Lee Yazzie — Navajo/Diné Silversmith & Master Lapidary
Lee A. Yazzie (born 1946) is a Navajo jeweler and stone cutter whose mosaic inlay, Schaaf wrote in 2003, is highly sought after by collectors. In 1970 he began inlaying some of Preston Monongye's tufa-cast pieces, work he says made him a precise inlayer. He stamps his name, Lee Yazzie, on one line or two.
KEY POINTS
- Born 1946, by the National Museum of the American Indian's records.
- He stamps Lee Yazzie, on one line or two.
- In 1970 he began inlaying some of Preston Monongye's pieces.
- A 1975 caption credits his lapidary work with the 1974 Gallup Ceremonials Grand Prize.
- Gene Waddell, quoted by Schaaf in 2003, said he produces fewer than ten pieces a year.
The mark
Lee Yazzie stamps his name. Schaaf's 2003 register enters him as "Lee A. Yazzie (stamps Lee Yazzie, either one or two lines)," and prints the two-line stamp beside the entry: LEE above YAZZIE. [10] On the same page sits Larry Lee Yazzie, who stamps LL Yazzie. Read the whole stamp, not the surname.
How he learned
He tells it in steps. In the tenth grade he took silversmithing at Wingate Vocational School, curious "because my parents' work bench was off limits. They were both fine silversmiths." In 1964 or '65 he took his paintings and silverwork to the Institute of American Indian Arts to be critiqued, when Charles Loloma and Allan Houser were teaching there. He watched the Navajo jeweler Austin Wilson make his own tools with saws and files. [10]
In 1968 he met the Gallup trader Joe Tanner, who introduced him to Preston Monongye, then doing tufa-cast jewelry. Tanner asked if he wanted to learn turquoise. He declined at first, then agreed to be trained by Harold "Cal" Johnson in Arizona, and in 1970 began inlaying some of Monongye's pieces. "Because there are no precise edges in tufacast jewelry," he told Schaaf, "the experience helped me to become a precise inlayer." [10] Jacka's 1995 account is shorter: he learned silversmithing from his parents in 1968, after hip surgery. [6]
With Preston Monongye
The partnership is in print three ways. Branson (1975) pictures a bracelet that combined Monongye's silver with Yazzie's lapidary work. [1] Stacey's Turquoise Blue Book the same year credits his lapidary artistry with the Grand Prize at the 1974 Gallup Ceremonials, on a silver body Monongye designed and cast. And in that book Monongye names "Lee and Mary Yazzie who work for Tanner's Indian Arts and Crafts Center in Gallup, New Mexico" among the "very fine Indian lapidarists" cutting good stones. [5]
The work
Schaaf lists his materials as gold, silver, turquoise, coral, lapis lazuli and ironwood; his forms run from rings and pins to buckles, bolos and concha belts. [10] Turquoise leads in the pieces the books picture: a ring of Lone Mountain spider web, [2] a buckle and bola set with Bisbee, [3] a buckle with Lone Mountain. [4]
In 1980, by Schaaf's account, he began working with the jewelry specialist Gene Waddell, who said that Yazzie "made the decision to pursue quality over quantity, and therefore produces less than 10 individual pieces each year." Schaaf lists his students as his brother Raymond Yazzie and Marco Begaye. [10]
The record
The Indian Arts and Crafts Board bought his work in the 1980s, and those pieces went to the Smithsonian's National Museum of the American Indian in 2000. [7] Among them is a bracelet in gold and lapis lazuli, dated 1983 and bought from the Robert Dean Gallery, catalog number 25/6257. [9] Schaaf records a Best of Show at the Inter-tribal Indian Ceremonial in Gallup, a 1975 School of American Research award for Best Traditional Design in Jewelry, and Indian Market in Santa Fe from 1977. [10] In 2014 the NMAI opened Glittering World: Navajo Jewelry of the Yazzie Family in New York. [8]
Field Notes by Mateo James
I notice the books date the start of Lee Yazzie's work with Gene Waddell differently. Waddell's own recollection, as published by Ryan and Chambless, puts it around 1982 to 1983, while Schaaf's 2003 register says 1980. I show both as printed.
The books give two beginnings. Lee Yazzie told Schaaf (2003, p. 330) that he took silversmithing at Wingate Vocational School in the tenth grade. Jacka (1995, p. 43) has him learning silversmithing from his parents in 1968, after hip surgery. I show both as printed. [10] [6]
An earlier version of this page carried biographical details and a quote I could not find in print; I have removed them. It also dated the NMAI bracelet 1984 in 18k gold, placed his work with the Indian Arts and Crafts Board, gave the ten-piece figure as his own account, and said no printed guide shows his mark. The NMAI record dates the bracelet 1983, in gold and lapis lazuli; the Board's pieces went to the NMAI in 2000; the ten-piece figure is Gene Waddell's; and Schaaf prints the mark. I have corrected the profile.
From the Library
What 7 reference books say about Lee Yazzie, grouped by topic. Every passage names its book and page; full references are under Sources.
These are outside observers' records. Lee Yazzie, who is living, and his family are the authority on his life and work.
The mark and the Monongye years4 passages · 3 books
His register entry, and the 1970s work with Preston Monongye at Tanner's.
Schaaf (2003) entered him as
“Lee A. Yazzie (stamps Lee Yazzie, either one or two lines), (collaborated with Preston Monongye)”
Schaaf (2003), p. 329 AS OF 2003 [10]
According to Branson (1975, p. 7), one bracelet combined designer-silversmith Preston Monongye's work with the lapidary art of Lee A. Yazzie, set in turquoise, coral, jet and shell over inlaid spider web turquoise.
A 1975 caption recorded the win:
“Lee A. Yazzie's lapidary artistry and skill won the Grand Prize at the 1974 Gallup Ceremonials. The silver body was designed and cast by Preston Monongye.”
Stacey (1975), p. 41 AS OF 1975 [5]
Preston Monongye, in his own words in the 1975 Turquoise Blue Book:
“There are many good stones today, however, that are cut by very fine Indian lapidarists, such as Lee and Mary Yazzie who work for Tanner's Indian Arts and Crafts Center in Gallup, New Mexico.”
Stacey (1975), p. 74 AS OF 1975 [5]
How he learned4 passages · 3 books
His family, his teachers, and two accounts of how he started.
Schaaf (2003, p. 329) recorded Lee Yazzie as a son of Chee Yazzie and Elsie Mustache Yazzie and a brother of Mary Marie Yazzie Lincoln and Raymond C. Yazzie, among others, taught by his parents, at Wingate Vocational School and by Austin Wilson, with a 1975 School of American Research Award for Best Traditional Design in Jewelry at Indian Market. [10]
Lee Yazzie told Schaaf (2003, p. 330) that he took silversmithing at Wingate Vocational School in the tenth grade, that he took his paintings and silverwork to the Institute of American Indian Arts to be critiqued in 1964 or 1965, when Charles Loloma and Allan Houser were teaching there, and that he also watched the Navajo jeweler Austin Wilson make his own tools with saws and files. [10]
According to Jacka (1995, p. 43), Lee Yazzie learned silversmithing from his parents in 1968, after hip surgery left him needing something to do, and found that once the 1970s boom died down the demand was for quality, not quantity. [6]
He credits his father's teaching, in his words as published by Ryan & Chambless (2020):
“There was this special power, out of respect, the way my father talked about turquoise, that we should always prepare our self mentally to work with it, to make jewelry.”
Ryan & Chambless (2020), p. 51 AS OF 2020 [4]
Pieces the books picture4 passages · 3 books
A ring, a necklace, buckles and a bola, from 1970s silver to Lone Mountain turquoise.
Schiffer (2008, p. 41) illustrated a ring of curved Lone Mountain spider web turquoise by Lee Yazzie, Navajo, 1980. [2]
Bassman (1997, p. 14) pictured a necklace with silver beads made by Lee A. Yazzie in the 1970s. [3]
Bassman (1997) pictured a set of his:
“Overlay and stamped textured silver belt buckle and bola tie set with Bisbee turquoise, made by Lee A. Yazzie.”
Bassman (1997), p. 55 AS OF 1997 [3]
Ryan & Chambless (2020, p. 53) picture a Lee Yazzie buckle set with Lone Mountain turquoise (photo credited to Winfield Trading). [4]
Gene Waddell, and his own words4 passages · 2 books
The dealer who bought most of his work, and what Yazzie says about the stone.
Gene Waddell, a turquoise dealer and part owner of the Lone Mountain mine, recalled in an interview published by Ryan & Chambless (2020, p. 220) that he began working with Lee Yazzie and his sister Mary Marie around 1982-83, under an agreement that he would buy and sell whatever Yazzie made. [4]
Waddell added, in the same interview published by Ryan & Chambless (2020):
“For all those years up to now, I think ninety percent of what Lee made, I was fortunate to get.”
Ryan & Chambless (2020), p. 220 AS OF 2020 [4]
Lee Yazzie, interviewed by Ryan & Chambless (2020), on how he approaches the stone:
“When I work with the turquoise, I treat it with utmost respect.”
Ryan & Chambless (2020), p. 51 AS OF 2020 [4]
Interviewed in Gallup in August 2002, Lee Yazzie told Schaaf (2003):
“The only limitation is the one you set for yourself”
Schaaf (2003), p. 330 AS OF 2003 [10]
Frequently asked questions
What is Lee Yazzie's hallmark?
His name. Schaaf (2003, p. 329) records that he stamps Lee Yazzie, on either one or two lines, and pictures the two-line stamp. [10]
When was Lee Yazzie born?
In 1946, by the National Museum of the American Indian's records. [9]
Did Lee Yazzie work with Preston Monongye?
Yes. He told Schaaf (2003) that he began inlaying some of Monongye's pieces in 1970, and a 1975 caption credits his lapidary work on a Monongye-cast piece with the Grand Prize at the 1974 Gallup Ceremonials. [10] [5]
How did Lee Yazzie learn?
The books give two accounts. He told Schaaf (2003) that he took silversmithing at Wingate Vocational School in the tenth grade; Jacka (1995) has him learning from his parents in 1968, after hip surgery. [10] [6]
Where is his work held?
The National Museum of the American Indian holds pieces the Indian Arts and Crafts Board bought in the 1980s, including a 1983 bracelet in gold and lapis lazuli, catalog number 25/6257. [9]
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.
Know more about Lee? Contact T.Skies.
Sources
- Branson, Oscar T. Turquoise: The Gem of the Centuries. Santa Fe: Treasure Chest Publications, 1975. Cited by printed page. Statements describe conditions as of 1975.
- Schiffer, Nancy N. Turquoise Jewelry. Revised 4th ed. Atglen, PA: Schiffer Publishing, 2008. Cited by printed page. Statements describe conditions as of 2008.
- Bassman, Theda. The Beauty of Navajo Jewelry. Photography by Gene Balzer. Walnut, California: Kiva Publishing, 1997. Cited by printed page. Statements describe conditions as of 1997.
- Ryan, Mike, II, and Philip Chambless. Turquoise in America, Part Two: 1910–1990. Callais Press, 2020. Cited by printed page. Statements describe conditions as of 2020.
- Stacey, Joseph, ed. Turquoise Blue Book and Indian Jewelry Digest. Arizona Highways Collectors Series. Phoenix: Arizona Highways (Arizona Department of Transportation), 1975. Cited by printed page. Statements describe conditions as of 1975.
- 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.
- Smithsonian National Museum of the American Indian, collection records for Lee Yazzie (catalog nos. 25/6257, 25/7170, 25/7491, 25/7555, 25/8033, 25/8034), each noting the Indian Arts and Crafts Board collection and its 2000 transfer to NMAI. Accessed October 2026.
- Smithsonian NMAI, Glittering World: Navajo Jewelry of the Yazzie Family, exhibition at NMAI New York, opened November 13, 2014. Catalogue by Lois Sherr Dubin (Smithsonian Books, 2014).
- NMAI catalog no. 25/6257: bracelet, Lee Yazzie, Diné (Navajo), b. 1946. Dated 1983; gold, lapis lazuli. Bought by the Indian Arts and Crafts Board from the Robert Dean Gallery; transferred to NMAI in 2000.
- 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.