Collection scope and contents

The Phyllis Hersh collection consists of papers and photographs associated with a book project on contemporary Hopi, Navajo, Santo Domingo, and Zuni jewelry and jewelers. The papers measure 1.3 linear ft. and date from 1974 to 2008, with the bulk of the material dating from 1975 to 1980. The papers primarily document Hersh's work on "The Indian Jewelers' Art," an unfinished book on contemporary Native American jewelry. Her project was primarily supported by a Ford Foundation grant, and so the papers include correspondence with the Foundation, the requisite budget notes and receipts, project descriptions, and outlines. In addition, the collection includes documentation related to the royalty and copyright dispute between Hersh and her project photographer, Nancy Tomassen-Lensen.

The color and black-and-white photographs and corresponding negatives—approximately 600 total photographic objects—in the Hersh collection are also related to "The Indian Jewelers' Art." They date from 1975 to 1980. The photographic materials represent the work of:

Hopi jewelers Victor Coochwytewa, Bernard Dawahoya, Michael Hoyungawa, Charles Loloma, Lewis Lomay, Preston Monongye, Phil Navasya, Aldie Qumyintewa, Griselda Saufkie, Phillip Sekaquaptewa, and Michael Sockyma.

Navajo jewelers Fred Begay, Kenneth Begay, Kee Benally, Carson Blackgoat, Harrison Blackgoat, Irene Blackgoat, Sadie Calvine, Mark Chee, Jesse Claw, Fannie Coan, Julia Coan, David Donald, Sarah DuBoise, Billie John Hoskie, Esther Coan Hoskie, Tom Hoskie, Della James, Francis James, Wallace James, Wilfred Jones, Chester Khan, Iven Kee, Mary Marie Yazzie Lincoln, Johnny Pablo, Ambrose Roanhorse, Willie Shaw, Fred Thompson, Katherine Wilson, Cindy Yazzie, and Lee Yazzie.

Santo Domingo jewelers Edward Aguilar, Ernestine Aguilar, Mary Aguilar, Priscilla Aguilar, Tony Aguilar, Vidal Aragon, Joe Ray Calabaza, Raymond Calabaza, Elizabeth Chavez, Maria F. Garcia, Charles Lovato, Clara Lovato, Harold Lovato, Sedalio Lovato, Angie Reano Owens, Johnny Rosetta, Marlene Rosetta, and Joe V. Tortalita.

Zuni jewelers Edward Beyuka, Rignie Boone, George Haloo CheeChee, Dennis Edaakie, Anita Hattie, Buddy Hattie, Horace Ilue, Morris Laahti, Sadie Laahti, Etta Lynee Laote, Lygatie Laote, Matthew Latteyge, Edith Tsabetsaye Lonjose, Orlinda Natewa, Rosemary Panteah, Isabel Paquin, Sherman Paquin, Bowman Pewa, Andrew Emerson Quam, Bonnie Quam, Joyce Romancito, Ann Sheyka, Porfillio Sheyka, and David Tsikewa.

Cochiti jeweler Fidel Chavez.

Arrangement

The Hersh collection is arranged in two series. The manuscripts are arranged alphabetically and the photographs are arranged alphabetically by culture group and jeweler name.

Historical note

With support from the Ford Foundation, Exxon, and Levi Strauss Company, in 1975 Phyllis Hersh undertook to identify and interview contemporary Hopi, Navajo, Santo Domingo, and Zuni jewelers. Her intention was to produce a book that was less focused on the history of native jewelry production and instead emphasized and explained the styles, approaches, and techniques of practicing jewelers. From the start, Hersh considered photography essential to the realization of her objectives for the book. In June 1975, Hersh hired photographer Nancy Lensen-Tomasson; between 1975 and 1980 the two made a number of trips around Arizona and New Mexico to photograph jewelry and jewelers on location. Hersh hoped that her book would both expand the market for authentic, high-quality Native American crafts and "educate and motivate" a younger generation of native jewelers. "The Indian Jewelers' Art," Hersh's working title for the book, was never published, although a related article authored by Hersh and accompanied by Lensen-Tomasson's photographs appeared in ExxonUSA (1st quarter 1977).