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At a Glance

Design: Native American signed wide turquoise cuff bracelet with heavy-gauge sterling construction, openwork sides, and crisp, measured silverwork
Stone: Large turquoise cabochon consistent with Pilot Mountain material
Color: Vivid blue-green turquoise with copper-brown matrix and strong natural variation
Accent: Hand-notched bezel, stampwork, chased linear cuts, small perforations, and triangular cut-out accents
Metal: .925 sterling silver
Artist: Signed Fred Guerro | Navajo silversmith Fred Guerro Senior
Era: Circa 1980s
Status: Signed heavy Navajo turquoise cuff bracelet
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with substantial wrist presence
• Turquoise: 1 3/4" x 1" (bezel to bezel)
• Face width: approx. 2"
• Inside length: 5 7/8"
• Gap: 1 3/8"
• Total inside circumference: 7 1/4" (L per SCJ size guide)
• Weight: 139.2 grams

Gallery Note:

This Fred Guerro cuff has the bold, disciplined presence collectors look for in late-20th-century Navajo silverwork. The large oval turquoise cabochon anchors the design with vivid blue-green color and broad copper-brown matrix, creating strong natural contrast without excess ornament.

The silverwork is measured and graphic. A hand-notched bezel frames the stone, while crisp stampwork, chased linear cuts, small perforations, and triangular openwork give the wide cuff movement, depth, and visual relief. Polished silver planes keep the composition clean, allowing the stone and construction to carry the piece.

From the side, the bracelet reveals its architecture: a high-profile stone setting, thick tapering shank, smooth interior, and substantial gauge. At 139.2 grams, it has the weight and presence of a serious statement cuff, while the openwork keeps the design from feeling visually heavy.

Built with strong turquoise character, confident bench work, and collector-scale weight, this cuff is a powerful example for those drawn to substantial Navajo bracelets with clarity, structure, and presence.

Hallmark & Maker Notes:

This bracelet is signed FRED GUERRO and carries a STERLING stamp. Reference and market examples associate this full Fred Guerro signature with Fred Guerro Sr., Navajo silversmith, distinguishing it from Fred Guerro Jr. examples that are commonly marked with a junior designation or FG Jr.

Fred Guerro Sr. was born on November 14, 1934, and lived a long life shaped by family, faith, work, and craft. Although he is widely identified as a Diné/Navajo, biographical references describe him as Chishi, Apache Clan, born for Áshiihí, Salt People Clan, reflecting Navajo clan identification rather than a separate primary tribal attribution. He spent much of his life in Alamo, with periods in To’hajiilee and Socorro, and passed away in Albuquerque on November 21, 2020.He spent most of his life in Alamo, with periods in To’hajiilee and Socorro. He passed away peacefully in Albuquerque on November 21, 2020, leaving behind a large family, a strong local memory, and a body of jewelry that continues to circulate among collectors.

By all accounts, Fred was the kind of man people remembered vividly. He was known for his humor, storytelling, teasing nature, and generosity. He opened his home to people who needed a place to stay, a place to recover, or simply a little steady ground. He was also deeply committed to his Christian faith, known for quoting scripture and encouraging others to know it well. That mix of warmth, conviction, and wit seems to have stayed with those who knew him best.

He was not only a silversmith; he also worked with his hands in other demanding trades, building houses, often in adobe, and taking on fence-building jobs that carried him across New Mexico. Family members remembered traveling with him for work and hunting, listening to his stories along the way. That kind of life matters when looking at his jewelry. His pieces do not feel detached from the world of labor, land, and daily use. They tend to have presence, weight, and a practical confidence that sits well within late-20th-century Navajo jewelry.

Reference sources and collector literature associate Fred Guerro’s work with stamp and file work, shadowbox construction, and set-stone jewelry. Reported hallmarks include F G, Fred G, and the previously mentioned "Fred Guerro" appearing in either stamped or inscribed form. Online examples of his signed jewelry also suggest a preference for substantial silver, bold stone presentation, and collector-scale forms, especially cuffs and other statement pieces. What makes his work appealing is that it does not need exaggerated language. The better pieces speak clearly on their own: strong silver, decisive stones, and a direct design sense that feels rooted rather than ornamental. 

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At a Glance

Design: Southwestern wide multi-row spiderweb turquoise cuff bracelet with heavy sterling construction, dark oxidized ground, and hand-stamped detail
Stone: Spiderweb turquoise with professional opinions split between Kingman and high-grade Hubei Province material
Color: Deep teal-blue turquoise with tight dark spiderweb matrix and pale host-rock accents; brighter blue tones are most visible in direct sunlight
Accent: Stamped borders, interior geometric stampwork, arrow stamps, pictorial terminal details, and single turquoise cabochons at each end of the shank
Metal: .925 sterling silver, unmarked
Artist: Greg Thorne | Anglo silversmith-confirmed through SCJ’s appraiser
Era: 1990s
Status: Unsigned artist-confirmed spiderweb turquoise sterling cuff; no visible sterling stamp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with wide wrist coverage, substantial weight, and strong collector presence
• Stones: approx. 7/16" in diameter (bezel to bezel)
• Face width: 1 15/16"
• Inside length: 6" 
• Gap: 1 3/8"
• Total inside circumference: approx. 7 3/8" (L per SCJ size guide)
• Weight: 144.1 grams

Gallery Note: 

This Greg Thorne cuff has the presence of a serious collector piece: substantial in weight, broad across the wrist, and built with a dense multi-row arrangement that gives the bracelet a strong old-style Southwestern look. The dark oxidized ground deepens the overall tone, making the spiderweb turquoise read moodier in shade and indoor light, while direct sunlight brings forward brighter blue flashes within the teal matrix.

The interior stampwork adds one of the cuff’s most distinctive details. Rather than serving only as decoration, the hidden geometric pattern gives the piece a personal, maker-driven quality and reflects the kind of thoughtful construction that rewards close handling.

The turquoise is presented transparently. Professional opinions include Spiderweb Kingman and high-grade Hubei Province material, with recent expert review favoring Hubei based on the bracelet’s 1990s context, visual characteristics, and market history. Because no mine paperwork or laboratory report accompanies the cuff, SCJ presents the stone as high-grade spiderweb turquoise with open, evidence-led identification rather than a closed mine claim.

Hallmark & Maker Notes:

This cuff is unsigned and carries no visible sterling stamp. SCJ identifies the maker as Southwest artisan Greg Thorne through its professional evaluation process, including direct artist confirmation obtained through an SCJ consulting appraiser with established knowledge of Southwestern and Native American jewelry.

As part of that review, the consulting appraiser spoke directly with Greg Thorne regarding the cuff. Thorne recalled the bracelet, the cabochons he remembered as Kingman, and the hidden geometric stampwork on the interior. He described the interior design element as personally inspired by patterns he encountered during a trip to Mexico.

That specific recollection is especially meaningful because the interior stamping is not a generic surface detail; it is a maker-driven feature placed where it is primarily discovered through close handling. The detail supports the attribution while adding context that would not be visible from the unsigned exterior alone.

Greg Thorne is an Anglo silversmith known for work that draws on older Southwestern forms and traditional techniques he learned through exposure to Navajo and Pueblo artists. His pieces often appeal to collectors who appreciate substantial silver, strong stone presence, and the visual language of earlier Native American and Southwestern jewelry, while remaining clearly identified as Anglo Southwestern work rather than Native-made.

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected comments from our Members may be featured in our upcoming Collectors Circle Insights publications.

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At a Glance:

Design: Native American signed three-panel turquoise cluster cuff bracelet with heavy sterling construction
Stone: Mixed turquoise cabochons consistent with Kingman and Morenci materials
Color: Blue and green turquoise palettes with tan and brown matrix, some with pyrite
Accent: Numerous snake-eye turquoise cabochons, a few silver drop accents, and rounded raised borders
Metal: .925 sterling silver
Artist: Signed D C | Navajo silversmith Delbert Chatter
Era: 1990s
Status: Signed Navajo turquoise cluster cuff bracelet with sterling mark
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: extra-large statement cuff with wide wrist coverage
• Largest turquoise: 3/8" × 3/8" (bezel to bezel)
• Face width: 2 5/16"
• Inside length: 6 5/16" 
• Gap: 1 7/16"
• Total inside circumference: 7 3/4" (XL per SCJ size guide)
• Weight: 158.1 grams

Gallery Note:

This signed Delbert Chatter cuff carries the density, scale, and wrist presence collectors look for in substantial late-20th-century Navajo cluster work. The three-panel layout segments the mixed Kingman and Morenci turquoise into a deliberate, rhythmic composition, showcasing a palette that moves between vibrant blues and deep greens, laced with tan, brown, and occasional pyrite flashes. Larger center cabochons are balanced by tightly nested snake-eye accents and rounded raised borders that add texture to the design.

The construction is built for longevity. The heavy panels are anchored by a four-tine heavy-gauge shank, reinforced with hand-twisted silver rope through the center for structural integrity and visual depth. Two fine hairlines are present in the silver, but given the bracelet's sheer weight, gauge, and reinforced construction, they are not considered compromising to its integrity or functionality.

At 158.1 grams, this is a powerful statement cuff. Among other Delbert Chatter’s cluster work, this example reads as a more substantial, heavy-silver design, expected in a collector-grade Navajo cuff.

Hallmark & Maker Notes:

This bracelet is signed "D C" and bears a sterling mark. Reference materials associate this hallmark with Delbert Chatter, a Navajo silversmith associated with the Winslow, Arizona region, who specializes in high-density cluster work.

While public biographical information on Chatter remains limited, market records place his gallery and auction presence across the Southwest and California, with early pieces tracing back to the 1970s. This 1990s cuff stands as a prime example of his most substantial, heavy-silver period, combining masterly lapidary arrangement with an exceptionally robust hand-fabricated chassis.

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected comments from our Members may be featured in our upcoming Collectors Circle Insights publications.

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Navajo-attributed statement turquoise cuff bracelet with heavy-gauge sterling construction, split-shank form, and leaf motifs overlapping the stone
Stone: Large turquoise cabochon consistent with Kingman material
Color: Saturated blue turquoise with golden-brown matrix and natural green-gold movement
Accent: Chased leaf appliqués, rope border, and silver drop accents
Metal: .925 sterling silver (unmarked)
Attribution: Unsigned piece aligned with late-20th-century Navajo silverwork
Era: 1970s
Status: Unsigned and unstamped sterling turquoise cuff bracelet
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: extra-large statement cuff with major wrist coverage and bold collector presence
• Turquoise: 3" x 2 1/2" (bezel to bezel)
• Face width: 3 3/8"
• Inside length: 6" 
• Gap: 1 9/16"
• Total inside circumference: approx. 7 9/16" (L per SCJ size guide)
• Weight: 161.7 grams
  

Gallery Note: 

This cuff is built around one undeniable feature: a massive, high-domed turquoise cabochon with the scale and color presence that stops a collector mid-scroll. The turquoise dominates the face, with its natural variation shifting between sky-blue, aqua, and green-gold across the surface.

The silverwork frames it without competing. A rope border traces the cabochon, chased leaf appliqués rise along the sides and partially overlap the turquoise, and silver drop accents give the design rhythm at key points — enough detail to hold the eye, not enough to pull it from the stone.

From the side, the architecture becomes clear: tall stone profile, open split-shank construction, and heavy-gauge silver supports that lift the face high above the wrist. The design carries the bold confidence of 1970s Navajo statement work, where stone scale, silver weight, and hand-formed construction did the talking.

At 161.7 grams, this bracelet makes its presence known. The openwork shank keeps it from reading as heavy despite the scale, but nothing here is understated. It is a piece built for the turquoise that anchors it.

Hallmark & Maker Notes:

This bracelet is unsigned and carries no visible sterling stamp. The Navajo attribution is based on the silver construction and overall late-20th-century Navajo design characteristics. 

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected comments from our Members may be featured in our upcoming Collectors Circle Insights publications.

✨Collectors Circle Members receive a welcome offer

At a Glance:

Design: Late Harvey Era Silver Arrow sterling silver cuff bracelet with oval turquoise cabochon, split shank construction, and applied silverwork
Stone: High-grade turquoise cabochon visually consistent with Nevada material
Color: Teal-blue turquoise with dark rust-brown matrix and deeper blue-green movement
Accent: Alternating silver beads, hollow circular appliqués, rope wire, stamped borders, and applied side panels
Metal: .925 sterling silver
Maker: Silver Arrow | a commercial workshop & manufacturer
Era: Circa 1940s
Status: Sterling silver turquoise cuff bracelet, hallmarked by the shop
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: domed stone profile with visually substantial face and comfortable medium-scale wrist presence
• Stone: 7/8" x 1" (bezel to bezel)
• Face width: 1 1/2"
• Inside length: 5 5/8"
• Gap: 7/8"
• Total inside circumference: 6 1/2" (M per SCJ size guide)
• Weight: 35.7 grams

Gallery Note:

Many Harvey-era cuffs have survived. Far fewer still feel this alive today.

This signed Silver Arrow bracelet carries museum-caliber preservation and striking visual energy — from its luminous domed turquoise to the crisp silverwork and interior hallmark, all of it arriving eighty years later with unusual strength. A quiet conversation piece for the collector who notices.

The oval saturated cabochon rises in a smooth dome with a moody blue-green hue, dark rust-toned matrix, and a polished surface that still catches the light — more commanding than the small stones typically found in lighter tourist-period bracelets.

The silverwork earns equal attention. Rounded beadwork, well-defined circular appliqués, and textured rope wire panels build a face with genuine density — elaborate where most Harvey-era cuffs are simple, dimensional where others are flat.

What separates this cuff is how completely those qualities have held together: stone, silver, and hallmark intact, none softened by the decades. History and structure, worn in balance.

Hallmark & Maker Notes:

This cuff is stamped STERLING and Silver Arrow on the interior. The sterling mark is crisply struck inside the fletched end of a long arrow that flows directly into the elegant cursive Silver Arrow hallmark running toward the arrow's tip — an exceptionally clean example of the signature.

Silver Arrow belongs to the mid-century Harvey jewelry story rather than to a single artisan signature — and its role in that story was significant. Rather than a destination shop where tourists stopped to browse, Silver Arrow operated as a major wholesale supplier, moving Indian-design silver jewelry through trade networks, curio shops, and commercial channels across the Southwest. In Fred Harvey Jewelry: 1900–1955, jewelry historian Dennis June documents Silver Products Manufacturing Co. of Kansas City, Missouri, as a prominent company producing silver Indian-design jewelry during the 1940s. June describes the company's evolving mark sequence and notes that Harvey jewelry bearing these stamps is enthusiastically collected today.

Three distinct stamp variations help place Silver Arrow pieces accurately within that history. The earliest, used in the late 1930s and early 1940s, is a blocky SILVER PRODUCTS COIN SILVER stamp paired with an arrow symbol, reflecting the company's origins in coin-alloy production. That practice was already fading by the time Silver Arrow emerged — Mexican peso melting had been largely phased out as coin export to the American Southwest was restricted, and sterling ingots in standardized sheet and wire form had become the industry standard. American coins had effectively left the jewelry bench decades earlier, when defacing U.S. currency was outlawed in 1890.

By the 1940s, Silver Arrow had transitioned to its second and most recognizable mark: the long running script Silver Arrow name paired with a STERLING stamp placed inside the arrow's fletching. This is the mark on this cuff, used extensively through the company's active Southwest trade routes. A third and final mark — a tighter corporate block stamp registered as SILVER ARROW-STERLING around 1950, recorded in registries including Lang Antiques — reflects the postwar period, when standardized retail classification reshaped how makers identified their work.

Because this cuff carries the long script-and-arrow hallmark with STERLING struck inside the feathered end, it aligns with the Stamp 2 production period, supporting a 1940s placement. That distinction matters to collectors because it links the bracelet to the company's most active Harvey-era output, not simply to the Silver Arrow name in general.

Secondary market research adds geographic depth to that placement. The workshop's production roots trace to Albuquerque, New Mexico, where it was established in 1938, with operations later relocating to San Luis, Colorado, before the company closed its commercial routes in the 1950s. Registered as a Midwestern business entity for distribution purposes, Silver Arrow's working history was distinctly Southwestern — and the jewelry reflects it. The company frequently employed machine-assisted die-striking to process sheet silver while relying on regional indigenous silversmiths for hand-stamping, stone-setting, and bench-finishing. This cuff, with its layered construction and carefully worked face, represents that collaborative process at a high level of execution.

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected collector notes may be featured in our upcoming Collectors Circle Insights publications.

At a Glance:

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 turquoise cabochons consistent with Persian turquoise
Engraved “TT” shop control mark (not the artist's signature)
Post-war trading era collector's example

Pin Features:

• .925 sterling silver (unmarked)
• Turquoise cluster with vivid blues and fine spiderweb matrix
• Individually formed bezels, hand-laid
• Hand-fabricated construction associated with Navajo work
  
• Original pin assembly
  
• Circa 1950s
• Hallmarked by the shop
• Condition: Excellent — see SCJ Vintage Condition Guide

Pin Specifications:

• Wear scale: medium-large statement — best suited for jackets, denim, or heavier fabrics
• Center turquoise: 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, a mark associated with the Tobe Turpen trading post in Gallup, New Mexico, rather than a conventional artist signature.

From the back forward, the brooch shows construction details collectors tend to notice right away: a heavier silver backplate, individually formed bezels, and an older pin assembly consistent with mid-century bench work. The build is straightforward and solid, with each component formed and assembled by hand rather than derived from standardized parts.

The front carries a clear, balanced composition. The stones are arranged in concentric rings that create a rosette-like structure, drawing the eye inward and then back across the surface. Color shifts from softer sky-blue to more vivid blue, and the contrast against the darkened silver gives the brooch brightness and depth without overwhelming the form.

Stone identification is based on visual assessment rather than laboratory testing. A longtime former Southwestern trading post owner familiar with vintage turquoise identified the stones as likely Persian turquoise based on dome, appearance, and period context. While Iranian turquoise is often associated with clear sky-blue material, documented examples can also show spiderweb matrix, so matrix alone does not exclude that reading.

Up close, the individuality of each stone becomes more apparent. The cabochons are not mechanically matched; slight differences in dome height, spacing, and matrix create a natural rhythm across the surface. The silverwork keeps the composition grounded, so the piece feels resolved without becoming rigid.

The brooch is not stamped sterling, which aligns with earlier Native American jewelry made for trading-post circulation, where purity and maker marks were not always applied consistently.

Taken together, the Turpen-associated mark, hand-built cluster layout, older pin assembly, and overall construction place the brooch most comfortably in a mid-century trading-post context, likely postwar rather than later studio production.

ATTRIBUTION NOTE:

By the 1930s, travelers were already encountering Southwestern jewelry along the railroad corridors and emerging highway routes, 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 shop in 1939, the store functioned not only as a retail counter but as part of a working exchange. Silversmiths arrived with finished pieces, obtained silver and stones, or accepted requests for specific forms, while the final decisions were still made at the bench.

In that sense, the rail and highway trade broadened appreciation for Southwestern jewelry, while Gallup trading posts helped sustain the production networks behind it. Jewelry associated with trading-post production often retains the character of individual bench work rather than strict duplication from a single master pattern, reflecting a mid-century moment when demand was expanding but fabrication still depended heavily on 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

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At a Glance:

Design: Mid-century Taxco sterling silver bracelet and ring set with sculptural botanical fern/frond motifs, a hinged clamper bracelet, and coordinating open-front ring
Metal: .925 sterling silver
Artist: Taxco silversmiths | bracelet maker’s mark partially faded and under research; ring hallmark partially struck
Era: Circa 1950s
Status: Vintage Taxco set with partially faded bracelet maker’s mark and partially struck ring hallmark; ring coordinates with the bracelet but is not an exact match
Condition: Fine — see SCJ Vintage Condition Guide

Bracelet Specifications: 

• Wear scale: wide sculptural presence without excess weight
• Terminal face width: 2 1/2"
• Inside length: 7 1/4"
• Total inside circumference: 6 3/4" - 7 1/2", adjustable via hinge closure & overlapping terminals (M-L per SCJ size guide)
  
• Weight: 55.7 grams

Ring Specifications:

• Wear scale: dramatic coordinating botanical motif & design
• Face width: 1.25"
• Size: 9 with slightly adjustable open front
• Weight: 5.9 grams

Gallery Note:

This vintage Taxco bracelet and ring set brings together bold mid-century silverwork with a sculptural botanical fern motif. The bracelet has a strong hinged clamper form, with overlapping terminals and high-relief frond detailing that gives the piece movement, dimension, and a confident wrist presence.

The coordinating ring echoes the same fern-inspired silver vocabulary while remaining a complementary companion rather than an exact match. Its open-front construction offers slight flexibility, making the set feel collected and organic rather than factory-paired.

The brighter sterling finish highlights the raised botanical contours and curled silverwork, giving the set a polished, wearable presence while preserving the character expected of fine vintage Taxco silver.

Hallmark & Maker Notes:

The interior of the bracelet bears a partially faded circular Taxco maker’s mark. The outer ring appears to read STERLING 925 / TAXCO MEX, with overlapping central initials that may read LGP or LGPP. Research points to P. Lopez G. as a possible lead among documented Taxco silversmiths, but the stamp is not clear enough to confirm a named maker at this time.

The coordinating ring also bears a partially struck hallmark consistent with mid-century Taxco marking conventions. The stamp appears to have been partially cut off during production, leaving too little identifying detail to research or attribute the ring to a specific silversmith with confidence at this time.

Together, the marks, sterling content, hinged clamper construction, open-front ring form, and sculptural repoussé work support a mid-century Taxco attribution, circa 1950s. The maker remains under active research.

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At a Glance:

Native American coin squash blossom necklace consistent with Navajo work
Beads formed from paired Mercury dimes
Peace silver dollar coin blossoms
Yei naja with turquoise cabochons
Heavy-gauge coin silver construction
A strong collector’s example of Navajo coin jewelry

Necklace Features:

• U.S. silver coin construction (Mercury dimes & Peace dollars)
  
• Slightly domed Peace silver dollar coins (1922–1925)
• Coin beads assembled on chain, likely reflecting a later restringing
• Turquoise cabochons in blue-green tones
• Yei motif
• Cast naja consistent with sand-cast construction
• Traditional hook-and-eye closure
  
• Condition: Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: bold matinee length per SCJ size guide — falls at the bust line
• Naja pendant: 2 1/2" x 2 1/16"
  
• Coin blossom diameter: approx. 1 1/2"
• Bead diameter: approx. 16 mm
• Total length (including clasp): 24 3/4"
• Weight: 436.9 grams 

ABOUT THIS PIECE:

This Native American squash blossom necklace reflects the coin-silver tradition long associated with Navajo silversmithing during the mid-twentieth century. Acquired as old pawn, the piece no longer retained its original pawn tag when it came into our possession. The style likely dates to the 1960s–1970s, based on construction, weight, and overall design character.

The strand is composed of paired Mercury dimes, domed and joined to create hollow silver beads that preserve visible traces of the original coin design. Formed and assembled by hand, these elements show natural variation in symmetry, reinforcing the work's individuality.

Suspended throughout the strand are slightly domed Peace silver dollar coins dating from the early to mid-1920s. Their scale interrupts the rhythm of the beadwork and recalls a coin-jewelry tradition in which historic American silver was reworked into substantial wearable form.

At the center hangs a cast Yei naja set with small turquoise cabochons. The pendant draws on Yei imagery associated with Navajo ceremonial traditions, adding a symbolic dimension to the composition.

With its considerable weight, historic coin materials, and a centerpiece rooted in heritage, this necklace stands as a strong collector’s example of Navajo coin jewelry—sculptural in presence and grounded in time-honored Southwestern silversmithing practices.

PERFECT FOR:

• Collectors of vintage Navajo coin jewelry
• Those seeking bold historic silver statement pieces
• Southwestern heritage collections
• Layering with turquoise necklaces and additional silver strands

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

At a Glance:

Design: Native American squash blossom necklace and matching two-stone cuff bracelet set with large-scale silverwork, repeating flared blossom forms, and an eight-stone naja
Stone: Turquoise cabochons consistent with King’s Manassa material
Color: Teal, light green, and emerald green turquoise with golden-brown host rock
Accent: Chased wing, leaf, and silver drop details on the cuff
Metal: .925 sterling silver
Artist: Signed DH | Douglas Harrison, Navajo silversmith
Era: Circa 1970s
Status: Signed vintage Navajo squash blossom and cuff set from a finished studio period, conceived as a matching ensemble
Condition: Excellent — see SCJ Vintage Condition Guide

Necklace Specifications: 

• Wear scale: substantial, matinee length per SCJ size guide — rests below the bust line on most wearers
• Largest stone: 11/16" x 1 1/2" (bezel to bezel)
• Naja pendant: 3" x 3 5/8"
  
• Blossom length range:  1 1/8" - 2 1/2"
• Bead form: traditional seamed bench-made Navajo beads strung on wire
• Bead diameter: 8-9 mm
• Total length (including clasp): 28"
  
• Clasp: hook and eye
• Weight: 299.4 grams
  

Bracelet Specifications:

• Wear scale: statement cuff presence with broad face and balanced stone scale
• Largest turquoise: 1" x 1 1/2" (bezel to bezel)
• Face width: 2 7/8"
• Inside length: 5 3/16"
• Gap: 1"
• Total inside circumference: 6 3/16” (S per SCJ size guide)
• Weight: 85.6 grams
  

Gallery Note:  

This vintage Navajo squash blossom necklace and matching cuff set has a bold, commanding presence. Built in substantial scale, the ensemble is defined by heavy-gauge silverwork, hand-fabricated and hand-assembled elements, square-cut flared blossoms, bench-made beads, and a powerful eight-stone naja that anchors the necklace with unmistakable visual weight.

The turquoise shows soft emerald, teal, and blue-green notes broken by warm golden-brown host rock. Its color and matrix are consistent with King’s Manassa material, though comparable material can also be found in Nevada. As with most historic turquoise, the mine identification is observational, and the precise origin is confirmed only with sourcing documentation or laboratory analysis.

The cuff carries the necklace’s palette into a dramatic wrist form, pairing two cabochons with applied silver details that connect the pieces without making them feel overly matched. Worn together, they create a commanding signed Navajo statement for collectors drawn to generous turquoise, substantial handmade construction, and high-impact Western heritage jewelry.

Hallmark & Maker Notes:

Jewelry bearing the DH hallmark is associated in the vintage market with Navajo silversmith Douglas Harrison. Signed works surface primarily through estate and vintage circulation and are recognized for substantial gauge, generous turquoise use, and strong late twentieth-century presence.

As with many working silversmiths of the period, formal biographical documentation can be limited. This attribution rests on hallmark consistency and comparison across documented examples. Existing pieces represent completed studio production rather than an active contemporary line, making matched necklace-and-cuff sets notably less common than individual works.

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

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Native American signed coral cluster bib necklace with articulated sterling silver construction and graceful upper-chest drape
Stone: Matched coral cabochons arranged in cross-form cluster stations
Color: Warm red-orange coral with an almost matte vintage finish, contrasted by oxidized sterling silver
Accent: Silver drop accents and open sterling connector links
Metal: .925 sterling silver
Artist: Signed H Ortega | Helen Ortega, Navajo silversmith
Era: Circa 1970s
Status: Signed vintage coral and sterling silver bib necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: princess bib — spans the upper chest
• Stones: approx. 5/8" x 1/4" (bezel to bezel)
• Pendant size: approx. 1" x 1"
• Round beads: approx. 8 mm
• Melon beads: approx. 13 x 5 mm
• Total length: 17 1/2" (including clasp)
• Clasp: hook-and-eye closure
• Weight: 75.4 grams

Gallery Note:

This Helen Ortega necklace features a striking articulated bib form, built from repeating cross-form coral-cluster stations joined by open sterling links. Rather than presenting as a single pendant, the necklace spreads across the upper chest in a light, lace-like arrangement, giving the piece movement, drape, and a strong graphic silhouette.

The coral cabochons are closely matched in a warm red-orange hue, lending the piece a softened vintage character. Each cluster is set in sawtooth bezels against dark oxidized recesses, creating a vibrant contrast and making the coral read with greater depth and dimension.

The open connector work is an important part of the design. Diamond-shaped sterling links and slender bar elements give the bib flexibility, allowing the stations to articulate across the neckline instead of sitting as a rigid plate. Small silver drops add rhythm at the cluster edges, while the upper strand of round and melon beads gives the necklace structure without competing with the coral bib.

The result is a vintage coral statement necklace with unusual movement, balanced proportions, and bold color harmony — a piece well suited to collectors drawn to signed Native American silverwork with warmth, graphic presence, and graceful wearability.

Hallmark & Maker Notes:

This necklace is signed Helen Ortega. Public biographical information appears limited, so the listing stays focused on the signed maker mark, coral cluster construction, sterling silver beadwork, foxtail chain, hook-and-eye closure, and circa-1970s character of the piece.

The construction is consistent with Navajo work, including the set-stone coral clusters, sterling silver bead elements, articulated bib layout, and traditional closure. SCJ presents the necklace through its visible signature and construction details rather than adding unsupported biographical claims.

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected comments from our Members may be featured in our upcoming Collectors Circle Insights publications.

✨ Collectors Circle Members receive a welcome offer

At a Glance

Design: Native American turquoise spider cuff bracelet with spider & raised web motif
Stone: Turquoise cabochon consistent with Kingman material
Color: Saturated blue turquoise with minimal tan-gray matrix and light pyrite
Accent: Dimensional spider motif with stampwork and chasing, large sawtooth bezel, rope frame, raised web wirework, and silver drop accents
Metal: .925 sterling silver (unmarked)
Attribution: Navajo spider detail with Anglo webbed shank
Era: 1970s
Status: Unsigned and unstamped turquoise spider cuff bracelet
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium statement cuff with wide rectangular wrist coverage and dimensional spider-and-web presence
• Stone: 9/16 x "3/8 (bezel to bezel)
• Face width: 1 3/8"
• Inside length: 5 7/16" 
• Gap: 1 1/8"
• Total inside circumference: approx. 6 11/16" (M per SCJ size guide)
• Weight: 47.1 grams
  

Hallmark & Maker Notes:

This bracelet is unsigned and carries no visible sterling stamp. The Navajo attribution is based on the spider appliqué’s silver construction, including the stamped and chased detailing, dimensional body, and hand-fabricated elements around the turquoise setting.

The cuff body and raised webbed shank show Anglo influence and/or collaboration, as determined through SCJ’s professional evaluation process. This piece is therefore presented as a Navajo-Anglo turquoise spider cuff rather than a straightforward single-maker Navajo bracelet.

✨ Collector inquiries are welcome. SCJ is open to thoughtful questions, documented observations, and new information that deepens the story of a piece. With permission, selected comments from our Members may be featured in our upcoming Collectors Circle Insights publications.

At a Glance

Design: Native American squash blossom necklace with five-stone naja, open four-petal blossoms, and deeply oxidized patina
Stone: Turquoise cabochons consistent with Persian material
Color: Sky-blue turquoise with brown spiderweb matrix
Accent: Rope-twist bezels, stamped leaf appliqués, and hand-formed blossom details
Metal: .925 sterling silver
Artist: Signed GV | Navajo silversmith under active research
Era: Circa 1970s
Status: Signed vintage statement necklace with hand-inscribed reverse signature
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications: 

• Wear scale: substantial opera-length necklace — rests below the bust on most wearers
• Largest turquoise: approx. 1" x 13/16" (bezel to bezel)
• Naja: 2 7/8" x 3"
  
• Blossom length range: 1 1/2" - 1 5/8"
• Bead form: traditional seamed bench-made Navajo silver beads strung on foxtail chain
• Bead diameter: 8–9 mm
• Total length: 30" (including clasp)
• Clasp: hook and eye
• Weight: 297.3 grams

Gallery Note:  

The strength of this necklace lies in the uniformity of the Persian turquoise: light sky-blue cabochons threaded with dense dark brown matrix, carried consistently from the large naja stones to the blossom stations. The stones have the bold, high-contrast webbing collectors look for in Persian-attributed material, with no obvious visual outliers or later replacements.

The high-profile naja and substantial silverwork give the necklace scale, while the bench-made hollow beads and open blossoms add movement without pulling attention from the stones. At 297.3 grams and 30" in length, this matched piece carries the presence of a serious collector-level squash blossom.

Hallmark & Maker Notes:

The naja is hand-inscribed “GV” on the reverse, scratched into the silver rather than die-stamped. The initials do not appear in available reference sources and remain under active research. The tribal and period attribution is supported by the squash blossom form, naja construction, foxtail-chain stringing, machine-manufactured and hand-assembled beadwork, leaf appliqués, and overall fabrication and oxidized character consistent with 1970s Navajo silverwork.

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