Frank Lloyd Wright would design not only the soaring Price Tower, but a number of homes for the Price family, including the home of Harold Charles Price, Jr., and his wife Carolyn, also in Bartlesville. Constructed at the same time as the Price Tower, the home embodied a similar architectural approach in its inclusion of cantilevered terraces, and abstracted organic references throughout. Wright placed the home as if it was emerging from one of the land’s rolling hills, thus earning the home its nickname Hillside, and making the connection between building and site even more evident. Like the Price Tower, a rich red color palette dominated the interior elements designed by Wright, including the dramatic wall divider. The Price family surrounded themselves with iconic designs of other modernist architects and furthered the connection to Wright and the southwest with the inclusion collection of pottery by noted Hope potters, Charles and Otellie Loloma.
Charles Loloma 1921–1991
Charles Loloma was a pioneering Native American jewelry artist from the Hopi tribe, known for revolutionizing Native American jewelry design by blending traditional Hopi motifs with modern, innovative techniques. Born in Hotevilla, Arizona, on Third Mesa of the Hopi Reservation, Loloma was raised in a culturally rich environment, where Hopi traditions and art played a central role. After attending Phoenix Indian School, Loloma served in the U.S. Army during World War II. Upon his return, he studied ceramics at the School for American Craftsmen at Alfred University in New York. It was during this time that he began experimenting with jewelry, a medium that would define his career.
Loloma’s jewelry stood out for its bold departure from traditional Native American silversmithing. While many Native American jewelers adhered to established forms and designs, Loloma introduced innovative materials, colors, and techniques. He utilized materials such as turquoise, lapis lazuli, coral, malachite, ironwood, and fossilized ivory, and combined them in intricate inlays. One of his signature techniques was "channel inlay," where he precisely set stones into narrow channels of gold or silver, creating vibrant, mosaic-like patterns. Loloma also frequently used non-traditional materials like gold, which was uncommon in Native American jewelry at the time. Inspired by the landscapes and cultural heritage of his Hopi background, Loloma’s designs often reflected the textures and colors of the Southwestern desert. His pieces were deeply symbolic, incorporating elements of Hopi culture, such as katsina figures and motifs representing the land, sky, and Hopi spirituality. His jewelry was not only wearable art but also a means of expressing identity and narrative.
Throughout his career, Loloma’s work attracted widespread acclaim and elevated Native American jewelry to a level of artistry previously unseen. His pieces were exhibited in prestigious venues such as the Museum of Modern Art in New York and collected by notable figures, including Jacqueline Kennedy Onassis and Georgia O’Keeffe. His influence on contemporary jewelry was profound, and he helped reshape perceptions of Native American art by moving beyond the boundaries of traditional craft. Loloma also dedicated himself to education, teaching for several years at the University of Arizona Tucson, at Arizona State University Tempe, and summer extension courses in Sedona. Additionally, he co-founded the Institute of American Indian Arts in Santa Fe, New Mexico in 1962, where he taught and helped inspire new generations of Native American artists. His work earned him numerous accolades, including the title of "Living Treasure" by the State of Arizona and several awards from the Heard Museum and the Indian Arts and Crafts Association.
Auction Results Charles Loloma
