At a Glance:

Native American turquoise cluster pin brooch
Attributed to the Tobe Turpen trading post, Gallup, New Mexico
Hand-laid rosette setting rather than template layout
High-domed turquoise cabochons consistent with Persian turquoise
Engraved “TT” shop control mark (not the artist's signature)
Post-war trading era collector's example

Pin Features:

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

Pin Specifications:

• Wear scale: medium-large statement — best suited for jackets, denim, or heavier fabrics
• Center turquoise: 1/4" x 5/16" (bezel to bezel)
• Diameter: 2 3/8"
• Weight: 41 grams — substantial for a brooch

ABOUT THIS PIECE:

This medium-large Native American cluster brooch bears a small, hand-engraved “TT” on the reverse, a mark associated with the Tobe Turpen trading post in Gallup, New Mexico, rather than a conventional artist signature.

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

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

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

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

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

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

ATTRIBUTION NOTE:

By the 1930s, travelers were already encountering Southwestern jewelry along the railroad corridors and emerging highway routes, with the Fred Harvey network helping introduce these forms to a national audience.

In Gallup, trading posts operated alongside that growing interest but served a different role. When Tobe Turpen opened his shop in 1939, the store functioned not only as a retail counter but as part of a working exchange. Silversmiths arrived with finished pieces, obtained silver and stones, or accepted requests for specific forms, while the final decisions were still made at the bench.

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

PERFECT FOR:

• Collectors of mid-century Native American jewelry
• Those drawn to early trading-post pieces and turquoise cluster work
• Southwestern statement styling
• Adding substance to lapels, denim, or woven jackets
• Pairing with turquoise necklaces and silver bead strands

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

At a Glance:

A substantial Native American turquoise cuff with strong visual balance
Turquoise cabochon consistent with Nevada material
Strong and minimalist shank
Understated feather appliqués flank the centerpiece stone
Construction and design aligned with Navajo work

Bracelet Features:

• .925 sterling silver (unmarked)
  
• Vivid blue-green turquoise with golden-brown matrix
• Heavy-gauge silver construction
• Split-shank design
• Applied chased feather motifs
• Unsigned
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet 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
  

ABOUT THIS PIECE:

This bracelet is built around a single commanding stone.

The cabochon presents a saturated blue-green field on a golden-brown host rock, a characteristic often associated with Nevada turquoise. The matrix forms irregular islands across the surface, creating contrast and depth without visual weight.

The surrounding silverwork remains restrained, with a quiet, smooth finish that emphasizes the stone. The open split shank balances the composition while supporting the centerpiece. Applied feather motifs add texture and dimension, introducing a traditional Native American element within a controlled, uncluttered design. There's a clear sense of presence here, yet the cuff maintains a composed profile. It reads as a bold single-stone piece with defined structure and proportion.

PERFECT FOR:

• Collectors of Navajo turquoise jewelry
• Those drawn to bold matrix patterns
• Anyone who appreciates medium-size statement cuffs
• Southwestern, Western, and elevated Boho-Chic styling
• Pairing with turquoise rings or wearing as a single focal piece

✨ 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.

At a Glance

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

Specifications:

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

Hallmark & Maker Notes:

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

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

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

At a Glance:

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

Specifications:

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

Gallery Note:

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

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

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

Hallmark & Maker Notes:

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

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

✨ 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:

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. 

Overview:

Late Fred Harvey era Silver Arrow sterling silver cuff bracelet, featuring a high-grade natural turquoise cabochon and complex silverwork throughout. Hallmarked and exceptionally well preserved for the period.

At a Glance:

Late Fred Harvey era sterling silver cuff bracelet by Silver Arrow
High-grade turquoise consistent with Nevada material
Intricate silverwork throughout
Split shank construction
Museum-worthy piece with exceptional vintage preservation

Bracelet Features:

• .925 sterling silver
• Circa 1940s
• Natural turquoise with vivid teal-blue color and dark rust-brown matrix
• Cabochon bordered by alternating silver beads and hollow circular appliqués
• Split shank construction with period-appropriate stampwork
• Applied panels with raindrop beads & rope wire accents 
• Hallmarked by the maker
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: domed stone profile — visually substantial without oversized weight
• Turquoise: 7/8" x 1" (bezel to bezel)
• Face width: 1 1/2"
• Inside length: 5 5/8”
• Gap: 7/8”
• Total inside circumference: 6 1/2” (M )
• Weight: 35.7 grams

About this Piece: * Please see Richard's comments *

✨ Turquoise Theory History Formation Members, please use code "welcome15" at checkout.

Overview:

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

At a Glance:

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

Bracelet Features:

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

Bracelet Specifications:

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

ABOUT THIS PIECE: 

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

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

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

PERFECT FOR:

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

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

At a Glance:

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

Bracelet Specifications: 

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

Ring Specifications:

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

Gallery Note:

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

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

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

Hallmark & Maker Notes:

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

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

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

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

Specifications:

• Wear scale: high profile, medium scale cuff — noticeable without excess
• Largest stone: approx. 3/4" (bezel to bezel)
• Face width: 1"
• Inside length: 5 1/4"
• Gap: 1 1/4"
• Total inside circumference: 6 1/2" (M per SCJ size guide)
• Weight: 37.3 grams

Gallery Note:

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

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

Hallmark & Maker Notes:

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

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

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:

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