Phil Loretto — Jemez/Cochiti Silversmith
Hallmark documented in: Hougart (Hallmarks).
Phil Loretto — Silversmith
Phil Loretto, a Pueblo jeweler from Jemez, worked in silver and gold; Hougart describes him as a silversmith and lapidary, and Baxter notes his lapidary skills. Baxter credits him with one-of-a-kind pieces in unusual compositions built on Pueblo themes and on political and social commentary, and Dubin pictures a gold necklace he based on ancestral petroglyphs and the sky. [1][3][4]
Baxter and Schaaf identify him as Jemez; Dubin prints Jemez-Cochiti and Hougart Jemez/Cochiti. [1][2][4][3] His name is printed Phil Loretto by Dubin, Schaaf and Ryan & Chambless, Phillip Loretto by Baxter, and Phillip C. Loretto by Hougart and in Schaaf's parenthetical. [1][2][3][4][5] Hougart (2022, p. 198) gives his dates as 1951–2017. [3]
Training
Baxter (2000, p. 102) records that he studied with the architect Paolo Soleri at Arizona State University in 1969, attended Albuquerque Technical Vocational Institute, and took a B.A. from Fort Lewis College in Colorado in 1976. [1] Schaaf (2003, p. 225) adds the Institute of American Indian Arts, 1968–69, dates his Fort Lewis years 1972–76, and names Soleri as his teacher in architecture. [2] Dubin (1999, p. 533) writes that although he “has a degree in architecture, he is a self-taught jeweler who has made about one hundred twenty-five small tools.” [4]
His work
Baxter writes that he worked on jewelry for the tourist trade before turning to fine-art jewelry, and lists his stones as a wide range of semiprecious stones with fine turquoise and Brazilian opal. She also names him among the fine-art jewelers who have rediscovered ingot silver (p. 82). [1] Hougart lists silver and gold, hand-wrought and cast work, cobblestone and channel inlay, and storyteller motifs. [3]
Dubin pictures his work three times. A 1981 corn maiden necklace in 14-karat gold, from the Tanner collection, is inlaid with ivory, shell, turquoise and coral, and Dubin quotes him on how he fits the stones: “I put the stones against the sun so that no light comes in.” Three pairs of his earrings appear in a group from the 1980s and early 1990s; one pair, Dubin writes, was made on the anniversary of Wounded Knee “as homage to those who put their life on the line.” He also inlaid the figures on a coral fetish necklace by David Tsikewa (Zuni). [4] Ryan & Chambless picture a bolo of his on a page of Bisbee turquoise. [5]
Teaching, shows and awards
The books place his teaching in different schools. Baxter says he taught jewelry-making at the Institute of American Indian Arts in 1990, for a special project. [1] Schaaf lists his students at Fort Lewis College in Durango. Schaaf's entry for Sam Keams lists “Phil Loretto, his brother-in-law” as a teacher. [2]
Baxter lists his shows as the Eight Northern Indian Pueblos Art and Crafts Show, the New Mexico State Fair, the Santa Monica Powwow and SWAIA Indian Market, with an Indian Market award in 1978, and names Packard's in Santa Fe among his galleries. [1] The earliest award in Schaaf's list for him is from 1981; Schaaf records him at Indian Market from 1976. [2] Hougart calls him a multiple award winner. [3]
The Marks
“Marks: Loretto (etched script on some older pieces); customized symbol (various versions; one mark has turquoise inlay)”
— Hougart (2022), p. 198 [3]
Schaaf describes his marking differently: “So unique is his style, he rarely signs his work.” [2]
Family and collaborators
Hougart names Fran Loretto, a potter and silversmith, as his sister. [3] Schaaf records a collaboration with Roger Cultee (Quinault), whose entry notes pieces signed “Loretto & Cultee.” [2] Dubin lists him among the artists she interviewed between 1991 and 1998. [4]
From the Library: Baxter, Encyclopedia of Native American Jewelry (2000)
2000 primary source. Anything described as current here describes 2000, not today.
Baxter (2000) on his reputation:
“Such works, intricate in design and technical execution and displaying distinctive lapidary skills and inventiveness, have brought Loretto much acclaim.”
— Baxter (2000), p. 102 [1]
Baxter (2000, p. 143) counts him among other contemporary Pueblo artists, in a list that also names Dorothy Emery and Roderick Kaskella. [1]
From the Library: Schaaf, American Indian Jewelry I (2003)
2003 primary source. Anything described as current here describes 2003, not today.
Schaaf (2003) ranks him among the top contemporary Indian jewelers and describes his work:
“His work is whimsical, cleverly constructed and often covered with symbols.”
— Schaaf (2003), p. 225 [2]
Schaaf (2003, p. 126) pictures cut-out pieces captioned “Roger Cultee & Phil Loretto.” [2]
From the Library: Hougart, Native American and Southwestern Silver Hallmarks (2022)
2022 primary source. Anything described as current here describes 2022, not today.
Hougart (2022, p. 198) records him as active from the 1970s, a silversmith and lapidary, and prints five impressions of his marks. [3]
From the Library: Dubin, North American Indian Jewelry and Adornment (1999)
1999 primary source. Anything described as current here describes 1999, not today.
Dubin (1999) quotes him on the corn maiden necklace's inspiration:
“I'm very interested in celestial events. Living out here [Jemez Pueblo], you get to see and record them.”
— Dubin (1999), p. 533 [4]
According to Dubin (1999, p. 510), Loretto inlaid the figures on a coral fetish necklace by David Tsikewa (Zuni). [4]
From the Library: Ryan & Chambless, Turquoise in America, Part Two (2020)
2020 primary source. Anything described as current here describes 2020, not today.
Ryan & Chambless (2020) caption a full-page photograph of Bisbee turquoise:
“BISBEE. Phil Loretto bolo. Private collection.”
— Ryan & Chambless (2020), p. 289 [5]
Field Notes by Mateo James
The books describe his schooling differently. Dubin says he has a degree in architecture; Baxter gives a B.A. from Fort Lewis College without naming a field. We print each as written.
Hougart prints his marks, a script signature on some older pieces and several versions of a custom symbol, while Schaaf writes that he rarely signs his work. Both are printed here as each book gives them.
Baxter records an Indian Market award in 1978. Schaaf's list of his awards starts in 1981.
Sources
- Baxter, Paula A., with Allison Bird-Romero. Encyclopedia of Native American Jewelry: A Guide to History, People, and Terms. Phoenix: Oryx Press, 2000. Cited by printed page. Statements describe conditions as of 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.
- Hougart, Bille. Native American and Southwestern Silver Hallmarks: Silversmiths, Designers, Guilds and Traders. 5th edition. Washington, DC: BilleHougartBooks, 2022. Cited by printed page. Statements describe conditions as of 2022.
- Dubin, Lois Sherr. North American Indian Jewelry and Adornment: From Prehistory to the Present. Original photography by Togashi, Paul Jones, and others. New York: Harry N. Abrams, 1999. Cited by printed page. Statements describe conditions as of 1999.
- 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.
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.