Turquoise – A Love Story

as featured in the March/April 2010 issue of Cowgirl Magazine available in Barnes & Noble, Borders and other national outlets

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Sky blue stones of hardened hope adorn the warriors’ throats, wrists and arrow tips as their shattered dreams of yesteryear flash like cedar shafts fletched with despair. Mother Earth’s translucent tears are laced together in the dark web of pain she weeps for errant children long since scattered by the four winds.

Few listen to her whispers. Few feel the shame or the pressure of the past. Few see the truth that floats upon the fragile robin’s egg shaped by the First People’s hands. So glows the turquoise soul sinking beneath the amber waves of grain on Turtle Island.

Rare, valuable and equally inspiring to poets and pharaohs alike, the gemstone now known as turquoise has been prized throughout the world for millennia because of its rich luster and unique hue. Turquoise derives its name from French for Turkish (Turquois) or dark blue stone (pierre turquin). However, turquoise does not occur in Turkey, naturally, but was traded with other exotic Silk Road valuables by European merchants at Turkish bazaars.

Not so bizarre was the moment I first fell in love with turquoise on a Gold Coast summer’s eve when I stared into her magical eyes. Deep, icy blue with hints of coppery green, they laughed and danced a matrix of intrigue about my mind and heart. Rose petal lips softly spoke my name, but I heard her clearly o’er the din of clinking crystal, witty banter and a hungry hunter’s heart. Her hair was golden, like ripe wheat, and caressed the curve of her back so seductively that if I leaned into it, I’d be lost forever. My rough cowboy hands wanted to farm her.

The wine and lines were flowing together, embraced in a mystical mosaic, as her charm hung in the air like bougainvillea wrapped around a thirsty desert oak. From that first glance, I knew I might drown in those lovely electric eyes, never coming up for air. The fundraiser I had forgotten we were attending was meant to save the oceans. Hell, who was going to save me? I was in over my head.

Months later, on a hot and dusty August afternoon in Arizona, 500 miles from her and the nearest ocean, I was doing some summer soul searching – she called it “running away” – which brought me tired and parched to a roadside stand near Apache Junction. I downshifted from irony into synchronicity as several native artisans stared indifferently while I cut the engine and rolled to a stop at a crossroads east of Phoenix. I thought I was only looking for a cold drink of water.

I swung my leg over the back of the bike, hanging the sweaty helmet on the rear view mirror. Squinting like Clint, I stumbled into their fashionable corner of the old west as a silvery flash from one of the tables caught my eye. The Navajo sitting beneath the tattered tent canopy touched the brim of his hat in what I thought was a sign of greeting till I noticed him tug the black felt lower to block out the evening sun. I didn’t take it personally.

“Hey,” I offered with a smile while stuffing rodeo gloves in my jacket pockets. Black leather in the middle of the desert isn’t such a bright idea. Whoever said I was bright? I had been riding all day after lying awake all night, pondering the distance between wrong and right, and how satin skin and silky sighs could melt solid steel with a single touch.

Thirsty as I was, when I saw his fine silver work, liquid smooth and intricately carved, I forgot about the water, but remembered the cool drink I’d kissed goodbye that morning as she slept; my Sleeping Beauty. Through narrowed slits against the blowing dust from early sundowner winds, I noticed the bright blue stones floating in native handiwork, shining like polished sky. And I could see her smiling eyes, equally as striking, still blinding and binding my heart to a West Coast paradise 500 miles behind me.

Just like that night her lips first brushed mine, I knew I had to have this work of desert art. Some natural beauties simply scream to be possessed. Without thinking of the cost, as usual, I whipped out my wallet, slipped out a Benjamin and bought the wrist cuff with pretty blue stones, exchanging my dirty legal tender for his pure and precious piece.

He never said a word. He didn’t have to. Our unspoken code, though a culture apart, was that of two brothers bound by sacred honor. The old Navajo had wrought from his heart a memory of love and I, the young white buck, had purchased his promise to remember. Different tribe, different woman, same story…forever.

Hit or Myth?

Endearing it to many great cultures across the centuries, the varied pastel shades of turquoise have adorned ancient kings and queens from Egypt to the Aztecs (and perhaps other Pre-Columbian Mesoamericans), as well as Persia, Mesopotamia, the Indus Valley, and China since the Shang Dynasty, at least.

Falling in love with turquoise is an easy thing to do, whether you’re a blue-blooded empirical leader, chief of a smaller tribe or walk alone at a more pedestrian gait. Is it any wonder that this azure gem is believed to promote spontaneity in romance and stimulate the initiation of true love? Gaze into the depth of its beauty and see if you can walk away.

Turquoise is also treasured as a stone of attunement by spiritualists who believe it has properties of cleansing, protection and prosperity. It symbolizes the Earth and sky or a bridge between Heaven and Earth, plus enables good fortune and success. The Navajo believe that turquoise is actually a piece of the sky that has fallen to Earth. In Western cultures, it is the traditional birthstone for those born in December as well as being New Mexico’s gemstone.

Many aficionados of the stone say that when turquoise changes its color from dark to light it is an omen of illness, impending death, infidelity or may also detect poisons. Supposedly, the stone wards off negativity, protecting from the evil eye and reptile bites. Some believe that turquoise previously worn by a deceased person should be avoided and not worn again as it allegedly takes on the characteristics of the person wearing it.

In New Mexico and Arizona, the Navajo used the precious sky blue stones in rain ceremonies, tossing them into the rivers to please their gods. The Apache believed turquoise helped their hunters and warriors aim accurately by combining the powers of the sky and sea. Zuni superstitions say turquoise could protect them from demons.

Ancient Europeans associated turquoise with horses, believing it could protect them from danger and illnesses as well as preventing harm to the rider from any fall. Pliny named it callais (Greek – kalos lithos) for “beautiful stone.” Beautiful, true, but where was this protection when I fell hard for my wild mustang child who made me skittish with the intensity of her passion?

I still believe turquoise magic is real, for when my fingertips trace the patterns in the cool silver wrapping my wrist, the satin finish feels like the temptation of her skin in the moonlight. The fiery glow of ice blue winks at me across soft folds of cloud-like pillow, forever warming my chest from the brand she seared into my heart.

Mother Lode

Persia (modern day Iran) and the Sinai Peninsula are believed to be the oldest sources of turquoise where workings date back to 3000 BCE. A turquoise bracelet found on the wrist of a 7000-year-old mummified Egyptian queen is considered the oldest known piece of jewelry made with the beautiful blue gem.

Sky blue turquoise is the favorite in Iran and the term “Persian Turquoise” is now used as a color grade, not a geographical indicator. In the Persian tongue, turquoise is known as “ferozah,” meaning victorious and it is the national gemstone of Iran. Stones mined in the Sinai peninsula are known as Egyptian turquoise and generally will be greener.

Turquoise deposits are formed in arid regions when water percolates through rocks that contain copper, aluminum or other minerals. It is a process most rare that can be equally compared to the formation of diamonds. Around the world, the color of turquoise may vary from white to powder blue to sky blue and from blue-green to yellowish green depending upon dehydration and the level of mineral impurities.

The Egyptian First Dynasty’s most famous artistry, using turquoise, was discovered in the tomb of Tutankhamen featuring the boy king’s burial mask lavishly covered with the bright blue stones, lapis lazuli, carnelian and colored glass. Allegedly, Egypt sent convoys of slaves deep into the Arabian Desert to mine the pharaoh’s prized azure gems.

For the past 2,000 years, Persia has been the best source of turquoise, since the finest material is consistently recovered from this ancient region. Iranian production is superior to that of other localities and was probably the source of the first stones to reach Europe. Sinai material is typically the most translucent and its structure reveals under magnification a surface peppered with discs of dark blue that isn’t seen in turquoise from other areas.

For about 3,000 years, China was a minor source of turquoise, but its production levels have increased, lately, and it now provides nearly 80 percent of the world’s supply. Marco Polo reportedly discovered the dazzling rock in present-day Sichuan province. Turquoise didn’t find its foothold in the West until the 14th Century after the Roman Catholic Church allowed its use in secular jewelry.

Closer to Home

Turquoise is often a recovered byproduct of large-scale copper mining operations in the United States. Many historic sites in the American Southwest have been depleted, though a few small-scale and seasonal operations are still being worked by hand, today, with very little mechanization, yet they yield a significant amount of quality turquoise. Small in size, most American turquoise is low grade and chalky, though some fine material rivaling Iranian production will exhibit equal color and durability.

Native American turquoise jewelry – mounted in or with silver – was unknown prior to about 1880. A white trader reportedly persuaded a Navajo craftsman to take coin silver and make the first turquoise and silver jewelry. Before this creative suggestion, the Indigenous People crafted solid turquoise beads, inlaid mosaics and carvings of animal figures using the blue stone.

Arizona produces some of the most prized American turquoise from the Sleeping Beauty Mine in Globe and the Kingman Mine, which operates outside of the city. Bright sky blue gemstones with little or no matrix are the specialty of Sleeping Beauty Mine. I’m still trying to find the way back to my Sleeping Beauty, but the matrix has me trapped. Closer and closer, she guides me in dreams with the memory of a kiss, of a smile, of a laugh. I ride on.

Elsewhere, near Baker, California, only one mine, called Apache Canyon, operates at a commercial capacity, today. Further south of the Mojave Desert in San Bernardino County, prehistoric mining tools have been found in some of the old workings of the turquoise mines of the area. Cerrillos, New Mexico is thought to have the oldest turquoise mines in the Southwest with 75 colors discovered. It was the country’s largest producer prior to the 1920s, but is nearly exhausted, today. Colorado, too, produces quality turquoise from a few select sites.

With over 120 mines, Nevada produces substantial amounts of turquoise and, unlike other sources in the US, most of this state’s mines are primarily worked for the gem itself. Very little is acquired as a byproduct of mining operations. The nature of Nevada’s geological deposits assures that the majority of turquoise recovered will be of a hard, dense quality that requires no further treatment or enhancement.

Nevada produces a diverse range of colors and matrix patterns in its turquoise and has been known to provide unique hues of bright mint to apple to neon yellow green shadings due to significant zinc and iron in the deposits. However, some green to green yellow shades may actually be variscite or faustite, which appear to be turquoise, but are secondary phosphate minerals, instead. Portions of the Nevada deposits are noted for their spider web matrix of brown or black limonite, which produces an attractive veining throughout the material.

Imitations and Limitations

Due to the effects of exhaustive mining, many of the American turquoise deposits have been depleted. Thus, to recoup profits and attempt to meet demand, most US turquoise is treated or enhanced to varying degrees. The buyer should be informed, beware and ask their jeweler or gemologist for full written disclosure of any treatments performed on their intended purchase and, when necessary, request appropriate testing to ensure the stones they desire will meet their expectations and qualifications. Untreated turquoise in good condition will always command a higher price.

From waxing to dyeing to impregnation of color, some of these controversial procedures can lower the value of your turquoise jewelry, but still may be most aesthetically pleasing while preserving your piece for posterity. The light waxing and oiling of turquoise dates to ancient times, providing a wetting effect, which enhances the color and luster of the stone. Acceptable in practice, this tradition is also the cause of stones “sweating” under even gentle heat or excess sun exposure.

Some American mines still produce high quality turquoise that requires no treatment or alteration. However, backing is a standard practice on most Southwest craft work due to the fragile nature of the finer material, often found in thin seams, which may crack or shatter after extended wear. The native indigenous peoples of the region discovered that the durability of thinly cut slabs of turquoise could be greatly increased if it was glued to a base of stronger material that provides much needed reinforcement. The jewelry trade beyond the Native American and Southwest United States does not perform backing on turquoise.

Turquoise reaches a maximum hardness of 6, slightly more than window glass, leaving it quite fracturable. It can be semi-translucent in thin sections. Despite its low hardness, turquoise polishes well and may be flecked with specks of pyrite – fool’s gold – or latticed with limonite, which arcs across the surface in dark jolts of volcanic veining.

Egyptians were the first craftsmen to produce an artificial turquoise in glazed earthenware called faience. Glass and enamel were later used and, in modern times, more sophisticated ceramics, porcelain, plastics or metal compounds have been developed. For example, Gilson turquoise (named for Pierre Gilson’s 1972 synthetic composition) has both the uniform coloring and matrix of black veining found in the natural Nevada deposits.

Howlite and magnesite are the most common imitations of turquoise, today, after they’ve been properly dyed. The former has a natural and authentic black veining very similar to turquoise. Dyed chalcedony, jasper and marble, though less common, are not nearly as convincing.

Through non-destructive testing, a good gemologist can closely examine the stone’s surface structure under magnification to determine whether the natural blue background peppered with flecks of white is authentic or merely a manufactured imitation. There’s even a greater translucency in glass or plastic pieces, which reveals bubbles or flow lines just below the surface, immediately identifying them as fake. The grain boundaries of the false gemstones will show inconsistent staining from dye, as well.

However, on the better quality enhancements, limited destructive testing may be necessary. For instance, diluted hydrochloric acid can be used to cause carbonate fakes like odontolite and magnesite to effervesce. Howlite, under the same conditions, will turn green. The pungent smell of plastic may arise from the touch of a heated probe to an inconspicuous spot on an inauthentic “stone” while also revealing oil or wax treatments with certainty. Remember to ask for full written disclosure of treatments on all precious stones, for it is not frequently given.

Some stabilization of chalky American turquoise is necessary, otherwise the material would be unsaleable and most mining operations would not be profitable. Pressure impregnation with epoxy, plastics and water glass will produce the desired wetting effect and improve longevity. These procedures are more stable and permanent than mere waxing and oiling. The majority of American turquoise is treated with these binding techniques first developed in the 1950s.

Purists reject these methods calling stabilization and bonding too radical an alteration of the native materials. Some dyes may fade or rub off on the skin, which may or may not cause an allergic reaction in the least. Some turquoise is irradiated to render it less chalky, though the treatment is rarely revealed. As with any irradiated gemstones, these are supposed to be tested by a laboratory licensed by the Nuclear Regulatory Commission, due to safety considerations, before being sold in the US. Your turquoise should glow, not you.

Two Grey Hills

Authenticity in Native American artistry is Rick Richardson’s passion and purpose. The Albuquerque, New Mexico designer behind the Two Grey Hills label has been fascinated with Southwest craftsmanship since he was a young boy in Oklahoma. Earning his doctorate in late 19th and early 20th Century Navajo textiles, Rick has spent more than 30 years searching prehistoric sites in New Mexico and Arizona, learning about native pottery, and searching for skilled Native American silversmiths to create the perfect balance of artistry and authenticity in components that reveal the true heritage of the Indigenous People in pieces of original, exquisite beauty.

“People remember you for the quality of your work,” he offers. “I want my jewelry and components to be 100 percent Made in the U.S.A.” One look at his designs will assure you that he speaks from the heart and knows his craft.

Rick found his way into the past through one of the oldest traders in the Southwest jewelry business. After becoming familiar with many Native American artists of exceptional talent, he began scouring the best old west sites for pottery shards, pieces of history and authentic artifacts that he could incorporate into a new vision of artistry that blends the truth of the past with the talent of the present. The spectacular result is his Anasazi Ancients Collection, which is vibrant with historical authenticity, and will take your breath away.

The word “Anasazi” is a Navajo word meaning “ancient ones.” Because of his depth of knowledge and understanding of these Ancient Pueblo People, Rick combines his dusty finds of Anasazi pottery shards with sterling silver, turquoise and other semi-precious stones to capture the true native spirit of the Great American Southwest. Due to his deep appreciation for the Native People’s artistry and their way of life, he provides with each piece of Two Grey Hills jewelry a complete documentation of components that identifies the culture and period during which it originated.

“Every piece is custom designed and crafted. No two are alike,” Rick assures me. “Two Grey Hills buys all of the components: silver, turquoise, everything. Then, we turn it over to genuine Navajo silversmiths who create these beautiful works of Native American art.”

Richardson’s designs are personally stamped by the modern artist, plus the accompanying documentation reveals the Navajo clan, region of the reservation and a full bio of the artist replete with their accomplishments. Rick admits that, though there may be some good turquoise coming out of China, he prefers to purchase 80 percent of his components from American sources. Likewise, he acknowledges that authenticity and skilled artisans do not come cheap. “You get what you pay for” is a good indicator of whether your purchase may be of lesser quality than you desire.

“If you do a real piece of Native American jewelry with quality Southwest materials,” Rick reflects, “then it’s going to cost.” With his extensive time out in the dusty desert, working with the original People’s art, plus the search to discover the real talent of today’s Navajo silversmiths, it’s plain to see the depth of Rick’s commitment to quality craftsmanship.

He advises anyone interested in purchasing turquoise jewelry by Native Americans to only go to dealers or outlets that are reputable and who will provide complete documentation, otherwise you may find yourself holding a piece of plastic instead of a piece of history.

At Two Grey Hills, you’ll begin a journey into the past towards authentic beauty. Whether your eye is on earrings, a pendant or bracelet, your custom designed work of art from the Anasazi Ancients Collection originated a thousand years ago in the Ancient Pueblo cultures and culminates in a vibrant effusion of grace and handicraft that softly screams the purity of its soul while speaking to your heart.

Proper Care & Feeding

Whatever the color, turquoise that is excessively soft or chalky, even if treated, tends not to wear well and will fade or discolor over time, much like the human heart devoid of love. Uniformity of color is more desirable and the quality of workmanship is a factor in finished pieces including the symmetry of the stone as well as the quality of polish used. Turquoise is commonly sold according to its physical size in millimeters rather than by weight as with coral and other opaque gems.

Turquoise is fragile and sensitive to solvents. Warm sudsy water and a soft cloth will help prevent a build up of residue and is the best way to love your gemstones. Perfume, cosmetics, hair spray and even skin oil can attack the finish and alter the color of your turquoise. Prolonged exposure to direct sunlight can dehydrate the stones and cause discoloring. Turquoise should be stored in its own container to avoid scratching by harder gems and materials, but don’t use an airtight container as this, too, has been shown to cause an adverse affect.

Soul Stones

Whether working in turquoise, silver, something harder or something softer, the artist must first have a vision or the finished piece will not take shape. Stones and bones and being alone are part of the quest for answers. They come when you’re ready. They break you, if you’re not.

I was the painter. She was the portrait. Because I could not see clearly, she lies there half-finished in sweet repose, like a dream unattainable, framed by my fear.

Some will only see silver and stones while few can see into your soul. Choose your shamans well. Choose your path, carefully. Choose to ignore the teachings of my pain and you risk painting a similar landscape.

Escape is not the answer. Like the kachina, you must dive in. The stones will speak, if you are silent. Your muse chooses you. Listen when she whispers your name.

The Navajo medicine man never promised that I’d ever find my Sleeping Beauty, again, but his magic hands gave me something to cling to for the rest of my journey. It captured her moods. It captured her eyes. It captured her skin. It captured my heart, again.

The beauty of the inlaid turquoise matched the vibrant color of my lover’s gaze. In the symbols and patterns around the band, he had rendered true the marks carved into my heart by her lips and fingertips. In the swirling Sonoran sand I could feel her hands tugging at me as I rode away. To this day, the desert always makes me weep.

The Kat