Vintage Authentic Native American Jewelry & Accessories

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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.

✨ Collectors Circle Members receive a welcome offer.

At a Glance:

Design: Native American substantial turquoise cuff bracelet with heavy-gauge sterling construction, split-shank form, and leaf motifs overlapping the stone
Stone: Large turquoise cabochon consistent with Kingman material
Color: Saturated blue with golden-brown matrix
Accent: Chased leaf appliqués, rope border, and silver drop accents
Metal: .925 sterling silver (unmarked)
Attribution: Aligned with Navajo work
Era: 1970s
Status: Unsigned and unstamped substantial turquoise cuff bracelet
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: extra-large statement cuff with major wrist coverage and bold collector presence
• Turquoise: 3" x 2 1/2" (bezel to bezel)
• Face width: 3 3/8"
• Inside length: 6" 
• Gap: 1 9/16"
• Total inside circumference: approx. 7 9/16" (L per SCJ size guide)
• Weight: 161.7 grams
  

Gallery Note: 

Coming soon!

Hallmark & Maker Notes:

This bracelet is unsigned and carries no visible sterling stamp. The Navajo attribution is based on the silver construction and overall late-20th-century Navajo design characteristics. The metal is represented as .925 sterling silver based on evaluation and construction.

✨ 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: 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.

✨ Collectors Circle Members receive a welcome offer.

At a Glance:

Design: Native American signed coral cluster bib necklace with articulated sterling silver construction and graceful upper-chest drape
Stone: Matched coral cabochons arranged in cross-form cluster stations
Color: Warm red-orange coral with an almost matte vintage finish, contrasted by oxidized sterling silver
Accent: Silver drop accents and open sterling connector links
Metal: .925 sterling silver
Artist: Signed H Ortega | Helen Ortega, Navajo silversmith
Era: Circa 1970s
Status: Signed vintage coral and sterling silver bib necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: princess bib — spans the upper chest
• Stones: approx. 5/8" x 1/4" (bezel to bezel)
• Pendant size: approx. 1" x 1"
• Round beads: approx. 8 mm
• Melon beads: approx. 13 x 5 mm
• Total length: 17 1/2" (including clasp)
• Clasp: hook-and-eye closure
• Weight: 75.4 grams

Gallery Note:

This Helen Ortega necklace features a striking articulated bib form, built from repeating cross-form coral-cluster stations joined by open sterling links. Rather than presenting as a single pendant, the necklace spreads across the upper chest in a light, lace-like arrangement, giving the piece movement, drape, and a strong graphic silhouette.

The coral cabochons are closely matched in a warm red-orange hue, lending the piece a softened vintage character. Each cluster is set in sawtooth bezels against dark oxidized recesses, creating a vibrant contrast and making the coral read with greater depth and dimension.

The open connector work is an important part of the design. Diamond-shaped sterling links and slender bar elements give the bib flexibility, allowing the stations to articulate across the neckline instead of sitting as a rigid plate. Small silver drops add rhythm at the cluster edges, while the upper strand of round and melon beads gives the necklace structure without competing with the coral bib.

The result is a vintage coral statement necklace with unusual movement, balanced proportions, and bold color harmony — a piece well suited to collectors drawn to signed Native American silverwork with warmth, graphic presence, and graceful wearability.

Hallmark & Maker Notes

This necklace is signed Helen Ortega. Public biographical information appears limited, so the listing stays focused on the signed maker mark, coral cluster construction, sterling silver beadwork, foxtail chain, hook-and-eye closure, and circa-1970s character of the piece.

The construction is consistent with Navajo work, including the set-stone coral clusters, sterling silver bead elements, articulated bib layout, and traditional closure. SCJ presents the necklace through its visible signature and construction details rather than adding unsupported biographical claims.

✨ 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: 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 — seeSCJ Vintage Condition Guide

Specifications: 

• Wear scale: princess-length statement necklace spanning the upper chest
• Largest stone: 1 1/2" (bezel to bezel)
• Center in-tandem pendant length: 4 3/4" (including bail)
• Side pendants 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 Ben Sandoval 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:

This necklace is signed BEN.S and stamped .925 on the reverse of one pendant. The mark is associated with Ben Sandoval, and the construction is consistent with signed late-20th-century Navajo turquoise and sterling silver work.

The necklace is built with a combination of bench-made sterling beads, link-chain stringing, hook-and-eye closure, and suspended stone stations. The center section uses a double-strand bead arrangement to support the weight and visual importance of the turquoise pendants, while the necklace transitions to a single strand toward the clasp for comfort and proportion.

SCJ presents this piece through its signed hallmark, sterling stamp, heavy-gauge construction, matched spiderweb turquoise cabochons, and professional review. The turquoise origin is intentionally described with transparency rather than as a closed mine claim.

✨ 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 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: Very 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 stone settings framing each opening—a signature design element documented in mid-century Zuni lapidary history.

Bernard Bowekaty is identified in gallery references and Native American jewelry literature as a Zuni artist active from the 1940s through the 1970s. Hallmark references associate his signed work with back-to-back BB initials followed by ZUNI. Although recognized for refined, harmonious lapidary compositions, the sterling bell-blossoms remain his most identifiable element, allowing SCJ to present this attribution based on clear visual and technical lineage.

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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 strength of this necklace lies in the uniformity of the Persian turquoise: light sky-blue cabochons threaded with dense dark brown matrix, carried consistently from the large naja stones to the blossom stations. The stones have the bold, high-contrast webbing collectors look for in Persian-attributed material, with no obvious visual outliers or later replacements.

The high-profile naja and substantial silverwork give the necklace scale, while the bench-made hollow beads and open blossoms add movement without pulling attention from the stones. At 297.3 grams and 30" in length, this matched piece carries the presence of a serious collector-level squash blossom.

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 tribal and period attribution is supported by the squash blossom form, naja construction, foxtail-chain stringing, machine-manufactured and hand-assembled beadwork, leaf appliqués, and overall fabrication and oxidized character consistent with 1970s Navajo silverwork.

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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.

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At a Glance:

Design: Native American three-panel hinged bracelet with multi-stone turquoise clusters and deeply oxidized hand-chased borders
Stone: 21 turquoise cabochons with natural appearance consistent with Nevada material
Color: Vivid blue palette from sky-blue to saturated blue and teal, with minimal to warm brown matrix across select stones
Accent: Silver beads and wing motif appliqués at the terminals
Metal: .925 sterling silver, unmarked
Attribution: Construction and design associated with Navajo silverwork
Era: Mid-to-late 20th century
Status: Unsigned vintage turquoise cluster bracelet with no silver stamp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium-width bracelet with strong wrist coverage
• Largest stone: 9/16" × 3/8" (bezel to bezel)
• Face width: 2"
• Inside length: 7 1/4" 
• Clasp: box
• Wearable inside circumference: approx. 6 5/8" (M per SCJ size guide)
• Weight: 97.1 grams

Gallery Note:

This bracelet is built as a three-part composition rather than a single broad face. The center panel uses a dominant oval cabochon as its focal point, while the flanking panels carry tighter stone groupings that extend the color across the wrist. The turquoise reads clean and vivid overall, with enough tonal movement to keep the cluster lively without disrupting the bracelet’s symmetry.

The dark oxidized finish adds depth around the stonework and brings contrast to the raised silver details. Its panel construction gives the bracelet flexibility and a more tailored fit than a rigid wide cuff, while the terminal decoration visually widens the piece without making it feel overbuilt.

At 97.1 grams with a 2" face, this is a substantial vintage cluster bracelet with strong collector appeal. The box clasp closes flush and secure, and the overall condition reflects a piece that has been worn with care.

Hallmark & Maker Notes:

This bracelet carries no hallmark, maker’s stamp, or silver purity mark. The Navajo attribution is observational and supported by the three-panel hinged construction, dense multi-stone cluster layout, hand-chased and applied silverwork details, oxidized finish, and mid-to-late 20th century fabrication character.

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At a Glance:

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

Specifications:

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

• Weight: approx. 4.5 grams each

Gallery Note:

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

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

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

Hallmark & Maker Notes:

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

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

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At a Glance:

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.