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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. 

✨ Collectors Circle Members receive a welcome offer

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.

✨ 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: Vintage turquoise and sterling silver bead necklace with double-strand center, single-strand ends, and suspended center drop
Stone: Turquoise cabochons visually consistent with Fox material
Color: Saturated, darker green and teal tones with golden brown matrix and subtle blue-green highlights in stronger light
Accent: Rounded stone stations with twisted wire borders, and oxidized recesses
Metal: .925 sterling silver (unmarked)
Attribution: Design and construction consistent with Navajo work
Era: Circa 1970s
Status: Unmarked and unsigned vintage turquoise and sterling silver bead necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: statement choker sitting slightly above or at the collarbone on most wearers
• Largest stone: 1 1/2" (bezel to bezel)
• Center drop length: 2 3/4"
• Side stations length range: approx. 13/16" - 1"
• Beads: approx. 8 mm
• Total length: 16 1/2" including clasp; average neck sizes may benefit from a 2-3" extender for a more relaxed drape
• Weight: 88.7 grams

Gallery Note:

This necklace has a quieter kind of presence: dark green to deep teal turquoise, oxidized sterling, and a compact choker profile that feels substantial without becoming loud. The stones are not bright blue statement pieces — their appeal is more restrained, with saturated color, golden-brown matrix, and subtle teal highlights that reward close attention.

The composition is built around rhythm and weight. Seven turquoise stations crown the collar, framed by darkened silver and joined by a double strand of bench-made sterling beads. A suspended oval drop at the center adds movement and a clear focal point without breaking the choker silhouette.

Light changes the read. Indoors, the stones run deeper and more subdued, dark green and teal, carrying the eye from station to station. In stronger light, brighter blue-green flashes surface briefly — then the mood settles back, grounded and refined rather than bright or showy.

The silverwork holds that same character. Beads are visibly hand-assembled, with softened surfaces, seams, and oxidation that give the piece its vintage depth. Each station sits in a heavy frame with twisted wire borders and dark recesses — an old-style protected setting that feels hand-worked from every angle.

The turquoise is identified as visually consistent with Fox material based on color, matrix, and overall appearance. No laboratory documentation accompanies the necklace, and SCJ presents the identification as an evidence-led working attribution rather than a provenance guarantee.

Hallmark & Identification Notes:

This piece carries no maker's hallmark or sterling stamp. The construction speaks clearly — hand-built sterling beads, twisted wire borders, heavy stone stations, oxidized recesses, a wire hook clasp, and a double-strand center — all hallmarks of traditional Navajo silversmithing. SCJ describes the attribution through construction and design language, as is standard practice for unsigned vintage work.

✨ 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 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.

✨ Collectors Circle Members receive a welcome offer

At a Glance: 

Design: Signed vintage spiderweb turquoise and sterling silver bead necklace with bench-made beads, three suspended stone stations, and a tandem center drop
Stone: Spiderweb turquoise with professional opinions noting both Kingman and high-grade Hubei visual possibilities
Color: Perfectly matched saturated blue turquoise with reddish brown spiderweb matrix and darker host-rock movement
Accent: Heavy-gauge pendant settings with twisted wire borders, stamped side accents, and oxidized silver depth
Metal: .925 sterling silver
Artist: Signed BEN.S | Ben Sandoval, Navajo silversmith
Era: Late 20th century, most likely 1980s
Status: Signed turquoise and sterling silver statement necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications: 

• Wear scale: princess-length statement necklace spanning the upper chest
• Largest stone: 1 1/2" (bezel to bezel)
• Center drop station: 4 3/4" (including bail)
• Side stations length range: 2 1/4" - 2 1/2"
• Beads: approx. 7 mm
• Total length: 17 3/4" (including clasp)
• Weight: 90.3 grams

Gallery Note:

This signed necklace is a serious turquoise statement piece: saturated blue spiderweb stones, heavy sterling pendant settings, and a strong bead construction that sits high across the chest. The design is built around three suspended turquoise stations, with the center pendant extending into a dramatic tandem drop that adds movement, length, and visual focus to the necklace.

The turquoise is the immediate draw. Each cabochon shows a vivid blue color moving through a reddish-brown spiderweb matrix, with darker host-rock passages that add depth and contrast. The stones have the kind of bold surface activity collectors look for in spiderweb turquoise, while the matching color family keeps the necklace cohesive rather than busy.

Sandoval’s silverwork gives the piece its structure. The pendant settings feature substantial bezels, twisted-wire borders, stamped side accents, and a dark oxidized ground that sharpens the blue of the stones. The bench-made sterling beads add weight and rhythm, shifting from a double-strand center section to a single strand toward the clasp for a balanced, wearable drape.

The turquoise is presented transparently. Professional review has produced two plausible readings: Kingman turquoise and high-grade Hubei Province material. Kingman was considered the more likely identification in one professional review, based on the necklace’s construction context and the understanding that Ben Sandoval is not known to work with imported material. Other turquoise specialists noted visual characteristics consistent with high-grade Hubei. Because no mine paperwork or laboratory report accompanies the necklace, SCJ presents the stones as high-grade spiderweb turquoise visually consistent with Kingman, with the Hubei comparison disclosed as part of an open, evidence-led identification.

Hallmark & Maker Notes:

Signed BEN.S / .925 — identified as a variation consistent with the documented BEN S. hallmark recorded in both Billie Hougart's Native American and Southwestern Silver Hallmarks and Barton Wright's Hallmarks of the Southwest. This piece is believed to be the work of Ben Sandoval, a Navajo silversmith documented in collector communities as a skilled production benchsmith who worked across multiple shops — a career path common among the craftsmen responsible for much of the finest mid-market Navajo silver of the 1980s.

During that decade, skilled Navajo artisans were working out of shops in Gallup and Albuquerque, supplying trading posts and gift stores across the country; trade schools were actively producing trained silversmiths, and the work was serious. The period also predates the Indian Arts and Crafts Act of 1990, which helps explain why talented production smiths like Sandoval built strong reputations through trade channels while leaving a limited institutional footprint.

A Native American jewelry specialist who consults with the Silver Cactus Jewelry team has reviewed the hallmark and construction, and the attribution is considered consistent with his known body of work. His pieces reflect a confident, experienced hand — heavy-gauge silver construction, strong chasing, and careful stone selection that speak to a craftsman who took his work seriously. The Sandoval name carries deep roots in the silversmithing community of Tohajiilee (Cañoncito), New Mexico, where multiple generations of the family worked in silver. Extensive research has yet to yield specific family ties or associations; BEN.S's work survives on its own merits.

✨ 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 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.

✨ 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: Wide tapered Navajo cuff built around a single large turquoise cabochon on a cutout shadowbox face
Stone: Turquoise, consistent with Royston district material
Color: Deep forest and mossy green with islands of pale tan matrix
Accent: Beadwire bezel framing and oversized flanking forms
Metal: .925 sterling silver
Artist: Signed Elouise Kee | Navajo silversmith
Era: Late 20th century
Status: Signed and sterling stamped Royston turquoise cuff
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: substantial weight with balanced proportions
• Stone: 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

Gallery Note:

Royston is a district most often pictured in bright blues and vivid greens, but this turquoise sits somewhere quieter and deeper. The dark, saturated forest-and-moss body is broken by islands of pale tan matrix, brightening just a tad, under natural lighting. No matter the environment, the piece retains its elegant and moody presence.

A smooth bezel edged in beadwire hugs the stone, while the cutout shadowbox behind it opens the face with bright silver planes against recessed negative space. Radiating chased lines and stampwork across the shoulders draw the eye to the center, in a disciplined, legible layout.

On the wrist, the piece resolves as architecture. The shank is heavy-gauge sterling, and oversized flanking forms give the mount a structured rhythm. At 114.8 grams, it carries genuine weight for a cuff, yet the tapered profile keeps it composed — substantial to wear, never unwieldy.

Hallmark & Maker Notes:

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. 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.

✨ 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:

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. 

✨ Collectors Circle Members receive a welcome offer

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.

✨ 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 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.

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Bold single-stone turquoise cuff on an open split shank
Stone: Turquoise cabochon consistent with Nevada material
Color: Vivid blue-green over golden-brown host rock, the matrix forming irregular islands
Accent: Applied chased feather motifs flanking the centerpiece
Metal: .925 sterling silver (unmarked)
Attribution: Construction and design consistent with Navajo work
Status: Unsigned single-stone turquoise cuff, no purity stamp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

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

Gallery Note:

This bracelet is built around a single commanding stone.

The cabochon presents a saturated blue-green field over golden-brown host rock, the matrix forming irregular islands across the surface — contrast and depth without visual weight. In direct light the blue-green teal hues open; indoors the blue palette prevails. The golden-brown matrix holds steady regardless of light.

The surrounding silverwork stays restrained, its quiet, smooth finish keeping every eye on the stone. Built from solid-gauge stock, the open split shank balances the composition while supporting the centerpiece, and the applied feather motifs — chased for texture and dimension — introduce a traditional element within a controlled, uncluttered design. There is a clear sense of presence here, yet the cuff maintains a composed profile: a bold single-stone piece with defined structure and proportion.

Hallmark & Maker Notes:

The cuff is unsigned and carries no purity stamp. Its construction and design — the open split shank, the applied chased feather work, and the single-stone presentation — are consistent with Navajo silversmithing, and SCJ presents the attribution on that construction evidence alone.

Unsigned work is common across vintage Southwestern silver, where hallmarking practices varied widely from maker to maker and decade to decade. The absence of a mark is noted plainly here and is reflected in the attribution language used throughout this listing.

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At a Glance:

Design: Native American compact bolo tie with turquoise cabochon and claw, in a classic Western slide form
Stone: Turquoise visually consistent with Sleeping Beauty material 
Color: Saturated blue turquoise with minimal matrix
Accent: Genuine animal claw, visually consistent with bear based on morphology, framed by raised leaf appliqués
Metal: .925 sterling silver (unmarked)
Attribution: Consistent with Navajo work
Era: Likely 1980s
Status: Unsigned and unstamped vintage Native American bolo tie with clip-style clasp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: traditional small-to-medium bolo slide size
• Stone: 3/4" x 11/16" (bezel to bezel)
• Slide: 2 1/4" x 1 1/2"
• Total length (including tips): 45" 
• Cord: like-new black braided leather with light marks from installation through the slide clip
• Tips condition: gently worn with light patina
• Clasp: unmarked clip-style
• Weight: 51.1 grams
  

Gallery Note:

This handcrafted Native American bolo tie is unsigned, a detail consistent with many mid- to-late 20th century Navajo pieces. In the absence of a hallmark, the piece speaks through its materials, silverwork, and composition, which align with Diné jewelry traditions. The pairing of turquoise and claw has deep roots in Native American jewelry, bringing together stone, silver, and natural elements in a compact Western format.

The turquoise provides a vivid blue focus, while hand-chased leaf appliqués frame the composition with quiet restraint. The genuine animal claw features a warm honey-amber tone — lighter than the dark brown or near-black examples most collectors encounter. While the lighter color may initially suggest cougar, the morphology — specifically the broad base and gradual arc — is more consistent with bear, as mountain lion claws tend to be slender and more sharply curved. We present this claw here as genuine and visually consistent with a bear, with the lighter amber tone noted for collectors who want to examine it further.

Finished with black braided leather and gently patinated silver tips, this bolo has the grounded presence collectors look for in traditional Navajo work — symbolic, rooted in heritage, and timeless.

Hallmark & Maker Notes: