Products

At a Glance:

Vintage Native American graduated Navajo pearls
Signed “LY” and attributed to Leo Yazzie
Smooth, graduated beads
Soft satin silver finish
One-of-a-kind collector example

Necklace Features:

• .925 sterling silver
• Hand-fabricated beads strung on chain
  
• Period appropriate 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 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:

Signed Navajo turquoise & coral bear-themed bolo tie by Elaine Sam
Sculptural bear-centered design with two genuine claws
Turquoise cabochon consistent with Sleeping Beauty material, accented by red coral
Substantial statement slide with strong symbolism and collector appeal

Bolo Tie Features:

• .925 sterling silver
• Turquoise cabochon consistent with Sleeping Beauty material
• Red coral accent with warm orange overtones
• 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:

• Wear scale: medium-large slide with strong visual presence
• Turquoise: 5/16" x 1/2" (bezel to bezel)
• Coral: 1/4" x 1/2"
• Slide: 3" x 2 5/8"
  
• Total length (including tips): 45"
• Cord condition: minor signs of wear
  
• Tips condition: gently worn with light patina
• Weight: 69.2 grams
  

ABOUT THIS PIECE:

This signed bolo tie by the late Navajo silversmith Elaine Sam centers on a fully dimensional 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 turquoise character aligns with Sleeping Beauty examples, one of Arizona’s most celebrated mines. The cabochon exhibits a clear sky-blue tone with minimal matrix, complemented by a red-orange coral that adds warmth and contrast to the ensemble. The dynamic combination of turquoise and coral reflects a longstanding material pairing deeply rooted in Native American silverwork and favored by Sam.

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 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. 

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.

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

At a Glance: 

Zuni squash blossom necklace hallmarked "Effie C. Zuni."
Sterling silver coral design with flat-head snake naja
Traditional Zuni snake motif with inlaid detailing
Vintage collector-level necklace

Necklace Features:

• .925 sterling silver
• Set red-orange corals & inlaid coral snake eyes
  
• Bench-made beads strung on chain
• Hook-and-eye closure
• Hallmarked with family stamp
• Condition: Excellent — see SCJ Vintage Condition Guide

Necklace Specifications: 

• Wear scale: matinee length per SCJ size guide — naja pendant rests above the bust 
• Corals: 1/4" x 1/4" (bezel to bezel)
• Naja pendant: 2 3/8" x 2 5/16"
• Blossom length: approx. 1 1/8"
• Bead diameter: 6-7 mm
• Total length (including clasp): 23"
• Weight: 96.6 grams

ABOUT THIS PIECE: 

This Native American coral squash blossom necklace reflects the distinctive design language associated with Effie Calavaza and the Calavaza family workshop. Known for the flat-head snake motif that winds around turquoise or coral stones, the family developed one of the most recognizable visual vocabularies in Zuni jewelry.

Here, the snakes coil around vivid red-orange coral cabochons, carrying the motif across the necklace with strong visual rhythm from blossom to naja. Their small, inlaid coral eyes add a precise, labor-intensive detail that sharpens the character of the design and has become closely associated with Calavazas.

Handcrafted in sterling silver, this classic squash blossom form brings together sculptural silverwork, bold color contrast, and a motif-driven composition with lasting collector appeal.

ARTISAN NOTE: 

Effie Calavaza (1928-2019) remains one of the best-known names in Zuni jewelry. She began silversmithing in the mid-1950s after learning the craft from her husband, Juan Calavaza, and is generally understood to have remained active into the mid-1970s. Working primarily in sand-cast sterling silver, she became known for nugget design and for surrounding large turquoise and coral stones with her now-iconic snake motif, a visual signature closely associated with her work.

Calavaza received recognition for her artistry at the Inter-Tribal Indian Ceremonial in Gallup, New Mexico, and her jewelry has been represented by respected Southwestern dealers, including Richardson Trading Company of Gallup, New Mexico. Her pieces are typically stamped with the mark "EFFIE C. ZUNI," a hallmark also used within the Calavaza family workshop.

A widely collected artist, Effie Calavaza’s work helped define a distinctive style within Zuni silversmithing. Her legacy continues through her daughters—Georgiana Yatsattie, Gloria Jean Garcia, and Susie Calavaza—who also became jewelers and carried forward the family’s celebrated design tradition.

PERFECT FOR:

• Collectors of Calavaza workshop pieces
• Those drawn to snake-themed jewelry
• Compact squash blossoms with visual impact
• Building a coordinated vintage ensemble

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

At a Glance:

Design: Native American signed spiderweb turquoise cluster cuff bracelet with polished heavy-gauge solid shank
Stone: Natural spiderweb turquoise consistent with Turquoise Mountain material
Color: Sky-blue and pale blue stones with green spots and dense brown and golden spiderweb matrix
Accent: Silver beads at the stone settings
Metal: .925 sterling silver
Artist: Signed M. Spencer | Navajo silversmith Mary Ann Spencer, Gallup, NM
Era: Late 20th century
Status: Signed Navajo turquoise cluster cuff and maker-labeled
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium-width cuff with substantial visual presence
• Largest turquoise: 3/4" × 9/16" (bezel to bezel)
• Face width: 1 9/16"
• Inside length: 5 7/8" 
• Gap: 1 1/2"
• Total inside circumference: 7 3/8" (L per SCJ size guide)
• Weight: 92 grams

Gallery Note:

Twelve natural spiderweb turquoise cabochons are set in two staggered rows across the center face — rounded ovals, elongated forms, and tighter cabochons positioned so the color and web pattern travel naturally from one stone to the next. The ground shifts from soft sky-blue to blue-green, with pale blue passages and green spotting laced by a fine web of golden to red-brown matrix. Each carries its own character; together they read as a carefully chosen suite.

Spiderweb patterning is among the most sought expressions of Turquoise Mountain material, and this cluster shows why — the webbing is fine, consistent, and distributed across stones of genuine visual range rather than selected for uniformity.

A polished heavy-gauge shank rises cleanly beneath the cluster, bright and substantial against the aged complexity of the turquoise. Silver beads punctuate the settings without crowding them, and the bezels are tight and even — the confident, finished presence collectors look for in Mary Ann Spencer's work.

Hallmark & Maker Notes:

The shank is stamped “M. SPENCER Sterling,” Mary Ann Spencer’s recognized hallmark. An accompanying adhesive label reading “MARY ANN SPENCER TURQ MNTN” identifies both the maker and the stated turquoise source. Turquoise Mountain is a trade name associated with material from the Kingman, Arizona region; in this listing, the stone attribution is supported by the accompanying label and the bracelet’s visual character rather than independent gemological verification. For a vintage or pre-loved piece, that kind of surviving material notation is a meaningful collector detail.

Spencer is a Navajo silversmith based in Gallup, New Mexico. Market and gallery biographies commonly note that she learned silversmithing at age 13 within a working artist community on the Navajo reservation. Her multi-stone cluster cuffs are among her most recognized and collected formats, and her work appears regularly in the Southwest gallery and trading-post market.

Collectors and dealers often associate Spencer’s work with heavy-gauge sterling construction, strong turquoise selection, and clean, confident fabrication. This cuff reflects those qualities through its substantial shank, even bezels, balanced stone placement, and polished finish.

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

At a Glance:

Signed M BAHE sterling silver butterfly cuff attributed to Marie Bahe
Wide mosaic-inlaid butterfly centerpiece with matching side panels
Vivid color contrast framed by silver beadwork
Notable collector example of inlay work attributed to Marie Bahe

Bracelet Features:

• .925 sterling silver
• Inlay work with turquoise, mother-of-pearl, coral, black and ivory-tone materials
• Butterfly motif and side panels framed by beaded wire appliqué
• Strong triple-split shank construction with clean interior finish
• Hallmarked by the silversmith
  
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium statement cuff
• Centerpiece inlay: 1 1/2" x 2"
• Face width: 1 5/8"
• Inside length: 5 1/16"
• Gap: 1 1/4"
• Total inside circumference: 6 5/16" (S per SCJ size guide)
• Weight: 52.3 grams
  

ABOUT THIS PIECE:

This sterling silver cuff centers on a colorful butterfly inlaid mosaic set on a wide triple-split shank, an engaging piece that brings together a motif long appreciated in Native American culture with a Navajo interpretation of an inlay technique most closely associated with Zuni work. The matching side panels extend the mosaic design across the wrist, while beaded wire appliqués add texture and definition, complementing the piece's clean geometry. 

The inlay combines turquoise, mother-of-pearl, coral, black stone (likely jet or onyx), and an ivory-tone material with soft orange hues, arranged in curved and angular segments. The layout is consistent with stone-on-stone inlay, a technique that requires precise cutting and fit. Smooth silver surfaces provide a restrained backdrop for the mosaic, allowing the color contrast and symmetry to carry the composition.

The triple-split construction gives the bracelet width while maintaining an open, balanced feel. The combination of careful stonework, measured silverwork, and clear structure contributes to the bracelet’s collector appeal.

Signed pieces attributed to Marie Bahe appear publicly more often in turquoise-set sterling forms than in mosaic inlay. Within that visible market record, this butterfly cuff stands out as a rarer example. Accordingly, the attribution to Marie Bahe rests solely on the maker’s mark and comparison with other pieces sold under her name, rather than on stylistic analysis.

ARTISAN NOTE:

Marie Bahe is identified in available hallmark references as a Navajo maker. Public biographical information appears limited, and no reliable published source has been found that directly connects her to the well-known silversmith Tom Bahe or to another documented Bahe jewelry lineage. However, the Bahe surname appears repeatedly in contexts related to Navajo jewelry, including exhibits, markets, and secondary sales platforms, suggesting that jewelry making is a recurring association among individuals who carry the name.

PERFECT FOR:

• Collectors of signed Native American jewelry
• Admirers of butterfly motifs and figural jewelry
• Anyone with an appreciation for inlay-focused jewelry
• Wearing as a statement Southwestern cuff with denim, black, ivory, or other clean solid tones

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

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

At a Glance

Design: Native American signed spiderweb turquoise cuff bracelet with clean three-tine Navajo construction and a stone-forward face
Stone: Spiderweb turquoise cabochon consistent with Indian Mountain
Color: Soft green and faint teal cells moving through dark brown host rock
Accent: Decorative segmented outer border
Metal: .925 sterling silver (unmarked)
Artist: Signed G | Gilbert Damon, Navajo silversmith
Era: Late 20th century (1970-80s)
Status: Signed Navajo spiderweb turquoise cuff bracelet
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: visually bold cuff with a comfortable open fit and strong centerpiece presence
• Stone: 1 5/8" x 1 5/16" (bezel to bezel)
• Face width: 1 7/8"
• Inside length: 5 1/4"
• Gap: 1 1/4"
• Total inside circumference: 6 1/2"
• Weight: 60.8 grams

Gallery Note:

This signed Navajo cuff is defined by its turquoise: a richly webbed cabochon with teal-green cells moving through dark brown host rock. A complex and yet well-balanced matrix, with enough open green ground for the stone to read clearly and hold its presence on the wrist.

Damon’s silverwork keeps the setting clean and focused. A sawtooth bezel secures the cabochon and adds fine texture at the edge, while the stepped geometric border gives the face structure without crowding the stone. The three-tine shank is smooth, open, and deliberately understated, letting the turquoise remain the center of the design.

Reference and market examples more commonly associate Damon with chip inlay, making this large bezel-set spiderweb turquoise cuff a less common example of his documented range. For collectors, that contrast adds to its appeal — a signed Damon Gilbert in a stone-forward setting with restrained Navajo construction is a rare find. 

Collector-minded without excess, this cuff earns its presence through the character of the stone and the clarity of the silverwork design.

Hallmark & Maker Notes:

This bracelet is signed with Gilbert Damon's hallmark — a stylized capital G, also associated in reference materials with the initials GD. His angular initial signature is reported to have been introduced around 1975, supporting the late-20th-century placement of this piece.

Damon was born June 20, 1930, in Fort Defiance, Arizona, into the Tsi'naajinii (Black Streak Wood People Clan), born for Tódich'ii'nii (Bitter Water Clan). He attended BIA Indian School in Fort Defiance, the Albuquerque Indian School, and Chilocco Indian School in Chilocco, Oklahoma.

He served in the Korean War — one of approximately 10,000 Native Americans who answered that call, many of them veterans of World War II as well, whose service and sacrifice remain an enduring part of this nation's history. He later spent 20 to 25 years employed with the Navajo Forest Products Industry in the Sawmill region in Arizona. He was a silversmith and family man who loved his children. He passed away on April 15, 2016, in Payson, Arizona.

Reference materials and market examples most commonly document Damon's work in chip inlay — crushed turquoise, coral, and related materials set into recessed silver channels, often with etched or oxidized geometric backgrounds. Authentic signed Damon pieces now enter the market through estate and secondary channels.

At a Glance:

Design: Native American stone-forward ring with elongated vertical turquoise cabochon
Stone: Turquoise consistent with Royston material
Color: Vivid blue-green with warm golden matrix
Accent: Chased crescent shoulder band applied over the shank
Metal: .925 sterling silver
Artist: Signed R. MAYES | Robert Mayes, Navajo silversmith
Era: Circa late 1980s
Status: Signed vintage period piece
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium-large with high visual impact
• Stone: 1 1/8" x 1/2" (bezel to bezel)
• Face width: 1/2"
• Face length: 1 1/8"
  
• Ring size: 7.25 (adjustable to approx. full size up)
  
• Weight: 12.9 grams

Gallery Note:

This Navajo ring is centered on a vivid blue-green turquoise cabochon with warm golden matrix and strong visual movement. The stone’s color range, matrix patterning, and organic depth are consistent with Royston district material, giving the ring a vibrant, stone-forward presence.

The silverwork is intentionally restrained, with a slim bezel that allows the turquoise to command the composition. Chased crescent details along the shoulders introduce subtle movement while keeping the overall design clean, balanced, and wearable.

The adjustable shank carries quiet structural strength, remaining wider where it meets the face and tapering at the center for comfort. Signed R. MAYES and attributed to Navajo silversmith Robert Mayes, this late-1980s ring reflects a period of Southwestern studio jewelry where bold turquoise cabochons and minimal silverwork were often paired for maximum visual impact.

Hallmark & Maker Notes: 

Robert Mayes is referenced in the secondary market as a Navajo silversmith associated with sterling silver jewelry signed R. MAYES or RM. Public biographical information appears limited, so this attribution is based on the hallmark, comparable market references, and the construction of the piece. His known market examples often place emphasis on the stone, pairing turquoise or other cabochons with restrained sterling silverwork.

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

At a Glance:

Heavy 114 grams Navajo turquoise & sterling cuff signed Elouise Kee
Dark green turquoise consistent with Royston district material
Kee's signature negative space design
Collector example with a unique single stone design & disciplined profile

Bracelet Features:

• .925 sterling silver
• Deep green cabochon with mossy tones and pale tan matrix
• Cutout shadowbox face 
• Beadwire framing, chasing, and stampwork
• Wide tapered cuff in heavy-gauge sterling silver
• Hallmarked by the silversmith
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: substantial weight with balanced proportions
• Turquoise: 1 13/16" x 1 1/8" (bezel to bezel)
• Face width: 2 1/2"
• Inside length: 5 1/2"
• Gap: 1 5/16"
• Total inside circumference: 6 13/16" (M per SCJ size guide)
• Weight: 114.8 grams

ABOUT THIS PIECE:

This commanding Native American cuff centers on a dark green turquoise cabochon with forest and mossy tones surrounding islands of pale tan matrix. The color palette is deeper and moodier than the brighter blue and green material more often associated with the Royston district, giving the stone a different kind of presence — richer, earthier, and more grounded. Its size and saturated body color make it a very strong visual anchor.

Around the stone, the design is organized with precision. A smooth bezel, framed by beadwire, defines the cabochon, while the cutout shadowbox gives the piece an open aesthetic and creates contrast between the shiny silver planes and the recessed negative space. The cutout work— an element often associated with Elouise Kee’s signature style — and the radiating chased lines and stampwork guide the eye outward from the center, drawing attention to the maker's skilled silverwork.

The shank is built from heavy-gauge sterling silver and adorned with oversized flanking forms that give the mount a structured, almost architectural rhythm without overwhelming the stone. At 114.8 grams, it has the substance prized by many collectors of vintage Native work, with a profile that remains composed without excess.

ARTISAN NOTE:

Available reference material identifies Elouise Kee as a Navajo silversmith associated with Gallup, New Mexico, and as married to Eugene Belone, whom she is described as having taught the craft of jewelry making and silversmithing. Jewelry attributed to Kee is admired for refined sterling silverwork, crisp detail, and carefully selected turquoise, including material represented as Kingman and Royston. Her work reflects a confident design voice grounded in traditional Navajo silversmithing, balancing strong form with measured ornament. Family information published in Gerald Gene Belone’s January 2025 obituary names Elouise Kee and Gene Belone as his parents, confirming that she was living at least as of early 2025. The obituary also notes that Gerald was preceded in death by his brother, Dewayne Belone, suggesting additional family loss, though such details should be treated with care beyond the obituary itself. While we have not located a definitive public source confirming her current production status, her jewelry continues to appear in recent market offerings, reflecting ongoing visibility and collector interest.

PERFECT FOR:

• Collectors of signed Navajo cuffs
• Turquoise enthusiasts drawn to green cabochons
• Collections focused on statement silverwork
• Elevated Western attire, denim, black, and earth-toned wardrobes

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

At a Glance:

Substantial Native American turquoise & coral squash blossom necklace
Stylistically consistent with Navajo bench work
Turquoise consistent with Kingman material
Bead strand with extender
Signed collector example with strong visual contrast and presence

Necklace Features:

• .925 sterling silver
• Turquoise nuggets in saturated shades of blue
• Red-orange coral accents
• Heavy-gauge sterling construction
• Bench-made beads strung on double-wire
• Hallmarked by the silversmith - artisan under active research
  
• Hook-and-eye closure
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications: 

• Wear scale: Statement matinee length per SCJ size guide, adjusted to opera length with the extender
• Largest turquoise: 5/8" x 1/2" (bezel to bezel)
• Naja: 2 1/2" x 2 7/8"
• Blossom length range: 1" - 1 1/8"
• Bead diameter: 8-9 mm
• Total length (including clasp): 20 3/8" (approx. 25 5/8" with the chain extender)
  
• Weight: 199.9 grams
  

ABOUT THIS PIECE:

The composition of this squash blossom necklace is built around contrast and proportion, with the naja as the focal point, carrying alternating turquoise nuggets and corals. The vivid blue nuggets and red coral accents are individually rope-framed and sit slightly proud of the silverwork, secure within their sawtooth bezels, giving the stones a strong architectural presence. The graduated blossoms repeat this pairing in measured intervals, creating a steady rhythm across the necklace and into the terminals.

Turquoise and coral form a color relationship long favored in Navajo jewelry, and the careful distribution of these hues, textures, and silver appliqués throughout the piece produces visual movement and harmony without crowding.

Construction details, including the blossom layout, bench-made beads, bezel work, and overall structure, align with traditional late-20th-century Navajo work. Although the necklace carries a maker’s mark that has not yet been definitively attributed to a specific artisan or tribe, it reflects the enduring design language of Navajo silversmithing.

Substantial in scale and visually commanding, this piece was designed to command attention.

ARTISAN NOTE:

The necklace bears a stamped maker’s mark consisting of a single stylized initial, which may read as "D," "J," or a combined form depending on orientation and strike. The hallmark indicates signed studio production rather than anonymous manufacture.

This specific mark does not currently correspond to documented entries in major published hallmark references or standard trade sources. Abbreviated or single-initial signatures of this type are not uncommon among Native American silversmiths working outside formal registry systems. Attribution, therefore, rests on hallmark presence and stylistic comparison rather than a confirmed artist identity.

Signed works of this scale and stone content generally represent individual studio output rather than contemporary mass production.

PERFECT FOR:

• Collectors of signed Native American jewelry
• Admirers of turquoise and coral designs
• Statement Southwestern dressing
• Layering with other necklaces or smaller bead strands

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

At a Glance:

Design: Native American sterling silver Thunderbird sampler earrings with domed concho tops, two-part construction, and two distinct hand-stamped & chased drops
Metal: .925 sterling silver
Artist: Signed VJP | Vincent Joe Platero Sr., Navajo silversmith
Era: Contemporary — late 20th to early 21st century
Status: Signed Navajo silver earrings with distinct sampler-format Thunderbird designs
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: lightweight, easy-moving, with noticeable graphic presence
• Total length: 2"
• Width: 1" 
• Closure: posts with clutch disc backs
• Weight: approx. 4.5 grams each

Gallery Note:

These signed Thunderbird earrings by Vincent Joe Platero Sr. center on one of the most enduring motifs in Southwestern silverwork. Platero gives the form a strong graphic read through silhouette, spacing, hand-cut stampwork, chasing, and oxidized recesses rather than stone or added ornament.

The pair has unusual collector interest because the Thunderbird drops are not identical. One is organized around a diamond-and-star center with sharper geometric structure, while the other opens from a sunburst motif with a more spacious radial layout. Together, they read as a compact sampler of Platero’s stampwork vocabulary, with each earring carrying its own handmade character.

The domed concho tops repeat the radiating language below, tying the upper and lower elements together with clarity. At 2" long and approx. 4.5 grams each, the earrings have enough presence to register clearly on the ear while remaining light, comfortable, and easy to wear.

Hallmark & Maker Notes:

The VJP hallmark is registered to Vincent Joe Platero Sr., a Navajo silversmith born in 1957 in Tohajiilee, New Mexico, and associated with the Edgewater and Black Streak Clans. Platero learned silversmithing from his mother, Helen Chavez, and is known for deep hand-cut stampwork, including the demanding practice of fabricating his own stamps.

His jewelry has received recognition at the New Mexico State Fair and the Denver Indian Market and has been carried by galleries across the country. This signed pair reflects the graphic clarity, visible handwork, and strong maker identity collectors look for in Platero silver.

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At a Glance:

Design: Native American signed two-stone turquoise cuff bracelet with flower motif and strong sterling construction
Stone: Two visually matched turquoise cabochons consistent with Turquoise Mountain material
Color: Green-dominant spiderweb stones with vivid sky-blue tones near the bezels
Accent: Fully dimensional hand-fabricated flowers, chased leaves, curling wirework, and silver drops
Metal: .925 sterling silver
Artist: Signed MARCUS | Marcus Chavez, Navajo silversmith
Era: 1980s - 1990s
Status: Signed and sterling-marked Navajo turquoise cuff bracelet
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with high-rise stone profile and sculptural wrist presence
• Largest turquoise: 1 5/8" × 1 3/8" (bezel to bezel)
• Face width: 2 1/2"
• Inside length: 5 3/4" 
• Gap: 1 1/4"
• Total inside circumference: 7" (L per SCJ size guide)
• Weight: 78.8 grams

Gallery Note: 

This cuff makes its first impression as a complete composition: high-domed turquoise, dimensional flowers, and open silver construction working in the same visual language. The cabochons bring saturated blue-green color and height, while the hand-fabricated flowers, chased leaves, and curling wirework give the bracelet a bright botanical character rather than simply serving as decoration.

The turquoise remains vivid in indoor light. The green areas deepen into rich forest and foliage tones, while clear sky-blue stays visible near the bezels and stone edges. In stronger light, the blue opens further across the surface, brightening the cabochons and giving the stones a livelier, more expansive presence. The two stones are visually matched not because they are identical, but because they move together in color, temperature, and overall character.

The construction supports that same sense of lift and openness. The high-set stones create the bracelet’s bold profile, but the open multi-band shank keeps the cuff from feeling dense or overbuilt. Leaves tuck beneath and around the cabochons, wire stems curve through the open framework, and silver drops add small points of brightness against the oxidized recesses. The silverwork is strong enough to carry the scale of the stones, yet open enough to let the floral design breathe.

The flowers are especially compelling. They are not flat stamped motifs, but built silver forms with raised petals, chased interior lines, rounded silver-shot centers, and leaves that curl away from the surface. Each element feels individually shaped, giving the cuff the presence of a sculptural floral piece rather than a standard two-stone bracelet with added ornament.

The result is a statement cuff with unusual balance: vivid turquoise, dimensional floral silverwork, and a construction that feels open, strong, and carefully composed. The stones draw the eye immediately, but the flowers and layered build reward closer study from every angle.

The turquoise is identified as consistent with Turquoise Mountain material based on visual and contextual assessment. No laboratory documentation accompanies the cuff, so SCJ presents the mine identification as an evidence-led working attribution rather than a provenance guarantee.

Hallmark & Maker Notes:

This bracelet is signed MARCUS and carries a sterling mark. SCJ identifies the maker as Marcus Chavez, a Navajo silversmith from Shiprock, New Mexico, on the Navajo Nation. Reference examples for Chavez more commonly show the fuller MARCUS C signature, while this cuff is stamped MARCUS only. Even so, the letter formation shows a notable visual relationship: the MARC portion rises slightly, while the U and S sit offset on a downward incline, a pattern also seen in Marcus Chavez reference marks. This supports presenting the bracelet under Marcus Chavez while noting the shortened hallmark.

Public retail references and comparable market examples show that pieces stamped MARCUS and MARCUS C share a related construction vocabulary, especially the pairing of large natural stones with hand-fabricated silver flowers and leaf forms. Current market examples also show Chavez working across a wide range of materials, including Royston District, Kingman, Bumble Bee, Wild Horse, and Rainbow moonstone, reinforcing the stone-forward character of his known work.

The silverwork on this bracelet is notably more dimensional and sculptural than many currently circulating pieces under the full Marcus Chavez hallmark, suggesting a more ambitious build — possibly an earlier or higher-grade example. SCJ presents the maker identification confidently in the listing while preserving the hallmark nuance here for transparency.

✨ 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.