Events & Shows �������������������������������������������������������������������������������������������������������������������� 6 Upcoming Events & Shows ......................................................................................6 Lebel’s 29th Old West Show & Auction Reaps Solid Results ���������������������������������������������������������������������� 8

Walking Rocks on Land – Maybe When Hell Freezes Over! ......................................8

George Washington Gift Returned to Seneca Tribe... ������������������������������������������������������������������������������ 10

Premiere Events Highlight the Autumn 2015 Auction & Show Season ....................10

The Pima and Their Basketry... ����������������������������������������������������������������������������������������������������������� 12

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Publisher & Editor: Derek South Subscriptions: Lori McCall Associate Editors: Tom Surface, Danette McAfee

In 2016, 9-Year-Old Boy Uncovers 1.2 Million-Year-Old Dinosaur ������������������������������������������������������ 14 Business Directory ������������������������������������������������������������������������������������������������������������������������������� 15 Happy 50th Anniversary to The Indian Trader ������������������������������������������������������������������������������������� 17

Drought and Wildfires Helping Looters Search for Native Artifacts ..........................19 Classifieds ������������������������������������������������������������������������������������������������������������������������������������������� 18 Clay South Phone: (928) 273-2933 Order Form for Classified Ads �������������������������������������������������������������������������������������������������������������� 18

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THE INDIAN TRADER May 2019

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May 2019 THE INDIAN TRADER

THE INDIAN TRADER May 2019

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Collector’s Corner

Silver Hallmarks

By Jim Olson

Advanced collectors of Native American and Southwestern style jewelry will most often turn a piece over and inspect the back of it after glancing at the front. In many cases, the back can tell them just as much as the front. You can tell about construction (hand-wrought or casting method, etc.) and also, that is where you will generally find the hallmarks. What do the hallmarks tell them?

Here is a little history of hallmarks: Way back in 1158, King Henry II passed a law stating that all British silver coins had to be minted in 92.5% (.925) pure silver and 7.5% copper. This alloy was known as “Sterling Silver.”

Then, in 1238, Henry III passed a law that said no silver items could be made which were “worse than the king’s money,” and therefore, sterling silver became the standard for silver items. In 1300 Edward II passed a law saying no item made of silver could be sold until it had been assayed and marked with a hallmark dedicated for the purpose of verifying the silver content. So now we have the first widely recorded silver hallmark. Along the way, England added additional requirements of the silversmiths until they eventually had a system of being able to tell the metal purity, maker, city and date where an item was made, just by looking at the hallmarks. This system eventually became one of the most highly structured hallmarking systems in the world and is still used throughout the United Kingdom to this day.

Silversmiths in Colonial America were predominantly of European descent and they typically used hallmarks. Their trade was brought over from England and similar countries, where, as stated above, hallmarks had been in use for a long time. The silversmithing trade worked its way west along with colonization.

In the United States, there is no law stating precious metals have to be hallmarked. However, if a quality mark is used (ie: sterling, coin silver, etc.) then it is also required to be marked by the artist or manufacturer. This way, if there is ever a question as to the metal content, the maker can be traced and held accountable. Obviously, this law was not adhered to well as you will often see items that say nothing more than “sterling,” etc..

The Aztecs were making gold and silver jewelry when the Spanish arrived in what is now Mexico. The arrival of the Spaniards however, brought new techniques and designs to the Natives. With the abundance of silver in Mexico, this eventually became the metal of choice. The craft crept northward along with the colonization of Mexico. This is probably where the Native Americans of the Southwest first came into contact with this art form. The Spanish did not have a mandatory hallmarking system like their European neighbors, but they did have a voluntary system which was generally adhered to. Most of their items were hallmarked.

By the early 1800s, Native Americans in the Western part of the United States had been exposed to the silversmithing trade. It is generally accepted that sometime in the mid-1800s, the craft was starting to take hold and by the late 1800s, it was being widely practiced. Silversmithing knowledge came to them from both the south and the east. By the late 1800s, when silversmithing starting to become a way of making money, Natives were influenced by a blend of their own cultures and the traders who marketed their wares. Most early Native silversmiths however, did not hallmark their items.

Although it was common for silver jewelry to be hallmarked elsewhere in the United States and Mexico (the Native Americans two largest sources of influence), they did not hallmark their wares. A common belief (especially with regards to the Navajo who were the largest group of smiths) is that this practice was rejected because they are a humble people and hallmarking an item was the way

to bring attention to yourself, which was the same as bragging or boasting. This was frowned upon in their culture at the time.

There are other theories also.

Early manufacturers of Southwestern style jewelry however, often hallmarked their products. Companies like Pacific Jewelry, H.H. Tammen, Arrow Novelty, Bell, and others would hallmark their jewelry for silver content and with their company marks. It was predominately the individual silversmiths who did not mark their items.

That all started to change in about the 1930s. You see, when “Native American” style jewelry started to gain in popularity with the tourist visiting the Southwest in the early 1900s, opportunists jumped in and started producing Southwest style jewelry that competed with the Native pieces. This eventually became such a problem that in the 1930s, the Indian Arts and Crafts Board (IACB) stepped forward to address the issue. They implemented a hallmarking system that, while well-intended, was not user friendly and did not last long. It did however serve as a catalyst for the hallmarking of silver jewelry in the Southwest.

From the 1930s till the 1970s, the progress was slow. Most Native jewelry was still not hallmarked as old habits and beliefs tend to hang on. However, in the 1970s, there was a huge turquoise jewelry boom. There was so much money being made in the business that imports once again became an issue.

This time, a new generation of Native American silversmiths widely accepted the fact, that in order to set their items apart and to authenticate them, they must be hallmarked. And hallmarking then became the rule, not the exception.

Native hallmarks are not that different than those of other silversmiths, often using their initials or names, and sometimes symbols or brands are used.

In the United States, silver hallmarks tend to resemble that of the UK as far a metal content is concerned. We use the words “sterling” or “coin” silver to indicate purity instead of a fractional interest (such as .925 or .900, even though they mean the same thing) as they do in much of the rest of the world.

In summary, most jewelers in the US hallmark with the words Sterling or Coin Silver rather than their counterparts, .925 or .900, and they also use an identifiable hallmark or signature to identify themselves as the artist. Usually, when you see the numerical versions of silver content on a piece, that can be an indication of an item made elsewhere in the world. Remember though, much Native American and Southwest style jewelry made before the 1930s is not hallmarked at all. While hallmarking was slowly gaining popularity from the 1930s through the ‘70s, you will still see a lot of it that was not marked from that period either. From the 1970s to current, most of it is hallmarked and any modern item that is not marked is probably suspect in some way. In recent times, several folks have done a lot of research on the subject and there are now many books and resources out there with databases of silver hallmarks. This is a nice way to figure out who the artists are because items made by certain silversmiths can demand a premium.

As you can tell, hallmarks are very important to know about when studying silver jewelry. However, they can be faked, so you should always deal with reputable sellers who stand behind what they sell. Besides educating yourself about the hallmarks, you should always buy something that appeals to you and that you can enjoy owning.

May 2019 THE INDIAN TRADER

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continued from page 17

Due to possible website and show date changes, we urge you to verify dates before planning your trip.

Thank you.

April 13 WESTERN TRADING POST AUCTION 403 Florence Street Casa Grande, Arizona Info @ 520-426-7702 or Westerntradingpost.com April 13 HEARD MUSEUM CARVERS SHOW Heard Museum Phoenix, Arizona Info @ 602-252-8840 April 13-14 CONTEMPORARY NATIVE ARTS FESTIVAL Smoki Museum Prescott, Arizona Info @ 928-445-1230 April 19 HALIWA-SAPONI 54TH ANNUAL POW WOW Hollister, North Carolina For info visit tribe’s website April 25-27 GATHERING OF NATIONS POW WOW Albuquerque, New Mexico Info @ 505-836-2810 (Indian Traders Market) Or www.gatherinofnations.com April 27-28 MATA ORTIZ SHOW & SALE Smoki Museum, Prescott, Arizona Info @ 928-445-1230

May 1 SAN FELIPE PUEBLO FEAST San Felipe Pueblo, New Mexico Info @ 505-445-2273 May 4 SPRING FRIEND OF HUBBELL AUCTION Gallup Community Services Building Gallup, New Mexico Info @ 928-755-3495 May 18 WESTERN TRADING POST AUCTION 403 Florence Street Casa Grande, Arizona Info @ 520-426-7702 or Westerntradingpost.com June 22-23 CODY OLD WEST SHOW AND AUCTION Santa Fe Community Center 201 W. Marcy Street Santa Fe, New Mexico Info @ 480-779-9378 June 29 WESTERN TRADING POST AUCTION 403 Florence Street Casa Grande, Arizona Info @ 520-426-7702 or Westerntradingpost.com

Do you have an Event or Show coming up? Please let us know at indiantrader68@gmail.com

Similarly, the Pima’s “Man-in-the-Maze” design was in common use by the ancient Greeks.

Long before any white settlement in their country, the forefathers of the Pima carved the “Man-inthe-Maze” pattern into the adobe walls of the Casa Grande Ruins.

Since prehistoric times, many basketweaving tribes have made miniatures, including the Pima.

Sixty-five miniature baskets, strung together on a fiber string still threaded onto an agave needle, were discovered in Bonita Cave, Arizona, along with other artifacts of the HOHOKAM people, ancestors of the Pima. The practice of making these tiny baskets continued throughout historic times and is still in vogue today.

Most Pima miniatures are coiled from tiny wood fibers and generally retain the intricate designs and high quality of their larger cousins.

HORSEHAIR BASKETS The sixteen horses with which Hernando Cortez was able to affect his conquest of Mexico were the embryo of a new art form for the American Indian. As the number of horses increased and herds drifted northward into the Southwest, the making of horsehair articles such as belts, riattas and bridles developed among Mexican artisans, and gradually became familiar to the American Indian who already was adept at weaving with hair and fur of native animals in the making of robes, nets and blankets.

Logically, the horsehair baskets soon appeared.

Historic pieces are very uncommon, and recent efforts in the form of small or miniature baskets are directed at tourist consumption.

THE BURDEN BASKET Until the appearance of the horse and wagon, the Pima, along with the neighboring Tohono O’odham, wove a unique, conical, mesh-like basket supported by wooden legs for the purpose of transporting anything and everything. It served an essential function in their daily lives until the last years of the 1800s when modern innovations made it unnecessary.

PLAITED BASKETS As in the case of the Tohono O’odham, the Pima made many utilitarian articles by the plaiting technique. Usually, one element was passed over and under three perpendicular elements of the same size and pliability, resulting in a “diagonal” (as opposed to “simple”) pattern.

Plaiting was used in the manufacture of the mats on which they ate and slept, for the head-rings which supported pottery ollas, and, as mentioned, for the back-mats and tumplines that were used in conjunction with the burden baskets. In addition, the Pima, along with the Tohono O’odham and other tribes to the south, plaited small, rectangular baskets with telescoping lids used for ceremonial purposes.

Called “shaman’s baskets,” these were filled with various effigies and symbolic paraphernalia. Because of their simplicity and lack of contrasting design, these are often ignored by collectors although they represent a rare and important part of Pima basketry.

THE INDIAN TRADER May 2019

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May2015 2019 THE INDIAN TRADER November

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Lebel’s 29th Old West Show & Auction Reaps Solid Results

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collection of his body of work ever assembled for public viewing.

This show continues to grow every year and is one of the top national antique events of its kind. Due to its Southwest location, the show traditionally has a unique American flavor leaning heavily on early American arts & crafts, Native American, western fine art and ethnographic art, but with some 200 dealers in attendance, it also offered items for everyone –

By Tom Surface from the first time buyer to the veteran buyer and serious Brian Lebel’s Old very West Show Auction made triumphant return to collectors.

Even the famousanddecorators and ainterior Mesa, Arizona, 29thright iteration event took place designers attendthis the past show,January. seeking The just the touchoftothis create January 25-27, 2019, with two-days of auctions on the 25th and 26th at the the “perfect” southwest or native motif for their clients.

Phoenix Marriott Mesa, complimented by the two-day show that ran January This year, as in the past, the show also drew representatives 26-27 at the nearby Mesa Convention Center. from many of the major international and domestic clothing and jewelry designers their buyers.

Cowboys Indians had BIDDING AUCTIONS DRAWand ROBUST ONLINE AND&IN-PERSON something for everybody.

More than 770 lots were up for grabs at this year’s dual auctions. The Proceeds theFriday show’s generalJanuary admission customers activities kickedfrom off on evening 25 with a specialthis auction featuring the collection of photography of Robert G. McCubbin. was the year supported the show’s additional beneficiaries, VSA Arts ofMcCubbin New publisherUniversity of “True of West Magazine” a founder of the Wild West History Mexico, New Mexico’s and Popejoy Hall SchoolTime Association. world-renowned collection of more than 1,500 pieces Series and TheHis Albuquerque Museum’s Magic consists Bus Program. of original photography, ephemera and artifacts from the American West, circa 1840-1920. At this special Friday evening auction, nearly 900 original pieces continued stereoviews, on page 14 tintypes, CDVs, of photography were up for bidding, including cabinet cards, and photographs. The highlight of the evening was the original

Original Native American Art & Jewelry Pendleton Robes and Shawls Native American Music Flutes • Pottery Rugs • Native American Church supplies Carvings • Native Bookstore Enamel and Cast Iron Ware On the corner of Nizhoni and Highway 602 in Gallup POB 636 • Gallup, NM 87305

505-863-4434 www.etanner.com Where you can always pawn for cash, and make a great deal

“Fort Worth Five” photograph of Butch Cassidy and his Wild Bunch that garnered a winning in-house bid of $100,000.

The Saturday auction featured historic artifacts of Western Americana including the knife that Billy the Kid held while he lay dying; the ice mallet that killed Ben Kilpatrick in the famous failed train robbery; the Rose of Cimarron’s rifle, and Wild Bill Hickok’s straight razor. The auction also featured many ephemera artifacts Terri Schurmeier and her son with her grandson, Mac, (printed & written materials) from future CEO and Chairman of the Cowboys & Indians empire. the McCubbin collection including documents, calling cards, ledgers and the like. One very unique item was John Wesley Hardin’s open bar tab from the Wigwam Saloon in El Paso, Texas, signed in numerous places by Hardin. The final entry was dated August 19, 1895, the day The knife that Billy the Kid was holding when Hardin was shot dead in the nearby he was shot by Pat Garrett in Pete Maxwell’s Acme Saloon. Hardin’s unpaid house on July 14, 1881. liquor tab fetched a cool $16,000.

Bidding was brisk with many participating online, absentee, and a large in-house audience. The Kid’s knife sold for a relative bargain at $100,000. Rose’s rifle went for $10,000, while the Kilpatrick death ice mallet sold for $55,000 and Hickok’s old razor brought in $8,500.

THE INDIAN TRADER May 2019 TRADESHOW IGNITES RENEWED INTEREST IN NATIVE ART AND WESTERN AMERICANA The Old West Show drew some 190 vendors this year that travelled from 25 states across the country. Vendors featured both Native American art as well as valuable Western Americana collectables.

The general consensus of participating vendors reflects a continuing interest, from both old and new collectors, in high-value and goodquality Western collectables.

The Wooden Ice Mallet that Killed Ben Kilpatrick, with Photograph and Wells Fargo Archive.

Don Siegal of Chipeta Trading Company of Denver, Colorado, echoed this sentiment. In a video interview conducted during the show, Don said that buyers are interested in good-quality collectables that hold and increase in value over time. His display boasted several museum-quality pieces including a pair of beaded Northern Cheyenne moccasins and a chief’s beaded and quilled tobacco pouch that drew eyes of many potential buyers. Terry Schurmeier of Cowboys and Indians, a cooperative in Old Town Albuquerque, NM, has participated in Lebel’s show for over 25 years. She was pleased with the turnout and sales this year. She was also featuring a new line of Native American silver charms and bracelets made by Navajo artists Fritson Toledo and

Page 9 Lawrence Yazzie.

She added that this new line is also gaining renewed international interest in Native American-made art.

Territorial Indian Arts Gallery co-owner Deb Neal supported the observation of a new and growing interest in Native art. Deb and her husband Alston from nearby Scottsdale, AZ, brought a wide range of Zuni and other southwestern tribe pieces to their booth for this year’s show.

As for highly prized Western Americana collectibles, a Civil War-issue Henry rifle was the featured item in the Dalton Gun Company exhibit booth. Dennis Delzer noted that his company offers Winchesters and Colts made before 1899. His featured Henry rifle was issued in 1862 and is complete with the Army inspector’s original stamp.

In an online Western Art Collector video, Barbara Miles of Miles & Miles from Pacifica, CA, best described Lebel’s 29th Annual Mesa Old West Show. She said that it was a wonderful show and the crowd was good. “We’ve been coming her for six or seven years and we won’t change.”

Next up for Lebel’s team is the 30th Annual Cody Old West Show and Auction slated for June 22-23 at the Santa Fe Community Convention Center. For additional information on this and other Lebel Old West events go to: www.oldwestevents.com.

From multiple sources

Left: The Original, Famous “Fort Worth Five” Photograph that Doomed the Wild Bunch. Right: John Wesley Hardin’s Signed Bar Bill from the Wigwam Saloon for the period April 12, 1895 until the day of Hardin’s death.

May 2019 THE INDIAN TRADER

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George Washington Gift Returned to Seneca Tribe

President Gifted Peace Pipe-Tomahawk to Chief Cornplanter in 1792

By Tom Surface

A long-missing peace pipe-tomahawk President George Washington gave to Seneca Chief Cornplanter in the late 18th century was recently returned to the tribe in western New York State.

Washington gave the distinctive tomahawk to Cornplanter in 1792 as a gift during discussions for the Treaty of Canandaigua. Signed in 1794, the Treaty of Canandaigua confirmed the sovereignty of the Haudenosaunee (peoples of the Iroquois Confederacy) with the United States pledging to honor the land rights of the Haudenosaunee people.

Peace pipe-tomahawks were considered prized objects because they could be used to smoke tobacco, a plant of cultural and spiritual significance to Indigenous people.

Years later, this artifact wound up at the State Museum in Albany, where it remained until it was stolen in the late 1940s. The pipe was missing for more than 70 years.

In 2018, an anonymous collector returned the artifact to the Albany museum and museum officials then worked with the tribe’s museum to return Washington’s gift to the Seneca people.

Cornplanter’s peace pipe-tomahawk was presented on March 14, 2018, to the Seneca Nation of Indians, which has put the artifact on display in the Seneca-Iroquois National Museum in Salamanca, New York, near the Pennsylvania border.

“The tomahawk is more than just a tie to Cornplanter, one of our great Seneca leaders,” said Rickey L. Armstrong, Sr., Seneca Nation president.

“It is a reminder for everyone that the agreements made between our Haudenosaunee ancestors and the founders of the United States live on. Even though our treaties have been broken throughout history, they live on and remain, just as our sovereignty remains, today and forever.”

WHO WAS CORNPLANTER? Cornplanter (Gaiänt’wakê or Kaiiontwa’kon, circa 1740-1836) was a Seneca war chief and

diplomat for the Wolf clan. As a chief warrior, Cornplanter fought with the British in the French and Indian War and was a British alley during the American Revolutionary War. After the war, Cornplanter led negotiations with the United States and was a signatory of the Treaty of Fort Stanwix in 1784. He also helped gain Iroquois neutrality during the Northwest Indian War. He became a negotiator in disputes between the new “Americans” and the Seneca, as well as other indigenous tribes. He also participated in later meetings with both presidents George Washington and Thomas Jefferson.

From multiple sources

THE INDIAN TRADER May 2019

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Reputation matters.

30th Annual Cody Old West Show & Auction June 22-23, 2019 Santa Fe, New Mexico CODY OLD WEST SHOW & AUCTION SCHEDULE: Saturday, June 22nd - 5:00 pm The 30th Annual Cody Old West Auction Saturday & Sunday, June 22nd & 23rd: 9am-4pm & 10am-4pm The 30th Annual Cody Old West Show Auction and Show both held at the Santa Fe Community Convention Center.

At Auction: (above): Mandan/Hidatsa Quilled Men’s Shirt; (right): Northern Plains Pictorial Model Tipi Live, online, mobile, phone and absentee bidding available.

OldWestEvents.com | 480-779-9378 | #CowboyUpSantaFe IT-full-May-19.indd 1

4/12/2019 4:59:56 PM

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May 2019 THE INDIAN TRADER

The Pima and Their Basketry An accepted line of continuity has been established between the people of the early HOHOKAM culture, who dispersed from their villages, sprinkled throughout today’s south-central Arizona near the end of the thirteenth century, and the Pima, who occupy the same area today. Artistry of the prehistoric culture is clearly reflected in contemporary designs. Fragments of HOHOKAM weaving uncovered at the Snaketown ruin and in the Ventana Cave sites substantiates the fact that both peoples used a similar basic basketry construction technique of coiling stitches around a grass-bundle foundation.

First foreign contact with the Pima was made by the Spanish explorer, Nino de Guzman, in 1830. De Vaca, De Niza and Coronado followed in rapid succession, spurred on by the burning desire to locate the fabled treasure cache supposedly hidden by Emperor Montezuma. But none of the earliest explorers remained in Pima country long enough to effect any change in their life; or, for that matter, to record any useful data about them, other than the fact they existed.

During the following three centuries, while Spanish missionary activities were blanketing the area to the south of them, the Pima were exposed to relatively little foreign intrusion other than the notable efforts of Father Kino during the first half of the eighteenth century that earned him the title of “Apostle to the Pima.”

The Indians were friendly to him and other early explorers who ventured into their villages; and they were at peace with most fellow tribes, even allowing the fleeing, battle scarred Maricopa to join them in order to avoid further persecution by the Mojave and other Yuma tribes along the Colorado River. Like almost all Arizona tribes, with the possible exception of the Yavapai, the Pima were mortal enemies of the nomadic Apache. But unlike most tribes, they were able to defeat them in battle with embarrassing regularity.

The first effectual Anglo contact began with the Mexican War of 1846. The Mormon Battalion crossed Pima territory two years later. Then the horde of goldrushers in-route to California laid the trail for ever-increasing traffic in the future.

Pima baskets by Edward S. Curtis, circa 1907.

Soon, stages rumbled across the 280-mile desert between the Tucson and Yuma stations. Settlers arrived and introduced both good and bad innovations to the Pima, who numbered about 4,000 people at that time. At the beginning, the Indians sought a peaceful co-existence, but conflicts quickly arose over the matter of the precious water supply. Dams and diversionary canals built by the newcomers deprived the Pima of their centuries-old right to the water so essential for their way of life.

The government assumed control in 1857, and established schools, medical facilities and programs for agricultural development. But efforts were too weak and slow to reach a satisfactory fruition as far as the Pima were concerned.

THE INDIAN TRADER May 2019

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PIMA COILED BASKETRY Most Pima basketry is coiled work. Their weaving embraces all techniques of coiling, including “lace” coiling (with no foundation), crude coiling, coarse coiling and close coiling.

Like all desert tribes who depended on lengthy storage of their seasonal, scarce food supplies, the Pima developed large “granaries” constructed by the simple and quick method of crude coiling. This primitive technique involves little more than entangling unpeeled twigs (that act as the warp, or foundation element) with their branches and leaves left intact (that act as the weft, or binding element) in a coiling fashion. The resulting ponderous baskets were left outdoors and were considered expendable.

For smaller grain storage receptacles to be kept inside their dwellings, the Pima produced coarsely coiled baskets. A bundle of grasses or finely-split twigs was wrapped with a wide, spiraling stitch with no effort to conceal the foundation; an attractive appearance was not of primary concern, rather, the baskets were made for durability. This technique is sometimes referred to as “lazy squaw” weaving.

Consistency of high-quality workmanship is probably the prime attribute of Pima closely coiled basketry that served various functional purposes about the household. Beautiful and intricate designs are another distinguishing characteristic of equal importance among baskets of this group. Because of their utilitarian functions, close coiled baskets were, in most cases, shallow dish or bowl shaped although many other sizes and shapes were made by this technique, including a few large storage ollas.

The foundation element in all Pima basketry is a bundle of shredded material, generally the cattail, or tule. Willow shoots, peeled and split into small lengths of equal width, is predominantly used as the wrapping material, with few exceptions. The black martynia pod, peeled and split, is used for design contrast, as the starting coils, and for the finishing row around the basket periphery. A relatively recent innovation is the use of the red yucca root to achieve polychrome patterns.

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SANDBAR TRADING 414 South Commerce Street Wichita, Kansas 67202 10 am-5 pm Thursday-Saturday or by Appointment

Buying, Selling and Consigning

See us at The Old West Show Santa Fe, NM June 21-23rd.

Rick 316-655-7477 rick@sandbartrading.com www.sandbartrading.com Follow us on Facebook

May 2019 THE INDIAN TRADER

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In 2016, 9-Year-Old Boy Uncovers

1.2 Million-Year-Old Dinosaur

By Tom Surface

Nine-year-old Jude Sparks found more than just an old cow skull while hiking with his family near Las Cruces, NM. While on his family outing in November 2016, young Jude literally tripped over what he thought was an old cow skull. The family took pictures of the odd-looking skull so they later could further research what they found, and went on about their nature walk.

“It was just an odd shape,” Sparks later said in an interview. “I just knew it was not something that you usually find.” Sparks’ family eventually sent the photos in an e-mail to Peter Houde, a biology professor at nearby New Mexico State University (NMSU) in Las Cruces. Houde traveled out to see the remains for himself and recognized the find almost immediately. He identified the bones as fossilized parts of a Stegomastodon, an elephant-like animal that dates back about 1.2 million years.

“A stegomastodon would look to any of us like an elephant,” said Houde.

“For the several types of prehistoric elephants that we have in the area, this is probably one of the more common of them. But they’re still very rare. This may be only the second complete skull found in New Mexico.”

Houde explained it took some months to get permission to dig on the property from the landowner, who requested the site remain a secret. It also took time get the special chemicals needed to properly preserve the fossils.

The College of Arts and Sciences provided funding for the process. In May

2017, the Sparks family joined a team of students and professors who worked for about a week to carefully unearth the skull. The ancient jaw and two pieces of tusk were transported to the Vertebrate Museum at NMSU. The remainder of the skull, which weighed approximately one ton, was dug out a short time later.

Houde applauded the Sparks family’s decision to do the right thing in contacting him about their find and not trying to dig it up on their own. “As you can imagine, when people find out about these things, they might be tempted to go out there and see what they might find themselves and tear up the land or they might hurt themselves,” Houde said. “To be quite honest, all these fossils from this area are radioactive and especially for children, not something you would want in your home.”

While the process to study and reconstruct the skull, jaw and tusks will take years to complete, Houde says the stegomastodon fossil will eventually go on display.

“I have every hope and expectation that this specimen will ultimately end up on exhibit and this little boy will be able to show his friends and even his own children, look what I found right here in Las Cruces.”

From a NMSU Release-2017

RY

Leadership/ Customer Service Training

BILL’S TRADING POST

THE November 2019 2015 THEINDIAN INDIAN TRADER May Page 20 TRADER 2945 College Avenue Berkeley, CA 94705 (510) 841-1615 www.bills-tradingpost.com World traders since 1939

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Page 15 17 Page THE INDIAN TRADER

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Page 17 FINE QUALITY FURS & BUCKSKIN 83363 Hwy 3 So. St. Maries, ID 83861-7175

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May2015 2019 THE INDIAN TRADER August

Page 16 20

BUSINESS DIRECTORY November 2015 THE INDIAN TRADER BILL’S TRADING POST 2945 College Avenue Berkeley, CA 94705 (510) 841-1615 www.bills-tradingpost.com World traders since 1939

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THE INDIAN TRADER May 2019

Page 17

continued from page 13 PIMA DESIGNS The striking yet sophisticated designs developed by the Pima are unexcelled by any others in the realm of American Indian basketry.

Almost all are geometric variations which have been given Anglo descriptive names. One of the oldest and most frequently occurring is the “fret.” Fully as beautiful and equally popular is the “squash blossom” which, like the fret, ranges in complexity from the usual four petals to as many as twelve in rare instances.

The “turtleback” is often considered the most intricate pattern of all, and its variations, again, are the result of the number of turtlebacks used in the pattern. Four is the most frequently found, but as many as eight to ten have been incorporated in larger baskets. The same versatility applies to the “butterfly wings.”

The “whirlwind” and “star” patterns may have had original symbolic interpretations, but with the passing of time, any such significance has been diluted or forgotten.

The swastika symbol, for example, a favorite Indian sign often found in Pima designs, was used to decorate the 5,000-year-old tombs of Egyptian kings and is pictured on prehistoric coins from the Isle of Crete. Yet, it was used by the predecessors of the Pima as painted decoration on HOHOKAM pottery centuries before the first Anglo arrivals in the Southwest.

Page 20 continued on page 6

Congratulations to Derek and Clay South, and your staff, for your outstanding work every month on The Indian Trader from your predecessors Martin Link and William Donovan, Gallup, New Mexico, with special help fromAugust Bailey2015 Pete, THE grand-daughter INDIAN TRADER of trader Bill Malone (Bailey created this card).

BUSINESS DIRECTORY SHAKOPEE TRADING POST www.shakopeetradingpost.com

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May2015 2019 THE INDIAN TRADER November

Page 18 18

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