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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.

✨ Collectors Circle members receive a welcome offer

At a Glance:

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

Necklace Specifications: 

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

Bracelet Specifications:

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

Gallery Note:  

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

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

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

Hallmark & Maker Notes:

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

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

✨ 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.

✨ 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.

At a Glance:

Vintage Native American squash blossom necklace
Turquoise cluster work consistent with Zuni production
Hand-fabricated sterling silver construction
Unsigned post-Harvey Era production
Strong mid-century collector example

Necklace Features:

• .925 sterling silver
• Turquoise in petit point, needlepoint, and snake-eyes (round cuts)
• Hand-fabricated beads strung on traditional foxtail chain
  
• Period wire hook-and-eye closure
  
• Circa 1950s - 1960s
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications: 

• Wear scale: moderate matinee presence per SCJ size guide, rendered in a refined mid-century scale
• Naja pendant: 2" x 2"
  
• Blossom length: approx. 1"
• Bead diameter: 7-8 mm
• Total length (including clasp): 25 7/8" 
• Weight: 81.1 grams

ABOUT THIS PIECE:

This elaborate vintage squash blossom necklace presents the refined look collectors associate with mid-century Southwest silverwork. The four-petaled blossoms, restrained proportions, and balanced placement of stone and silver support a mid-century attribution. Masterfully cut into clusters of petit point, needlepoint, and round elements, the blue turquoise cabochons—with minimal matrix and subtle shade variation—create a dimensional, mosaic-like composition.

The necklace is consistent with the mature mid-century period of Zuni petit point and cluster jewelry. Handmade two-piece silver beads, carefully calibrated turquoise stones, and layered cluster construction are all characteristic of workshop production from that era, when fabrication remained fully handmade despite increasing refinement. Based on these construction features, the piece most likely dates to the 1950-60s. Matched cuts, even bezels, and the steady rhythm from the naja through each blossom unify the necklace while still highlighting each handmade component. The carefully assembled strand of beads on foxtail chain serves as a traditional backdrop for the stonework.

Each small, tightly fitted part of the ensemble required sustained lapidary and silverwork control, lending the piece a more delicate, labor-intensive character than the broader proportions that became more common later in the century.

PERFECT FOR:

• Collectors of vintage Zuni jewelry
• Admirers of traditional petit point and needlepoint work
• Those seeking squash blossom necklaces with balanced scale
• Southwestern and heritage-focused styling
• Pairing with other mid-century turquoise pieces

✨ 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. 

✨ 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.

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:

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

Necklace Features:

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

Necklace Specifications:

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

ABOUT THIS PIECE:

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

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

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

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

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

PERFECT FOR:

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

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

✨ Collectors Circle members receive a welcome offer  

At a Glance:

Design: Native American extra-large Eagle Dancer kachina bolo tie
Stone: Seven turquoise cabochons consistent with Turquoise Mountain material
Color: Seven vivid blue matched turquoise stones
Accent: Five red-orange coral accents with layered silver appliqués, twisted-wire borders, fan and wing elements, and added hand-fabricated silverwork applied to the main slide
Metal: .925 sterling silver
Artist: Signed "M" stylized initial associated with Navajo artist Pete Morgan | Broken Arrow Traders shop mark, associated with Kay Johnson
Era: Late 20th century
Status: Signed and shop-stamped large-scale Southwestern collector bolo tie
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications: 

• Wear scale: extra-large statement slide — spans the upper chest
• Largest turquoise: 1" x 5/8" (bezel to bezel)
• Slide: 6 3/4" x 5"
• Total length (including tips): 38 1/2"
• Cord: thick, black braided leather with light wear from slide movement
• Tips & ferrules condition: heavy-gauge sterling, gently worn with moderate patina
• Clasp: double-ring slide back
• Weight: 180.9 grams

Gallery Note:

This Eagle Dancer kachina bolo tie is a dramatic 1980s Navajo-Anglo Southwestern workshop statement piece produced under the Broken Arrow Traders brand and bearing a Pete Morgan-associated hallmark. Its oversized figural form, layered construction, and weight place it firmly within the bold studio-made tradition collected as wearable Southwest art.

The striking Eagle Dancer with outstretched wings is a motif deeply rooted in Hopi and Pueblo ceremonial tradition, and it became widely adopted in 20th-century commercial Southwestern jewelry produced across tribal lines. The piece is richly adorned with saturated blue turquoise cabochons and red-orange coral accents; together, these stones create a dynamic contrast against the dark sterling surface. The intricate silverwork on the slide and the fully dressed leather embellished with substantial sterling tips and ferrules add dimension, movement, and a commanding presence to the piece. 

This bolo tie has the scale and visual force of sculptural jewelry rather than conventional Southwestern neckwear. It is especially suited to collectors drawn to extra-large pieces, kachina-inspired design, and high-impact Native American jewelry forms.

Hallmark & Maker Notes: 

This bolo carries two stamped marks: a stylized capital M and the shop mark of Broken Arrow Traders, the Arizona-based silversmithing workshop operated by Kay Johnson, an Anglo artisan known for handmade sterling Southwestern jewelry in the traditional bench-made tradition. Johnson works alongside Bruce Johnson, identified in market-level post information as his son, a fellow silversmith and goldsmith involved in the shop’s active inventory and secondary-market presence.

The stylized M on this piece appears to be a variant form and does not match the standard Pete Morgan hallmark documented in major reference guides. A Navajo jewelry specialist reviewed photos of the hallmark and informally attributed the mark to Pete Morgan — a Navajo (Diné) silversmith and member of one of the better-known families in contemporary Navajo revival silverwork. Pete is the brother of the late master silversmith Harry Morgan and sandcast artist Henry Morgan, and the nephew of silversmiths Charlie Bitsui and Ike Wilson, both prominently represented in the historic C.G. Wallace Collection. The specialist noted that she has seen this same variant mark on other Broken Arrow Traders pieces, supporting a possible recurring workshop association between Pete Morgan and Kay Johnson's shop rather than a one-time occurrence.

SCJ presents this piece as a dual-marked, shop-stamped Broken Arrow Traders bolo tie with a Pete Morgan-associated hallmark. It is best understood within the collaborative world of Southwestern workshop production, where maker, shop, and market attribution can overlap in complex but meaningful ways.

✨ 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 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.

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At a Glance:

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

Specifications:

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

Gallery Note:

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

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

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

Hallmark & Maker Notes:

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

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

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