Norman Honie, Sr.

Norman Honie Sr. (1923–2007)

Norman Honie Sr. began working in silver in 1966, perfecting his silversmithing skills at the Hopi Guild in Shungopavi, a village on Hopi’s Second Mesa. Though Norman was born in the village of Hano on First Mesa, Hopi custom led him to relocate to Shungopavi after marrying a woman from that village.

Known for his extraordinary versatility, Norman could, and did, make anything. His work ranged from traditional Hopi imagery to whimsical interpretations of mermaids, camels, dinosaurs, and aliens. He was equally comfortable crafting sacred symbols and playful figures, always with a meticulous hand and a spark of humor. In a small, impeccably tidy workroom next to his house, Norman brought both reverence and imagination to life in silver.

Before his life as an artist, Norman served with distinction in World War II. He joined the U.S. Army at age 19 in 1943, becoming part of the 511th Parachute Infantry Regiment of the 11th Airborne Division. Trained in jungle warfare, Norman saw combat in the Philippines during the Leyte campaign, where he was wounded and later rejoined his unit for the assault on Manila. During the famed Los Baños raid, Norman and the 511th parachuted behind enemy lines to liberate over 2,100 prisoners of war who were facing imminent execution. For his actions, he received numerous military honors, including the Bronze Star, Purple Heart with Oak Leaf Cluster, Philippine Liberation Ribbon with two Bronze Stars, and a commendation from General Colin Powell. His heroic efforts remain part of U.S. military history and are studied at West Point.

After the war, Norman returned to Arizona, where he and his wife Marietta raised six children. They would go on to welcome 18 grandchildren and five great-grandchildren. Norman continued making jewelry until around 2004, when he stopped due to failing eyesight. He spent his final years back in his home village of Hano and passed away in 2007 at the age of 84.

Norman Honie’s legacy lives on through his remarkable body of work—each piece reflecting his deep respect for Hopi culture and his enduring sense of wonder at the world, both real and imagined.