$200 and above

At a Glance:

Old Pawn Native American turquoise cluster pin brooch
Attributed to the Tobe Turpen trading post, Gallup, New Mexico
Hand-laid rosette setting rather than template layout
High-domed Persian turquoise cabochons
Engraved “TT” shop control mark (not the artist's signature)
Early post-war trading era, circa 1948–1956

Pin Features:

• .925 sterling silver (unstamped)
• Handmade Navajo construction
  
• Original pin assembly
• Organic patina
• Unsigned (period-appropriate)
• Condition: Excellent — see SCJ Vintage Condition Guide>

Pin Specifications:

• Wear scale: medium-large statement — best suited for jackets, denim, or heavier fabrics
• Center turquoise & largest stones: 1/4" x 5/16" (bezel to bezel)
• Diameter: 2 3/8"
• Weight: 41 grams — substantial for a brooch

ABOUT THIS PIECE:

This medium-large Native American cluster brooch bears a small, hand-engraved “TT” on the reverse — not a silversmith’s signature, but a quiet record of passage through the Tobe Turpen trading post in Gallup, New Mexico. Before consistent branding became common, trading houses marked jewelry this way simply to keep track of pieces moving across the counter and back to the bench.

The construction tells the rest of the story. The backplate is cut from thick silver sheet, each bezel shaped individually, and the pin assembly soldered directly to the plate rather than fitted with a later safety catch. The high-domed Persian turquoise cabochons show gentle variation in tone because they were chosen and set one at a time — a working method typical of mid-century bench silversmithing rather than calibrated studio production.

You’ll also notice there is no “STERLING” stamp. Earlier, Native American jewelry was not always marked for metal purity; traders supplied the silver and tested it in-house rather than relying on retail stamps. Standardized purity marks became widespread later as jewelry moved into larger retail channels, so the absence of a stamp here is consistent with the period rather than a concern.

Look closely, and the rosette setting softens into a faint oval, the spacing subtly shifts, and the center sits slightly off-axis. That’s not a flaw but a sign of hand-laid work: the silversmith built the design around the stones rather than forcing them into a template. Early Native American cluster jewelry was assembled in motion at the bench, giving it a natural rhythm that later standardized Southwestern jewelry rarely carries.

Taken together — the engraved trading-post mark, heavier gauge silver, older catch, hand-cut stones, and bench-laid arrangement — the brooch most comfortably aligns with the early post-war trading era, circa 1948–1956. It reads less like a catalog pattern and more like a working example of Native American turquoise jewelry: balanced, substantial, and made to be worn long before uniformity became the norm. In keeping with its versatility, the piece may also be worn as a pendant using a removable pin-to-pendant converter, leaving it unaltered.

ATTRIBUTION NOTE:

By the 1930s, travelers were already discovering Southwestern jewelry along the railroad and early highways, with the Fred Harvey network helping introduce these forms to a national audience. In Gallup, trading posts operated alongside that growing interest but served a different role. When Tobe Turpen opened his doors in 1939, the shop functioned less as a display counter and more as a working exchange. Silversmiths arrived with finished pieces, picked up silver and stones, or accepted requests for certain styles, while the final decisions still happened at the bench.

One way to picture it: the rail and highway trade broadened appreciation for Southwestern jewelry, while Gallup trading posts helped sustain the hands-on production behind it. Pieces associated with Turpen often feel heavier and less standardized because they were shaped individually rather than duplicated from a single master pattern. Turpen-era jewelry reflects a narrower mid-century moment when demand was growing but fabrication remained largely guided by the maker’s hand.

PERFECT FOR:

• Collectors of mid-century Native American jewelry
• Those drawn to early trading-post pieces and turquoise cluster work
• Southwestern statement styling
• Adding substance to lapels, denim, or woven jackets
• Pairing with turquoise necklaces and silver bead strands

✨ Collectors Circle members receive a welcome offer on their first purchase.

At a Glance:

Vintage Native American graduated Navajo pearls
Sterling silver saucer beads with classic chased petal decoration
Fluted terminal beads with fitted spacer below the cones
Period-appropriate unsigned example
Satin silver finish with moderate patina

Necklace Features:

• .925 sterling silver
• Graduated hollow beads strung on vinyl-coated wire core
  
• Hand-chased decoration 
  
• Traditional hook-and-eye clasp
  
• Unsigned
  
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: opera-length per SCJ size guide — falls at or below the bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 10-25 mm
• Total length (including clasp): 30 1/2"
  
• Weight: 161.8 grams — substantial for a strand of this length

ABOUT THIS PIECE:

This Native American Navajo pearl necklace follows the long, graduated strand format that became especially favored in the late twentieth century, when silversmiths emphasized balanced proportions and substantial silver weight. The strand builds visually into a single oversized center bead, then tapers evenly toward the terminals so the necklace reads as one continuous line rather than a sequence of parts.

Each piece was formed from sterling sheet, soldered into a hollow structure, and finished into a flattened lentil profile with seams that nearly disappear into the curvature. Decoration appears as petal-like chased motifs that travel from the seam toward the drill hole, following the contour of the bead. The pattern adds gentle movement while preserving the visual continuity of the strand.

Silver bead necklaces became part of Navajo metalwork in the late nineteenth century as silversmithing techniques spread throughout the Southwest. By the early twentieth century, hollow sterling spheres were commonly worn both as adornment and as portable silver wealth.

Today, substantial strands like this remain a clear expression of Navajo silverwork—durable, elegant, and timeless in both construction and wear.

PERFECT FOR:

• Collectors of vintage Navajo Pearls
• Admirers of visually strong bead necklaces
• Those seeking artisan jewelry without stones
• Southwestern statement styling 
• Layering with turquoise necklaces and additional strands

✨ Collectors Circle members receive a welcome offer on their first purchase. 

At a Glance:

Vintage Native American graduated Navajo pearls
Signed “LY” and attributed to Leo Yazzie
Hand-fabricated sterling silver bead strung on chain
Soft satin silver finish
One-of-a-kind collector example

Necklace Features:

• .925 sterling silver
• Smooth, graduated beads strung on sterling chain
  
• Period hook-and-eye clasp
• Signed by the silversmith on the silver tag at the closure
  
• Condition: Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: classic matinee length strand per SCJ size guide — sits between collarbone and bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 11-25 mm
• Total length (including clasp): 22 3/8"
  
• Weight: 100.1 grams

ABOUT THIS PIECE:

This graduated Navajo pearl necklace reflects classic bench-made Diné silverwork, where contour rather than ornament carries the design. Each hollow saucer element was formed from sheet sterling silver, soldered, and polished to a smooth, near-seamless surface. The 25 mm center bead anchors the piece, settling naturally along the neckline as the strand tapers toward the hand-fabricated closure.

Silver bead necklaces entered Navajo metalwork in the late nineteenth century, following the introduction of Spanish and Mexican silversmithing techniques. By the early twentieth century, hollow silver beads were widely worn as adornment and portable stores of silver. While many historic examples bear stamped decoration, unadorned vintage strands represent an equally enduring interpretation of the form.

ARTISAN NOTE:

Leo Yazzie is a Navajo silversmith from the Black Mesa region of Arizona who later worked in Flagstaff. His path into jewelry began at Northern Arizona University, where a metalsmithing elective redirected his studies toward silversmithing. By the early 1980s, he was producing jewelry full-time, a career that continued for more than three decades before he retired.

The structure of his work reflects influences rooted in home and family. Yazzie has cited the storm-pattern geometry found in his mother’s and grandmother’s Navajo weaving, along with Navajo spiritual teachings, as formative sources. Rather than relying on heavy surface ornament, his designs favor measured spacing and deliberate stone placement, where the pattern is created by the stones themselves. When used, decorative elements such as stamping are applied with restraint and precision, supporting the form rather than dominating it.

He worked primarily in sterling silver, sometimes incorporating gold, and preferred fine turquoise alongside coral, sugilite, lapis, and opal. Precisely fitted inlay and controlled settings became consistent features of his mature pieces, emphasizing balance between material and form.

During his active years, his jewelry was widely shown through regional and national galleries, earned juried recognition, and developed a strong collector following. With his retirement, signed examples now represent completed studio work from his late twentieth- and early twenty-first-century production period.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Admirers of traditional, graduated Navajo pearls 
• Those seeking artisan jewelry without stones
• Southwestern and understated styling
• Layering with turquoise necklaces and other pearls

✨ Collectors Circle members receive a welcome offer on their first purchase. 

At a Glance:

Vintage Native American choker-length Navajo pearls
Signed “PC” — Presley and Della Curley
Uniform oversized sterling silver bead construction with stampwork
Commanding collar length presence
One-of-a-kind collector piece

Necklace Features:

• .925 sterling silver
• Handmade 1" Navajo pearls strung on traditional foxtail chain
• Traditional hand-stamped impressions around the mid-section of each bead
• Substantial handmade hook clasp
• Signed by the silversmiths
  
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: bold choker-length per SCJ size guide - rests close to the base of the neck
• Bead diameter: 25-26 mm (approx. 1")
• Total length (including clasps): 16 7/8" (the model shown has a 12 1/2" neck – average neck sizes may benefit from a 3-4" extender for a relaxed drape)
  
• Weight: 153.5 grams

ABOUT THIS PIECE:

This strand of Native American-made beads presents a dramatic row of unusually large silver beads defined less by ornament than by proportion — a measured sequence of substantial, hand-formed elements assembled into a collar-length arrangement. Each bead was individually shaped, joined, and stamped in an understated fashion before being strung together, allowing the visual rhythm to arise from form and spacing rather than dense decoration.

The hallmark stamped on the terminal bead identifies the work of Della and Presley Curley, whose jewelry is recognized across documented examples for consistent construction and finishing. Even in late-twentieth-century work, producing matched beads of this scale required careful forming, soldering, and individual stamping — a demanding process that highlights the Curleys’ superior artistry. These Navajo pearls are a testament to the harmonious, coordinated bench practice typical of their partnership, where each artisan's vision reads as a continuous form.

Silver bead necklaces developed from early Diné silversmithing in the late nineteenth century, following the adoption of metalworking fabrication learned over the years through contact with Spanish and Mexican smiths. By the early twentieth century, hollow beads had become a distinctive element of Navajo adornment, valued both for their aesthetics and as portable wealth. These pearls demonstrate adherence to methods passed down through generations and the inherent quality of traditional Navajo silverwork.

ARTISAN NOTE:

Della and Presley Curley are a Navajo husband-and-wife silversmith team active from the 1970s through the 1990s, signing their jewelry with a shared “PC” hallmark. Their recorded working period follows the waning of the traditional trading-post system, when many Diné artisans carried on time-honored silversmithing methods within independent family workshops, where knowledge passed bench to bench rather than through formal studios.

As with many makers of this generation, their history is preserved primarily in their creations rather than in print. Attribution rests in the metal — the hallmark, steady hand fabrication, and crisp embellishments — all elements associated with the growing preference for artisan recognition and robust, well-crafted Navajo silverwork in the late twentieth century.

The shared mark reflects a household bench practice common in Navajo jewelry making, where collaboration often mattered just as much as individual authorship. With limited written record, understanding their work has developed through comparison of authenticated examples and the recurring characteristics recognized by collectors over time. Although later activity has not been formally documented, their work is placed within the Navajo silver revival and the decades that followed, when reclaiming historic forms in jewelry evolved from renewed interest into established tradition — a quiet lineage living not in catalogs, but with those who recognize the heritage reflected in each piece.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Admirers of Navajo pearls
• Those seeking strong statement pieces without stones
• Striking as a choker for special occasions
• Everyday wear when paired with an extender for a more relaxed drape
• Anyone who enjoys chokers and layered styling

✨ Collectors Circle members receive a welcome offer on their first purchase. 

Ring Features:

• .925 sterling silver
• Handmade Navajo construction
  
• Hallmark attributed to Robert Mayes
• Circa late 1980s
• Blue-green turquoise cabochon consistent with Royston material
• Condition: Fine — see SCJ Vintage Condition Guide>

Ring Specifications:

• Wear scale: medium-large
• Turquoise: 1 1/8" x 1/2" (bezel to bezel)
• Face width: 1/2"
• Length: 1 1/8"
  
• Ring size: 7.25
• Weight: 12.9 grams

ABOUT THIS PIECE:

This contemporary Native American ring is all about the stone. 

The silverwork is intentionally minimalist — a slim bezel that allows the turquoise to command the composition. Along the shoulders, chased crescent moons introduce subtle movement, grounding the design in Navajo bench tradition without competing for attention.

The shank carries quiet structural strength. It remains wide where it meets the face and at the adjustable end, tapering only at the center for comfort against the finger. This construction keeps the ring visually balanced from above while ensuring it wears securely and comfortably.

The cabochon is the undeniable focal point. Vivid green hues, layered with flashes of blue, move across the warm golden matrix, creating a level of contrast and depth prized by many turquoise enthusiasts. The patterning feels organic and dynamic rather than flat, with color that shifts subtly with changing light and a dramatic interplay of the elements, hues, and texture — a visual character often associated with Royston material.

The elongated vertical silhouette enhances the effect by lengthening the finger while maintaining a confident, streamlined profile. It reads bold through colors rather than proportion or heavy ornamentation.

Hallmarked and attributed to Navajo silversmith Robert Mayes, this late-1980s example reflects an era when bold cabochons and restrained silverwork were often paired in Southwestern studio jewelry.

PERFECT FOR:

• Collectors who prioritize exceptional turquoise
• Those drawn to clean, vertical statement rings
• Modern Southwestern and tailored styling
• Layering with silver cuffs or wearing as a singular focal piece
• Anyone who appreciates vivid Royston-toned matrix patterns

✨ Collectors Circle members receive a welcome offer on their first purchase.

Pendant Features:

• .925 sterling silver
• Set with eleven green turquoise cabochons consistent with Nevada material
• Color tones range from smoky teal to olive and blue-green
• Matrix showing black, reddish-brown, and yellow veining
• Hand-polished finish preserving the stones’ organic character
• Signed “E.A.”, attributed to Navajo silversmith Evelyn Anderson
• Shepherd's hook bail
  
• Condition: Very Fine — see SCJ Vintage Condition Guide>

Pendant Specifications:

• Wear scale: extra-large statement pendant — covers upper chest area when worn with choker-length
• Largest stone: 7/8" x 1/2" (bezel to bezel)
• Width: 3"
• Length: 4 5/8"
  
• Weight: 29.9 grams

ABOUT THIS PIECE:

This extra-large cross pendant features eleven dark green turquoise cabochons set across a sterling silver framework. Subtle variation in matrix and tone gives the stones an organic rhythm, while the elongated hook bail allows the pendant to move easily between different types of necklaces—from bead strands to Navajo pearls—reflecting the practical versatility often favored in handmade Native jewelry.

Silversmith Evelyn Anderson stands at the heart of a distinguished lineage of Navajo silversmiths spanning three generations. Mother to renowned artisan Aaron Anderson, she helped shape the artistic foundation that would later define his celebrated sand cast and tufa-cast work—skills first learned within the family circle from Evelyn and his stepfather, Wilfred Henry. This turquoise cluster cross pendant reflects that legacy, where careful stone selection and balanced silverwork speak to a tradition passed from one generation of makers to the next. Whether worn alone or layered with strands of Navajo pearls, it stands as both a striking adornment and a meaningful expression of Navajo silversmithing heritage.

Bold in scale yet balanced in presence, the pendant reflects both artistic expression and cultural continuity.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Southwestern and Boho style enthusiasts
• Those seeking large, bold statement pieces
• Admirers of turquoise with character and matrix
• Anyone who appreciates handcrafted artisan jewelry with cultural significance

✨ Collectors Circle members receive a welcome offer on their first purchase. 

Bolo Tie Features:

• .925 sterling silver (unmarked)
• Turquoise cabochon (consistent with Sleeping Beauty material)
• Genuine bear claw
• Hand-chased appliqués
• Heavy-gauge silverwork
• Clip-style clasp
• Construction aligns with Navajo silversmithing
• Unsigned (period appropriate)
• Condition: Very Fine - see SCJ Vintage Condition Guide

Bolo Tie Specifications:

• Turquoise stone: 3/4" x 11/16" (bezel to bezel)
• Slide: 2 1/4" x 1 1/2"
• Total length: 45" (includes tips)
• Cord condition: like-new (light markings are due to the installation of the cord through the slide clip)
• Tips condition: very good (gently worn, light patina)
• Weight: 51.1 grams
  

ABOUT THIS PIECE:

This Native American handcrafted bolo tie is unsigned—common in earlier examples—yet its construction, materials, and stylistic traits are consistent with Navajo silversmithing traditions. The pairing of turquoise and bear claw has longstanding roots in Diné jewelry-making, appearing most frequently in vintage work, with occasional revival pieces honoring that established design heritage.

The bear claw is traditionally regarded as a symbol of strength and protection. The rich blue turquoise cabochon presents visual characteristics of Sleeping Beauty, one of Arizona's most legendary mines. Raised leaf appliqués frame the central elements with restraint, allowing the natural materials to remain the focus of the slide.

Finished with a black braided leather cord and silver tips, this bolo tie carries a presence without excess—an expressive yet grounded piece for collectors drawn to designs that quietly elevate Navajo work within the Western culture.

PERFECT FOR:

• Collectors of authentic Native American jewelry
  
• Southwestern and Boho style enthusiasts who enjoy a unique look over tees or button-down shirts
• Cowboys and cowgirls who appreciate Navajo designs
• Those seeking compact bolos with strong visual impact and cultural significance
• Admirers of unique artisan bear-themed accessories
  

✨ Collectors Circle members receive a welcome offer on their first purchase. 

At a Glance:

Late-20th-century Southwestern Eagle Dancer kachina bolo tie
Produced under the Broken Arrow Traders brand
Hallmark associated with Kay Johnson
Additional attribution to Navajo silversmith Pete Morgan
Set with seven turquoise cabochons consistent with Blue Gem material
Accented with five red-orange coral stones
Large-scale figural sterling silver collector piece

Bolo Tie Features:

• .925 sterling silver
• Seven vivid blue turquoise cabochons
• Five red-orange coral accents
• Layered hand-fabricated silver construction
• Figural Eagle Dancer kachina motif
• Thick braided leather cord
• Heavy-gauge sterling tips & ferrules
  
• Double-ring slide back
• Hallmarked 
• Condition: Very Fine - see SCJ Vintage Condition Guide

Bolo Tie Specifications: 

• Wear scale: bold statement piece
• Largest turquoise: 1" x 5/8" (bezel to bezel)
• Slide: 6 3/4" x 5"
• Total length: 38 1/2" (includes tips)
• Cord condition: very good (light wear from slide movement)
• Tips & ferrules condition: very good with moderate patina
• Weight: 180.9 grams

ABOUT THIS PIECE: 

This monumental Eagle Dancer kachina bolo tie is a dramatic late-20th-century Southwestern statement piece produced under the Broken Arrow Traders brand, which is closely associated with Anglo silversmith Kay Johnson. Its oversized figural form, layered silver construction, and commanding scale place it firmly within the bold studio-made aesthetic prized by collectors of wearable Southwest art.

The slide centers on a striking Eagle Dancer figure with outstretched wings, richly accented by seven bright blue turquoise cabochons and five coral settings. Together, the stones create dynamic contrast against the dark sterling surface, while the figure's dimensional, overlapping silverwork gives it an unusual presence and movement. A heavy braided leather cord with substantial sterling tips and ferrules completes the piece with a confident, balanced drape.

Because this piece carries additional attribution to Navajo silversmith Pete Morgan, it is best presented as Navajo-attributed work produced by Broken Arrow, rather than as a straightforward single-maker piece. The layered attribution reflects the strongest information presently available while honoring the complexity often found in Southwestern workshop production.

Collector-wise, this is the kind of bolo that reads more like sculptural jewelry than conventional neckwear. It has the visual impact, scale, and workmanship to stand comfortably in an advanced Southwestern jewelry collection.

ATTRIBUTION NOTE: 

The hallmark on this piece aligns with the Broken Arrow Traders brand, which is regularly associated with Kay Johnson, identified in hallmark references as an Anglo silversmith. Secondary-market listings under the Broken Arrow name repeatedly describe Johnson as the maker behind that brand identity, supporting this attribution. 

A comparative evaluation further supports an association between the stylized "M" mark on this piece and Pete Morgan. Documented business records clarifying the exact relationship between Broken Arrow Traders, Johnson, and Morgan were not readily available.

PERFECT FOR:

• Collectors of signed Southwestern & Native American jewelry
• Anyone seeking extra-large bolo ties
• Southwestern style lovers
• Admirers of kachina-inspired designs
  
• Those who appreciate conversation pieces

✨Collector’s Circle members receive a welcome offer on their first purchase.

Bolo Tie Features:

• .925 sterling silver
• Turquoise cabochon consistent with Sleeping Beauty material
• Red coral accent with warm orange overtones
• Sandcast and chased silverwork on slide and appliqués
• Signed by the artisan
• Two genuine bear claws
• Rigid double-ring cord clasp
• Condition: Very Fine - see SCJ Vintage Condition Guide

Bolo Tie Specifications:

• Turquoise: 5/16" x 1/2" (bezel to bezel)
• Coral: 1/4" x 1/2"
• Slide: 3" x 2 5/8" (size medium)
  
• Total length: 45" (includes tips)
• Cord condition: minor signs of wear
  
• Tips condition: very good (gently worn, light patina)
• Weight: 69.2 grams
  

ABOUT THIS PIECE:

This powerful bolo tie by the late Navajo silversmith Elaine Sam centers on a fully dimensional sandcast bear, a recurring motif in her work. Richly textured and sculpturally rendered, the dominant figure projects forward with convincing movement, giving the form vitality rather than a flat ornamental presence. A chased silver leaf rises along each side, introducing lift and contour. Framed within a sweeping double-claw crescent, the composition carries an undercurrent of protection and cohesion, an arrangement that feels intentional and grounded.

The Sleeping Beauty turquoise, associated with one of Arizona’s most celebrated mines, exhibits a clear sky-blue tone with minimal matrix, complemented by a red-orange coral that adds warmth and depth to the ensemble. The dynamic combination of turquoise and coral reflects a longstanding material pairing deeply rooted in Native American silverwork.

Finished with a classic black braided leather cord and silver tips, this piece exemplifies Elaine Sam’s confident approach to form, symbolism, and wearability. It stands as a strong representative example of her work and her enduring contribution to contemporary Navajo jewelry—an authentic, collectible piece valued for craftsmanship, material integrity, and cultural resonance.

ARTISAN NOTE:

Hallmarked "E S," this bolo tie is the work of Navajo silversmith Elaine Sam (circa 1955–2020). Her fuller stamp, "NAVAJO HANDMADE ES," is documented in published hallmark reference books and recognized in trading post records.

Elaine Sam is noted for set-stone jewelry featuring dimensional silverwork and applied elements, particularly bear claw necklaces, bracelets, watches, and pendants. Her designs are recognized for bold symbolism, strong construction, and balanced use of turquoise (often Sleeping Beauty) and coral.

Signed works by Sam are collected for their craftsmanship, material quality, and clear artistic identity within contemporary Navajo jewelry.

PERFECT FOR:

• Collectors of documented Navajo silversmiths
• Enthusiasts of bear and claw symbolism
• Western formalwear and elevated ranch styling
• Those who appreciate statement bolo ties
• Admirers of sandcast silver and sculptural Native design

✨ Collectors Circle members receive a welcome offer on their first purchase. 

Pendant Features:

• .925 sterling silver 
• Genuine bear claw
• Natural sky-blue turquoise consistent with Sleeping Beauty material
• Red-orange coral accents
• Layered silver appliqué framework
• Partially faded silversmith hallmark
• Compact bail (best suited for fine to medium weight chain)
• Pendant only (chain not included)
• Condition: Very Fine — see SCJ Vintage Condition Guide

Pendant Specifications:

• Wear scale: mid-size pendant
• Turquoise: 5/16" x 5/16” (bezel to bezel)
• Width:  1 1/4"
• Total length: 2 1/4" (including the bail)
  
• Weight: 13.1 grams

ABOUT THIS PIECE:

This Native American bear claw pendant brings together symbolic strength and detailed silverwork in a compact yet commanding form. A vivid sky-blue turquoise cabochon anchors the upper center, framed by curling wirework and layered sterling appliqué. Two coral accents introduce warmth beneath the stone, creating the classic turquoise-and-coral contrast long favored in Navajo jewelry.

The reverse carries a partially faded hallmark that is difficult to identify conclusively due to wear. The construction techniques, materials, and traditional design elements align with Navajo silverwork.

Within Navajo tradition, the bear represents strength, resilience, and protection. The claw is worn as a symbol of that protective presence. Turquoise has long held cultural and spiritual significance in Diné jewelry, valued for its beauty and association with balance and well-being, while coral entered the Southwest through historic trade routes and became an enduring complementary material in Navajo jewelry-making.

Small to medium in scale yet bold in impact, this versatile piece is both a conversation starter for special events and comfortable for everyday wear.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Southwestern style enthusiasts
• Those seeking Navajo motifs with strong cultural significance
• Admirers of bear-themed jewelry

✨ Collectors Circle members receive a welcome offer on their first purchase. 

At a Glance

Vintage Native American Navajo cuff bracelet
Consistent with the late Harvey Era (not a Fred Harvey tourist piece)
Natural high-luster turquoise trio attributed to Cerrillos
Hand-chased eagle appliqués
Twisted-wire sterling shank with natural patina
Unsigned period piece
One-of-a-kind collector example

Bracelet Features:

• .925 sterling silver (unmarked)
• Three domed green turquoise cabochons
• Applied eagle motifs
• Circa 1950s
• Heavy-gauge sterling shank
• Condition: Excellent — see  SCJ Vintage Condition Guide

Bracelet Specification:

• Wear scale: medium (noticeable without dominating)
• Largest turquoise: 3/4" in diameter (bezel to bezel)
• Face width: 1"
• Inside length: 5 1/4"
• Gap: 1 1/4"
• Total inside circumference: 6 1/2" (M per SCJ size guide)
• Weight: 37.3 grams

ABOUT THIS PIECE:

This Harvey Era Navajo bracelet showcases three exquisite green turquoise stones, with characteristics closely associated with Cerrillos deposits, traditionally prized for their rich green hues and natural variations. Smoothly domed and arranged in a classic trio, this cuff showcases a balanced presence with a defined center focus. The cabochons rest atop an equally compelling twisted-wire sterling silver shank, blending their elegance with the strength of the flat-wire design.

Gracefully flanking the side stones, the two small applied hand-chased eagle motifs serve as restrained decorative accents rather than as overt symbolism, an approach associated with the late Harvey Era, in which harmony and proportion were favored, and ornamentation was intentionally simple. The symmetry of the elements, shank style, and absence of a signature are indicative of 1950s jewelry, created for wearability, longevity, and understated sophistication rather than authorship.

The result is a cuff that feels timeless and quietly expressive, reflecting the subtle confidence of mid-century Native American silverwork. A conversation piece for social gatherings, this cuff is also comfortable and compact enough for everyday wear. 

PERFECT FOR:

• Stand-alone styling or layering without overpowering other pieces
• Collectors of Harvey Era Native American jewelry
• Admirers of green turquoise stones
• Those drawn to symmetrical designs with a defined center focus
• Boho-Chic enthusiasts seeking vintage, artisan-made bracelets
• Anyone who values mid-century jewelry with historical significance
  

✨Collector’s Circle members receive a welcome offer on their first purchase.

Bracelet Features:

• .925 sterling silver
• Turquoise cabochon consistent with Royston district material
• Vivid blue-green stone with golden-brown matrix
• Construction and design consistent with Navajo work
• Strong and minimalist split-shank design
• Applied feather motifs
• Unsigned
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium statement cuff
• Turquoise: 1 11/16" x 1" (bezel to bezel)
• Face width: 2 1/16"
• Inside length: 5 1/2" 
• Gap: 1 1/16"
• Total inside circumference: 6 9/16" (M per SCJ size guide)
• Weight: 63.4 grams
  

ABOUT THIS PIECE:

This cuff is built around a single commanding stone.

The turquoise carries a saturated blue-green color across a broad spread of golden-brown matrix, a visual character strongly associated with Royston district material. The cabochon has real movement, with the matrix creating warmth and contrast against the cooler body color of the stone. It feels substantial and grounded without becoming visually heavy.

The silverwork is direct and confident. A clean bezel keeps the focus on the stone, while the split shank opens the bracelet visually and gives the large center setting room to breathe. Applied feather motifs add dimension and introduce a traditional design element without overwhelming the overall restraint of the piece.

There is a strong silver presence here, but the bracelet remains balanced. It wears as a bold vintage cuff with compelling stone character, clear structure, and enough scale to stand comfortably on its own.

PERFECT FOR:

• Collectors of vintage Navajo silverwork
• Those drawn to bold Royston matrix patterns
• Anyone who appreciates medium-size statement cuffs
• Southwestern, Western, and elevated Bohemian styling
• Pairing with turquoise rings or wearing as a single focal piece

✨ Collectors Circle members receive a welcome offer on their first purchase.