Dennis Edaakie — Zuni Silversmith
Hallmark documented in: Hougart (Hallmarks), Schaaf (1200 Bios), Hougart (100 Collectible), Rosnek (Skystone & Silver). The mark shown here is photographed on an authenticated piece from the T.Skies gallery.
Zuni · documented in the T.Skies hallmark reference library
Dennis Edaakie (1931–2008) was a Zuni silversmith active since the 1960s, recognized as a master of Zuni inlay. He worked in channel inlay combined with mosaic inlay, frequently incorporating cardinal bird imagery. He shared his stamps with his wife Nancy Edaakie, who performed most of the inlay work. He was a multiple award winner and sold some work through R. L. Wallace. He was the son of Merle Edaakie; his grandson is T. D. Edaakie.
Dennis Edaakie is part of the Edaakie silversmithing family. His uncle Anthony Edaakie (1927–1989), one of his father Merle's brothers, [1] also worked in inlay and is separately documented in this directory. His son Dale (Myron) Edaakie (1957–; Zuni) works in mosaic inlay. Sons Derrick and Sanford Edaakie are also named in the Hougart record.
Channel inlay uses silver walls (channels) to separate and hold cut stones in geometric or figural patterns. Mosaic inlay sets stones flush against each other with minimal silver visible, creating a denser surface.
The Mark
Multiple mark forms recorded across his career: an early parrot-beak stamp used in the 1960s, and the text mark DENNIS E. Stamps were shared with wife Nancy Edaakie.
References
- Hougart, Bille. Native American and Southwestern Silver Hallmarks, 5th ed. Washington, DC: BilleHougartBooks, 2022.
- Bahti, Mark. Silver + Stone: Profiles of American Indian Jewelers. Tucson: Rio Nuevo Publishers, 2007. Cited by printed page. Statements describe conditions as of 2007.
- Manley, Ray. Ray Manley's Collecting Southwestern Indian Arts & Crafts. Text by Clara Lee Tanner and others; photography by Naurice Koonce, Ray Manley and Alan Manley. Tucson: Ray Manley Photography, 1979. Includes Clara Lee Tanner, "Southwest Indian Silverwork," pp. 39–41. Cited by printed page. Statements describe conditions as of 1979.
- Jacka, Lois Essary. Navajo Jewelry: A Legacy of Silver and Stone. Photographs by Jerry Jacka. Flagstaff: Northland Publishing, 1995. Cited by printed page. Statements describe conditions as of 1995.
- Tryk, Sheila. Santa Fe Indian Market: Showcase of Native American Art. Photography by Mark Nohl; introduction by Allan Houser. Santa Fe, NM: Tierra Publications, in cooperation with SWAIA (Southwestern Association on Indian Affairs), 1993. Cited by printed page. Statements describe conditions as of 1993.
- Schaaf, Gregory, with Angie Yan Schaaf. American Indian Jewelry I: 1,200 Artist Biographies, ca. 1800-present. American Indian Art Series, Vol. 5. Santa Fe: CIAC Press, 2003. Cited by printed page. Statements describe conditions as of 2003.
Know more about this artist? Contact T.Skies.
From the Library: Bahti, Silver + Stone: Profiles of American Indian Jewelers (2007)
2007 primary source. Anything described as current here describes 2007, not today.
According to Bahti (2007, p. 44), Dennis and Nancy Edaakie made a type of inlay in which the design is cut out of one sheet of silver and overlaid onto a second solid sheet, and the recessed areas are then set with stone and shell. [1]
As Dennis Edaakie told Bahti (2007):
“I learned inlay work from my dad, Merle”
— Bahti (2007), p. 44 [1]
According to Bahti (2007, p. 46), Dennis went full-time in January 1964, when the Gallup truck stop where he worked closed after I-40 was finished. His first four designs were knifewing, rainbow, thunderbird and sunface, sold to traders Vanderwagen and C. G. Wallace for half cash and half due bill. [1]
Dennis Edaakie told Bahti (2007) how his first cardinal pendant, made at trader Ruth Ingram's suggestion for the Gallup Ceremonial, came together after red abalone and pipestone failed:
“Finally I tried coral. It took first place.”
— Bahti (2007), p. 46 [1]
A year later came the reversible pendant. Dennis Edaakie told Bahti (2007):
“Finally I came up with a swivel design. I switched from flat to domed pendants a little while after that.”
— Bahti (2007), p. 46 [1]
According to Bahti (2007, p. 46), the hallmark changed as Nancy joined the work: the parrot-beak hallmark (1965), then DENNIS E (around 1970), and finally DENNIS AND NANCY EDAAKIE (from about 1983 on). [1]
From the Library: Manley, Collecting Southwestern Indian Arts & Crafts (1979)
1979 primary source. Anything described as current here describes 1979, not today.
According to Manley (1979, p. 43), a bird-inlay necklace pictured in the book was made by contemporary Zuni craftsman Dennis Edaakie. [2]
From the Library: Jacka, Navajo Jewelry: A Legacy of Silver and Stone (1995)
1995 primary source. Anything described as current here describes 1995, not today.
According to Jacka (1995, p. 96), the Navajo and Zuni jeweler Jake Livingston combined Navajo figures such as the yei'ii with delicate inlay of bird and plant life that resembled the work of his Zuni uncle, Dennis Edaakie. [3]
From the Library: Tryk, Santa Fe Indian Market (1993)
1993 primary source. Anything described as current here describes 1993, not today.
Writing in 1993, Tryk credited him:
“Dennis Edaakie, a Zuni, pioneered finely detailed realistic animal, bird and flower inlays on silver jewelry.”
— Tryk (1993), p. 79 [4]
Tryk (1993, p. 79) called his delicate renderings of cardinals and hummingbirds his trademark, and noted that they were widely copied; her p. 74 caption likewise said his work had been widely copied. [4]
From the Library: Schaaf, American Indian Jewelry I (2003)
2003 primary source. Anything described as current here describes 2003, not today.
Schaaf (2003), in the entry for his wife and collaborator Nancy, dated the couple's marks:
“hallmark - parrot's beak, 1965-70; Dennis E., early 1970s; Dennis and Nancy Edaakie, 1975-?”
— Schaaf (2003), p. 146 [5]
Schaaf (2003, p. 144) recorded him as born in 1931 and active from 1954, and listed first prizes at the Inter-tribal Indian Ceremonial in Gallup in 1970 and 1972 and Best of Show at the Albuquerque Indian Market in 2000 and 2001. [5]
Schaaf (2003) wrote of his innovation:
“He is considered one of the first to make reversible inlay pendants”
— Schaaf (2003), p. 145 [5]
According to Schaaf (2003, p. 145), Dennis was taught by his uncle, Jake Haloo, made inlaid Thunderbirds, Rainbow Man and Knifewing figures from 1954 to 1970, began a series of mosaic songbirds at the suggestion of his patrons Ruth and Leon Ingraham in 1970, and won first prize at the Gallup Ceremonial with his first cardinal in 1972. In 1985 the owner of the Koshare Shop in Scottsdale commissioned a Koshare Clown design from him. [5]
Field Notes by Mateo James
An earlier version of our pages named Anthony Edaakie as Dennis's father. In Bahti's 2007 profile Dennis says in his own words that he learned inlay from his dad, Merle, and Bahti lists Anthony among Merle's brothers (p. 44), so we now show Anthony as his uncle.
Our page names two different fathers for Dennis, Merle and Anthony. In Bahti's 2007 profile Dennis says in his own words that he learned inlay from his dad, Merle, and Bahti lists Anthony as one of Merle's brothers. Dennis's own account is the stronger source, so read Anthony as his uncle until a family record says otherwise.
This profile is maintained in support of Native American silversmiths and compiled from published references. See something inaccurate, or want to add to it? Contact us.
I notice two differences between the books here. Dennis told Bahti that he learned inlay from his dad, Merle, while Schaaf's 2003 entry names his uncle Jake Haloo as his teacher, and Schaaf dates the shared Dennis and Nancy Edaakie mark from 1975 where Bahti has about 1983. Both may be true of different stages of his life; I show each as printed.