Products

✨ Collectors Circle Members receive a welcome offer

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 visual success of this necklace begins with its turquoise. Sky-blue cabochons carrying rich brown matrix remain closely matched throughout the necklace, creating a cohesive presentation from the blossom stations to the five-stone naja. In large vintage squash blossoms, that degree of consistency is increasingly appreciated, as examples encountered on the secondary market often show more noticeable variation or later stone replacements.

The silverwork reflects the confident hand of an experienced bench jeweler. A high-arched, nearly enclosed naja lends the center a strong architectural presence, while deeply split four-petal blossoms introduce sculptural dimension and quietly recall earlier Navajo squash blossom design traditions. Restrained rope-twist bezels and stamped leaf appliqués establish a repeating visual rhythm that complements rather than competes with the turquoise.

Bench-made silver beads retain the subtle individuality expected of hand-fabricated work and are strung on traditional foxtail chain, a durable construction well suited to a necklace approaching 300 grams. The result is a substantial 1970s Navajo necklace with strong period presence, balanced composition, and carefully matched stones.

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 hand-inscribed nature of the mark is consistent with both engraved maker's signatures and pawn or ownership notations documented in this period, and the distinction cannot be confirmed without additional provenance.

The Navajo attribution and circa 1970s dating are supported by the necklace's overall construction, fabrication techniques, bead assembly, silver finishing, and design language, all of which are consistent with Navajo silverwork of the period.

✨ 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.

Overview:

Circa 1970s, unsigned Navajo sterling silver cuff bracelet with turquoise chip mosaic inlay, a central wheel design, hand-engraved crescent borders, and a heavy-gauge convex shank.

At a Glance:

Vintage heavy-gauge turquoise chip inlay cuff consistent with Navajo work
Central turquoise wheel mosaic with flanking half panels
Crescent-textured engraved border & accents
One-of-a-kind period example — 89.5 grams

Bracelet Features:

• .925 sterling silver
• Inlaid crushed polychrome turquoise chips
• Heavy-gauge convex shank
• Engraved borders and terminals 
• Construction & design consistent with 1970s Navajo silverwork
• Unsigned
• Condition: Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium with broad coverage and low profile
• Face width: 1 1/2"
• Inside length: 5 1/2"
• Gap: 1 3/16"
• Total inside circumference: 6 11/16" (S per SCJ size guide)
• Weight: 89.5 grams
  

ABOUT THIS PIECE: 

This vintage Navajo cuff centers on a repeating constellation of turquoise mosaics, each composed of small fragments of crushed stone fitted into hand-cut silver channels. Known as chip inlay, the method became a defining style in Navajo silversmithing in the 1970s and is closely associated with the work of the Singer family, especially Tommy Singer.

The wide sterling cuff began as a heavy sheet of silver, and it was subsequently hand-engraved before the stones were applied. The arched cuts provide a visual interruption to the inlay work, adding movement and depth across the shank. The crisp-textured crescents also appear along the borders and at the terminals, giving continuity to the composition. The result is a restrained design: a full central inlaid circle flanked by half-panels that highlight the varied hues of the stones and unify the cuff through symmetry and rhythm. 

As the cuff turns on the wrist, the surface shifts between precise geometry and sharply cut texture, giving the bracelet presence without relying on size or heavy ornamentation. Decades of wear have left a deep patina that emphasizes the engraved detail and contrast against the blue palette.

PERFECT FOR:

• Collectors drawn to early chip inlay work
• Navajo handmade jewelry collections
• Anyone who appreciates artisan mosaic jewelry
• Everyday wear with weight and presence
• Wearers who favor pattern over single-stone focus

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

✨ Collectors Circle members receive a welcome offer

At a Glance:

Design: Native American extra-large turquoise cluster cross pendant with balanced cluster placement and elongated cross form
Stone: Eleven green turquoise cabochons consistent with Nevada material
Color: Green, smoky teal, olive, and blue-green tones with black, reddish-brown, and yellow matrix
Accent: Silver beads at the stone settings
Metal: .925 sterling silver
Artist: Signed E. A. | Evelyn Anderson, Navajo silversmith
Era: Late 20th century
Status: Signed vintage Native American jewelry piece
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: extra-large statement pendant — covers upper chest area when worn with choker-length Navajo pearls (not included)
• Largest stone: 7/8" x 1/2" (bezel to bezel)
  
• Width: 3"
• Length: 4 5/8"
  
• Bail: open shepherd's hook designed for direct attachment to heavy-gauge chains, such as foxtail-strung Navajo pearls.
• Weight: 29.9 grams

Gallery Note:

This extra-large Navajo turquoise cross pendant is centered on eleven green cabochons arranged across a substantial sterling silver framework. The stones carry a deep, earthy green palette with scattered blue accents, while black, reddish-brown, and yellow matrix moves through the surface like desert mineral veining. A light polish preserves the stones’ organic character and allows their natural variation to remain central to the piece.

The silverwork is strong and architectural, providing the structure needed to maintain its bold cross form while allowing the turquoise to remain the visual center. The elongated shepherd’s hook bail adds quiet versatility, making the piece suitable for heavier silver chains, multi-strand beads, or Navajo pearls.

Balanced in composition and commanding in scale, this pendant reflects the collector appeal of vintage Navajo jewelry: expressive stone character, confident silver construction, and a meaningful connection to a living tradition of family-taught silversmithing.

Hallmark & Maker Notes:

This pendant is signed and attributed to Navajo silversmith Evelyn Anderson. Anderson is referenced in Native jewelry market sources as part of a multigenerational Navajo silversmithing family and as the mother of noted artisan Aaron Anderson, who learned silverwork within the family from Evelyn Anderson and Wilfred Henry.

Public biographical information appears limited, and similar initials or surname marks can overlap in Native jewelry references. This attribution is presented cautiously based on the signature, comparable market examples, and available family-lineage references.

✨ 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 cuff with a graduated three-stone turquoise arrangement and twisted flat-wire shank with eagle motifs
Stone: Natural turquoise consistent with Cerrillos material
Color: Green turquoise, ranging from deep forest green at the center to brighter open green at the shoulders
Accent: Applied eagle motifs flanking the side stones
Metal: .925 sterling silver (unmarked)
Attribution: Navajo work associated with the late Harvey Era
Era: Circa 1940s
Status: Unsigned and unstamped turquoise trio sterling cuff
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: high profile, medium scale cuff — noticeable without excess
• Largest stone: approx. 3/4" (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

Gallery Note:

This late Harvey-era Navajo cuff centers on a classic trio of domed turquoise cabochons, arranged in graduated order with a clear central focus. The exquisite stones span the green palette, creating a color story closely associated with Cerrillos deposits, long prized for their rich hues and natural variation. Their high-luster surface and exceptionally preserved condition give the bracelet a refined presence.

The silverwork is restrained but assured. A heavy-gauge twisted flat-wire shank gives the cuff structure and tactile movement, while two small hand-chased eagle appliqués flank the side stones with quiet symmetry. With a 1" face and a high profile, this cuff has presence without becoming oversized. It's an elegant choice as a stand-alone or for layered pairings. Timeless and quietly expressive, it reflects the subtle confidence of mid-century Native American silverwork.

Hallmark & Maker Notes:

This bracelet is unsigned and carries no silver purity stamp, a practice consistent with the norm of the period. The absence of a maker's mark is also common in pre-1970s silversmithing, when pieces were made for tourists, trading posts, and curio markets, with an emphasis on designs, wearability, and production rather than individual maker identification.

The attribution is based on the bracelet’s overall language. The three-stone layout, measured ornament, wearable proportion, and controlled design are elements associated with late Harvey-era silverwork created for understated sophistication rather than authorship. 

✨ 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:

Heavy sterling silver Navajo cuff with commanding turquoise centerpiece
Turquoise cabochon consistent with Morenci material
Stamped leaves & twisted wire frame add a strong traditional profile
Collector-oriented cuff built around a high-impact stone

Bracelet Features:

• .925 sterling silver
• Saturated blue turquoise with dark brown matrix & pyrite
• Clean, heavy silver construction with bold split shank 
• Smooth bezel framed with twisted wire
• Crisp crescent stamps applied to leaf motifs 
• Unsigned hand-fabrication associated with Navajo silversmithing
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: substantial presence with balanced proportions 
• Turquoise: 2 3/16" x 1 3/8" (bezel to bezel)
• Face width: 2 5/8"
• Inside length: 5 1/4"
• Gap: 7/8”
• Total inside circumference: 6 1/8” (S per SCJ size guide)
• Weight: 105 grams 
  

ABOUT THIS PIECE:

This substantial Native American cuff centers on a 98-carat turquoise cabochon associated with the Morenci mine based on its vivid blue color, matrix patterning, and pyrite-bearing character. Under that attribution, the material would have been mined before 1984 from one of the Southwest’s most storied and increasingly scarce turquoise sources. 

The setting is bold without feeling crowded. A twisted wire bezel draws the eye inward, while a smooth outer border keeps the frame clean and in harmony with the cabochon's active patterning. Large leaf appliqués at the shoulders introduce a traditional Southwestern note and give the mount a more sculptural outline without competing with the stone.

Crafted from heavy-gauge silver, the cuff is built with an open split shank for a balanced profile on the wrist. At 105 grams, it has the kind of weight collectors expect from a serious vintage cuff (likely 1970s-1980s), pairing statement scale with controlled proportions.

PERFECT FOR:

• Collectors of American turquoise jewelry
• Anyone who appreciates turquoise with strong patterns and pyrite 
• Curated bracelet groupings anchored by a central statement cuff
• Bench-fabricated Southwestern Native American silverwork 

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

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Native American graduated Navajo pearl necklace with oversized, hollow sterling saucer beads, and classic chased petal decoration
Stone: None
Color: Satin sterling silver finish with moderate patina
Accent: Fluted terminal beads, fitted spacers below the cones, and hand-chased decoration
Metal: .925 sterling silver (unmarked)
Attribution: Consistent with Navajo work
Era: Late 20th century
Status: Unsigned and unstamped vintage sterling Navajo pearl necklace with period-appropriate construction
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: opera length — falls at or below the bust on most wearers
• Center bead size: 25 mm, approx. 1"
• Graduated bead range: 10–25 mm, strung on vinyl-coated wire core
• Total length: 30 1/2" (including clasp)
• Clasp: traditional wire hook-and-eye clasp
• Weight: 161.8 grams — substantial for a strand of this length

Gallery Note: 

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.

Hallmark & Maker Notes:

This necklace is unsigned. The Navajo attribution is based on the graduated, hollow bead construction, chased petal decoration, fluted terminal beads, hook-and-eye, and overall late 20th-century Navajo pearl format.

✨ 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 cluster squash blossom necklace with bell-shaped blossoms
Stone: Natural turquoise snake-eye cabochons
Color: Polychrome turquoise in sky-blue, robin’s egg blue, and celadon greens
Accent: Distinctive bell-shaped blossoms with stones framing each opening
Metal: .925 sterling silver (unmarked)
Artist: Attributed to Bernard Bowekaty | Zuni artist
Era: Circa 1940s–1960s
Status: Unsigned and unstamped mid-century Zuni squash blossom necklace
Condition: Fine — see SCJ Vintage Condition Guide

Specifications: 

• Wear scale: opera length — rests at the bust on most wearers and spans the upper chest
  
• Naja: 2" x 1 7/8"
  
• Blossom length: approx. 1 1/4"
• Beads: approx. 6 mm, strung on double-wire 
• Total length (including clasp): 25" 
• Clasp: hook and eye
• Weight: 111.8 grams

Gallery Note:

This mid-century Zuni squash blossom necklace is built around finely arranged snake-eye cabochons. The varied turquoise palette gives the piece a subtle polychrome rhythm across the blossoms and naja, introducing beautiful tonal shifts without overwhelming the refined, delicate stonework.

The bell-shaped blossoms are central to the Bernard Bowekaty attribution, as they are a recognized signature design in his documented work. The sawtooth bezels, tight stone placement, balanced symmetry, and restrained sterling structure reinforce this association. The ensemble keeps the focus on the turquoise spread while highlighting the precision of traditional Zuni cluster work.

The traditional seamed, bench-made silver beads are individually formed, displaying the slight organic variation prized by collectors of vintage Native American jewelry. While the current double-wire stringing is period-appropriate, professional restringing on foxtail chain could be considered to give this 111.8-gram necklace a smoother drape on the chest.

Hallmark & Maker Notes:

This necklace is unsigned, which is common for Zuni work of this era. The attribution to Bernard Bowekaty rests on the distinctive, hand-fabricated bell-shaped blossom forms with tiny turquoise settings framing each opening — a design element closely associated with Bowekaty’s mid-century Zuni work and repeatedly seen in secondary-market and gallery-attributed examples of his squash blossom necklaces.

Bernard Bowekaty was a Zuni Pueblo jeweler and lapidary artist, identified in gallery and reference records as active during the mid-20th century. Published references record him as born around 1927 and passed before 1980, and note that one of his specialties was jewelry using snake-eye turquoise cabochons. Hallmark references associate his signed work with back-to-back BB initials, sometimes followed by ZUNI.

Although this necklace is unsigned, its visual and technical language is consistent with Bowekaty-attributed Zuni work: dense snake-eye turquoise settings, floral cluster stations, a turquoise-set naja, hand-strung silver beads, and the distinctive bell/cone blossom drops with small stones framing each opening. The piece reflects the refined lapidary balance and rhythmic stone placement associated with classic Zuni petit point and snake-eye cluster work.

Because no signature is present, SCJ presents the Bowekaty attribution as a researched visual and technical attribution rather than a signed artist identification. The necklace is best understood as an unsigned mid-century Zuni snake-eye turquoise squash blossom necklace attributed to Bernard Bowekaty on the strength of its bell-blossom construction, cluster layout, and documented stylistic parallels.

✨ 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.

✨ Collectors Circle members receive a welcome offer

At a Glance:

Design: Native American bear claw sterling pendant with turquoise, coral, and intricate silverwork
Stone: Turquoise cabochon consistent with Kingman material
Color: Saturated sky-blue turquoise with minimal matrix
Secondary Stone(s): Two small red-orange coral accents
Accent: Layered wirework, chased leaves, and flower appliqués
Metal: .925 sterling silver
Artist: Signed J.M. | Navajo silversmith under active research
Era: Late 20th century
Status: Vintage Native American jewelry piece with partially faded hallmark
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: mid-size pendant (chain not included)
• Turquoise: 5/16" x 5/16" (bezel to bezel)
• Width:  1 1/4"
• Total length (including the bail): 2 1/4"
  
• Bail: compact, best suited for fine to medium weight chain
• Weight: 13.1 grams

Gallery Note:

This Native American bear claw pendant brings together symbolic strength, saturated color, 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 silver appliqué, while two red-orange coral accents introduce warmth beneath the stone.

The turquoise-and-coral contrast gives the pendant a classic Southwestern presence, while the genuine bear claw adds visual weight and traditional collector interest. Its mid-size scale keeps the piece wearable, but the layered silverwork, strong materials, and symbolic form give it a bold presence beyond its size.

Compact yet expressive, this pendant reflects the appeal of vintage Native American jewelry with strong visual character, meaningful materials, and construction details consistent with Navajo work.

Hallmark & Maker Notes:

The reverse bears a partially faded hallmark that appears to read “J.M.” beside a clear STERLING stamp. The maker remains under active research, as the mark has not yet been conclusively matched to a single documented silversmith.

The Navajo attribution is based on the pendant’s genuine bear claw element, sterling silverwork, turquoise-and-coral arrangement, curling wire accents, layered appliqué, and overall late 20th-century Navajo jewelry vocabulary — elements consistent with Navajo work, though maker identification remains unconfirmed due to the softened hallmark.

✨ 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: 

Squash blossom necklace by award-winning Navajo artisan Peterson Johnson
Turquoise cabochons consistent with Pilot Mountain material 
Heavy-gauge sterling silver construction
Large-scale contemporary collector example

Necklace Features:

• .925 sterling silver
• Green turquoise in olive tones and light matrix
• Hallmarked by the silversmith
• Bench-made beads strung on traditional foxtail chain
• Hook-and-eye closure
• Condition: Excellent — see SCJ Vintage Condition Guide

 Necklace Specifications: 

• Wear scale: opera length statement — rests below the bust on most wearers
• Largest turquoise: 1" x 5/8" (bezel to bezel)
• Naja: 3 1/2" x 3 1/2"
  
• Blossom length range: 1 9/16" x 1 7/8"
• Beads: 8-9 mm 
• Total length: 30" (includes clasp)
• Weight: 179.7 grams

ABOUT THIS PIECE:

To create this squash blossom necklace, Navajo silversmith Peterson Johnson selected a remarkable suite of turquoise cabochons distinguished by a green-dominant palette. The stones move through layered tones of olive and moss with deeper forest hues and occasional flashes of lighter green and blue—traits most often associated with Pilot Mountain turquoise. Although Royston district deposits can produce similar material, the color range and matrix pattern seen here most closely align with those of Pilot Mountain examples.

Expertly polished to highlight subtle variation, the stones bring depth and cohesion to the composition. Johnson’s disciplined silverwork, heavy-gauge construction, balanced proportions, and precise stone placement honor established Navajo silversmithing traditions while presenting a confident revival statement. The result is substantial, culturally rooted, and visually compelling—an exceptional collector piece defined by material quality and craftsmanship.

ARTISAN NOTE:

Peterson Johnson (Navajo), born October 2, 1956, is the son of Alice Johnson and Wilson Johnson and began silversmithing in 1976. A self-taught artist known for traditional Navajo jewelry of exceptional precision and finish, he has received numerous awards throughout the Southwest and is respected among fellow silversmiths for his meticulous craftsmanship, earning him the nickname “The Machine.” His work was exhibited at the Eight Northern Indian Pueblos Arts & Crafts Show from 1994 to 1996 and has been carried by noted Southwestern galleries, including Palms Trading Company in Albuquerque. Today, his jewelry is sought by collectors for its disciplined construction, durability, and distinctive Peterson flair.

PERFECT FOR:

• Collectors of award-winning Navajo silversmith Peterson Johnson
• Building a serious Native American squash blossom collection
• Lovers of green-dominant turquoise, especially Pilot Mountain material
• Southwestern statement styling—from gallery openings to evening wear
• Heirloom collectors seeking masterfully constructed Navajo jewelry

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

At a Glance:

Five-stone turquoise row cuff bracelet by Navajo silversmith Guy Hoskie
Stones visually consistent with Royston district material
Intricate stampwork extending across the cuff shoulders
Balanced medium statement cuff with strong collector appeal

Bracelet Features:

• .925 sterling silver
• Five natural turquoise cabochons with blue-green & deeper green tones
  
• Deep hand-stamping & vintage revival oxidation
• Heavy-gauge sterling silver construction
• Hallmarked by the maker
• Condition: Excellent — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium statement cuff with pronounced presence
• Center turquoise: 1" x 1/2" (bezel to bezel)
• Face width: 7/8"
• Inside length: 5 1/2”
• Gap: 7/8”
• Total inside circumference: 6 3/8" (S per SCJ size guide)
• Weight: 63.5 grams
  

ABOUT THIS PIECE:

This signed Guy Hoskie cuff presents a five-stone turquoise composition with strong visual rhythm and clear material presence. The cabochons move through shades of blue, green, and deeper moss tones, each marked by its own matrix patterning. Rather than aiming for strict uniformity, the bracelet allows that natural variation to become part of the design, creating a Royston-associated palette with depth, contrast, and cohesion.

The silverwork is deliberate and structurally strong. Each stone is set in a smooth bezel, framed with twisted wire, and distributed across a raised outer plate, creating a subtle sense of dimension over the solid inner cuff. Deep stampwork continues through the shoulders and out to the terminals, extending the visual interest well beyond the central setting. The result is a controlled surface work that supports the stones and gives the bracelet a fully resolved profile from end to end, without excess.

The piece reads as confident rather than overstated. Its strength comes from proportion, surface, and material balance: substantial silver, well-chosen turquoise, and stampwork used with purpose. For collectors of signed Navajo jewelry, it offers the combination that matters most—strong stones, convincing structure, and a fully integrated design.

ARTISAN NOTE:

Guy Hoskie is a Navajo silversmith whose work is associated with deep stampwork, substantial silver construction, and strong set-stone compositions. Southwestern galleries consistently identify him as Sunshine Reeves’ brother-in-law, placing him within a family circle known for heavily worked silver and bold stamp patterns. Market-circulated biographies also suggest that he learned the craft from or alongside relatives, especially Sunshine Reeves and Andy Cadman.

Other biographical details repeated across dealer and gallery sources remain unverified. These include claims that he worked for the Navajo Tribe in Window Rock from 1975 to 2000 while making jewelry on the side, became a full-time artisan in the early 1990s, was born in 1952, was born in Fort Defiance, Arizona, later lived in Window Rock, and had family and military ties noted in dealer biographies. These points may offer useful directions for future research, but they should not be treated as independently confirmed.

PERFECT FOR:

• Collectors of signed Navajo silverwork with strong stampwork traditions
• Royston turquoise collections focused on natural color variation
• Curated bracelet groupings anchored by a central statement cuff
• Anyone who appreciates substantial, bench-fabricated Southwestern silverwork 

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

✨ Collectors Circle members receive a welcome offer

At a Glance:

Design: Native American graduated Navajo pearl necklace with smooth hollow sterling silver saucer beads
Stone: None
Color: Bright satin sterling silver with minor scattered oxidation
Accent: None
Metal: .925 sterling silver
Artist: Signed "LY" | Leo Yazzie, Navajo silversmith
Era: Late 20th century
Status: Signed vintage Navajo pearl necklace with classic graduated beadwork and hand-fabricated construction
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: classic matinee length, falling between collarbone and bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 11-25 mm, strung on link chain
• Total length: 22 3/8" (including clasp)
  
• Clasp: traditional wire hook and eye
• Weight: 100.1 grams

Gallery Note: 

Rather than relying on surface ornament, this necklace demonstrates the quiet confidence of classic Navajo beadwork, where proportion, silhouette, and craftsmanship define the design. The smoothly graduated strand builds naturally toward an oversized 25 mm center bead before tapering evenly toward the clasp, creating balanced visual weight and an elegant drape along the neckline. Individually linked hollow beads articulate freely, allowing the strand to move comfortably while maintaining its sculptural profile.

Each bead was hand-fabricated from sterling silver sheet, soldered into a hollow form, then finished with smooth surfaces that place the emphasis on contour rather than decoration. Subtle variations among the beads reflect the individuality expected of bench-made work, giving the necklace a character distinct from machine-perfect production while preserving the harmony of the overall composition.

Silver bead necklaces became part of Navajo silversmithing during the late nineteenth century as metalworking traditions evolved throughout the Southwest. By the early twentieth century, hollow sterling beads had become enduring symbols of both personal adornment and portable silver wealth. Their enduring appeal continues to rest in the balance between refined simplicity, skilled fabrication, and timeless versatility.

Hallmark & Maker Notes:

The necklace is signed "LY" on the silver tag at the closure. This maker's mark is associated with Leo Yazzie, a Navajo silversmith from the Black Mesa region of Arizona who later worked in Flagstaff. His introduction to silversmithing began while attending Northern Arizona University, where a metalsmithing elective redirected his studies toward jewelry. By the early 1980s, he was working as a full-time silversmith, a career that continued for more than three decades before his retirement.

Yazzie's work reflects influences rooted in home and family. He 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 tend to favor measured spacing and deliberate stone placement, where the pattern is created by the stones themselves. When decorative elements such as stamping and chasing are utilized, they are applied with restraint and precision, supporting the form rather than dominating it.

During his active years, Yazzie worked primarily in sterling silver, sometimes incorporating gold. He 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.

Leo Yazzie's pieces have been widely shown through regional and national galleries, earning juried recognition and developing a strong collector following. With his retirement, signed examples now represent completed studio work from his late 20th- and early 21st-century production period.

✨ 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 choker-length Navajo pearl necklace with oversized hand-fabricated sterling silver beads
Stone: None
Color: Lustrous sterling silver with hand-stamped oxidized impressions
Accent: Uniform 1" bead construction with restrained mid-section stampwork and substantial hook clasp
Metal: .925 sterling silver
Artist: Signed PC | Presley and Della Curley, Navajo silversmiths
Era: Late 20th century
Status: Signed vintage Navajo pearl collector necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: bold choker-length necklace — rests close to the base of the neck on most wearers
• Bead size: 25–26 mm, strung on traditional foxtail chain
• Length (including clasp): 16 7/8"  (model shown has a 12 1/2" neck, and average neck sizes may benefit from a 3 – 4" extender for a more relaxed drape)
• Clasp: substantial handmade hook clasp
• Weight: 153.5 grams

Gallery Note: 

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.

Hallmark & Maker's Notes:

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 silverwork 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.

✨ 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.