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.

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At a Glance:

One-of-a-kind Southwestern squash blossom necklace
Antique-finish seamless silver beads
Large-scale statement construction, nearly 400 grams
Number Eight turquoise cabochons
Matched turquoise disc spacers
Heavy-gauge naja pendant
Collector-level studio work hallmarked Chimney Butte

Necklace Features:

• .925 sterling silver
• Vivid sky-blue turquoise cabochons and spacers
• Cast-style naja pendant
• Graduated smooth silver beads & turquoise discs strung on wire
• Hallmarked by the shop
• Hook-and-eye clasp with custom appearance
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: opera length per SCJ size guide — oversized and graduated (rests below the bust on most wearers)
• Largest turquoise: 1 13/16" x 1 5/16" (bezel to bezel)
  
• Naja pendant: 3 1/4" x 2 1/4"
• Blossom length range: 1 3/4" x 2 1/4"
• Graduated turquoise disc range: 8-21 mm
• Graduated bead range: 8-16 mm
• Total length (including clasp): 30"
• Weight: 398.6 grams

ABOUT THIS PIECE:

This squash blossom necklace emphasizes mass and proportion over intricate surface decoration. Instead of traditional petal-shaped blossoms, large turquoise cabochons form a steady cadence along the strand, giving the piece a deliberate architectural presence anchored by the substantial naja.

The stones display dense reddish-brown host rock interrupted by bright blue pools — a pattern prized for its movement and depth of color. The material was identified by a Chimney Butte representative as Number Eight turquoise from Nevada. Here, the turquoise appears in rounded formations within the host rock rather than the classic webbed pattern, illustrating natural variation within the historic deposit. That same character is echoed in the matched turquoise disc spacers, reinforcing the necklace's visual continuity.

The tapering dual-tone silver beads and turquoise spacers soften the rhythm of the oversized elements, allowing the necklace to drape naturally despite its statement scale. When worn, it settles low at the bust on most wearers, with the naja hanging independently below the bead line.

The silverwork is intentionally restrained. Smooth bezels, broad forms, and open negative space direct attention to the stones—an approach often seen in later studio interpretations of traditional squash blossom construction.

ATTRIBUTION NOTE:

Chimney Butte is a Southwestern jewelry workshop associated with Albuquerque and Santa Fe, New Mexico, active since the 1990s. The shop is known for distinctive designs that combine cast sterling silverwork with carefully set stones.

Both Native American and Anglo silversmiths have been linked to the workshop over time, including Nuguematz, Me’dru, Zachanee, brothers McDavis and Michael Otero, and Eric Chase Nelson. Nelson is the name most frequently associated with Chimney Butte pieces. Dealer and gallery biographies commonly describe him as having a Comanche background and studio training in the Southwest, while Southwestern jewelry reference author Bille Hougart identifies him as Anglo. Although Chimney Butte's work has been described in secondary markets as Native and often Navajo, this representation errs on the side of caution given the inconsistencies in the available records.

Because printed documentation of the workshop remains limited, attribution generally rests on the Chimney Butte hallmark and the shop’s recognizable construction style, both of which are well known among collectors of contemporary Southwestern jewelry.

PERFECT FOR:

• Collectors of contemporary Southwestern studio silverwork
• Those drawn to bold turquoise statement necklaces
• Turquoise enthusiasts who appreciate Number Eight material
• Western formal and modern tailored wardrobes
• Those who favor material presence over intricate ornamentation

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

At a Glance:

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

Necklace Features:

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

Necklace Specifications: 

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

ABOUT THIS PIECE:

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

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

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

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

ARTISAN NOTE:

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

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

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

PERFECT FOR:

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

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

At a Glance: 

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: 

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.

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.

At a Glance

Design: Native American graduated Navajo pearl necklace with oversized 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
• Length: 30 1/2" including clasp
• Clasp: traditional 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 in both construction and wear.

Hallmark & Maker Notes

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

At a Glance:

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

Necklace Features:

• .925 sterling silver
• Hand-fabricated beads strung on chain
  
• Period appropriate hook-and-eye clasp
• Signed by the silversmith on the silver tag at the closure
  
• Condition: Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: classic matinee length per SCJ size guide — sits between collarbone and bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 11-25 mm
• Total length (including clasp): 22 3/8"
  
• Weight: 100.1 grams

ABOUT THIS PIECE:

This graduated Navajo pearl necklace reflects classic bench-made Diné silverwork, where contour rather than ornament carries the design. Each hollow saucer element was formed from sheet sterling silver, soldered, and polished to a smooth, near-seamless surface. The 25 mm center bead anchors the piece, settling naturally along the neckline as the strand tapers toward the hand-fabricated closure.

Silver bead necklaces entered Navajo metalwork in the late nineteenth century, following the introduction of Spanish and Mexican silversmithing techniques. By the early twentieth century, hollow silver beads were widely worn as adornment and portable stores of silver. While many historic examples bear stamped decoration, unadorned vintage strands represent an equally enduring interpretation of the form.

ARTISAN NOTE:

Leo Yazzie is a Navajo silversmith from the Black Mesa region of Arizona who later worked in Flagstaff. His path into jewelry began at Northern Arizona University, where a metalsmithing elective redirected his studies toward silversmithing. By the early 1980s, he was producing jewelry full-time, a career that continued for more than three decades before he retired.

The structure of his work reflects influences rooted in home and family. Yazzie has cited the storm-pattern geometry found in his mother’s and grandmother’s Navajo weaving, along with Navajo spiritual teachings, as formative sources. Rather than relying on heavy surface ornament, his designs favor measured spacing and deliberate stone placement, where the pattern is created by the stones themselves. When used, decorative elements such as stamping are applied with restraint and precision, supporting the form rather than dominating it.

He worked primarily in sterling silver, sometimes incorporating gold, and preferred fine turquoise alongside coral, sugilite, lapis, and opal. Precisely fitted inlay and controlled settings became consistent features of his mature pieces, emphasizing balance between material and form.

During his active years, his jewelry was widely shown through regional and national galleries, earned juried recognition, and developed a strong collector following. With his retirement, signed examples now represent completed studio work from his late twentieth- and early twenty-first-century production period.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Admirers of traditional, graduated Navajo pearls 
• Those seeking artisan jewelry without stones
• Southwestern and understated styling
• Layering with turquoise necklaces and other pearls

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

At a Glance:

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

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.

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

✨ Collectors Circle Members receive a welcome offer.

At a Glance:

Design: Native American signed 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.

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.

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