Products

At a Glance:

Vintage Native American squash blossom & matching cuff
Signed “DH” and attributed to Navajo artisan Douglas Harrison
Large-scale late twentieth-century set
Turquoise cabochons consistent with King's Manassa material
Hand-fabricated and hand-assembled silver elements
Unique example from a finished studio period

Necklace & Bracelet Set Features:

• .925 sterling silver
• Green & golden-brown turquoise
• Hallmarked by the silversmith
• Bench-made beads strung on wire
• Heavy-gauge construction
• Circa 1970s
• Hook-and-eye closure
• 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 turquoise: 11/16" x 1 1/2" (bezel to bezel)
• Naja pendant: 3" x 3 5/8"
  
• Blossom length range:  1 1/8" x 2 1/2"
• Bead diameter: 8-9 mm
• Total length (including clasp): 28"
  
• Weight: 299.4 grams

Bracelet Specifications:

• Wear scale: substantial presence — balances the necklace and completes the ensemble
• 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
  

ABOUT THIS SET:

Experience the enduring presence of this traditional Native American squash blossom necklace and matching cuff, attributed to Navajo silversmith Douglas Harrison, produced during the late twentieth-century statement jewelry period. Built around proportion, weight, and repeating form, the visual rhythm relies on matched elements— rope framing, silverwork, and saturated turquoise—rather than dense ornamentation.

The soft emerald-green and teal hues of the stones are interrupted by patches of golden-brown host rock. The visual character closely resembles Colorado's deposits, especially King’s Manassa, though comparable material is also found in Nevada—both highly prized for their range of color intensity and variation. As with most historic turquoise, the identification is stylistic rather than geological, and precise mine origin cannot be confirmed without sourcing documentation or laboratory analysis.

The bench-made beads form a structural backdrop for the square-cut flared blossoms, and the eight-stone statement naja. The bracelet repeats the palette and scale, confirming the pair was conceived together. The added silver appliqués on the cuff and dual-stone arrangement bring the ensemble into harmony. 

ARTISAN NOTE:

Jewelry bearing the “DH” hallmark is attributed to Navajo artisan Douglas Harrison. Signed works surface primarily through estate and vintage circulation, and are recognized for substantial gauge and generous stone use of the period.

As with many working smiths of the era, formal biography can be limited, and attribution rests on hallmark consistency and comparison across documented examples. Existing pieces, therefore, represent completed studio production rather than an active line, making matched sets notably less common than individual works.

PERFECT FOR:

• Collectors of signed Navajo silverwork
• Those drawn to green-tone turquoise
• Large-scale statement wardrobes
  
• Western formal and heritage dressing
• Building a coordinated vintage ensemble

✨ Collector’s Circle members receive a welcome offer on their first purchase.

At a Glance:

Vintage Native American Navajo turquoise chip inlay cuff
Crushed turquoise set in hand-cut silver channels
Central wheel mosaic with flanking half panels
Hand-engraved accents framing the mosaics
Crescent-textured engraved border
Unsigned period example 

Bracelet Features:

• .925 sterling silver
• Crushed turquoise chip inlaid mosaics
• Hand-cut channel inlay construction
• Heavy-gauge convex shank
• Hand-engraved borders and terminals 
• Circa 1970s 
• Condition: Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: bold-medium (broad coverage, low profile)
• Stone: multi-color crushed turquoise chips
• Face width: 1 1/2”
• Length: 5 1/2”
• Gap: 1 3/16”
• Total circumference: 6 1/16” (S)
• Weight: 89.5 grams
  

ABOUT THIS PIECE: 

This vintage 1970s Navajo cuff centers on a repeating constellation of turquoise mosaics, each formed from tiny 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 late twentieth century 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 set. Successive arched cuts leave narrow raised ribs between them, creating a crisp-textured field along the borders and at the terminals. A full central circle flanked by half-panels combines clusters of turquoise chips with engraved crescent arcs, creating movement across the bracelet rather than focusing attention on a single stone.

The engraved border continues around the shank, while the terminals carry concentric crescent medallions that frame the mosaics and unify the design. 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 alone.

Decades of wear have left a deep, even patina that softens the silver and emphasizes the engraved detail, while the interior remains smooth and comfortable.

PERFECT FOR:

• Collectors drawn to late-century Navajo silverwork
• Those drawn to hand-engraved silverwork
• Anyone who appreciates artisan mosaic jewelry
• Everyday wear with weight and presence
• Wearers who favor pattern over single-stone focus

✨ Collector’s Circle members receive a welcome offer on their first purchase. 

Necklace & Earrings Features:

• Natural Golden Grass (Syngonanthus Nitens) fibers secured with golden twine
  
• Golden tone alloy junctures
• Handcrafted
  
• Over-the-head design with light gold cord; no closure
• Condition: Excellent - see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: opera length per SCJ size guide resting at or just below the bust line 
  
• Turquoise resin beads: 3/4" x 1/2"
• Golden Grass beads: 1/2" x 9/16"
  
• Golden Grass wave elements (juncture to juncture): 2 1/8"
• Golden cord length: approx. 17"
  
• Total length: approx. 32" (estimated due to over-the-head design with no closure)
• Weight: 28.6 grams

Earrings Specifications:

• Total length: 2 3/8"
• Width: 1/2"
• Clasp: hooks
  
• Weight: 1.8 grams each

ABOUT THIS SET:

This one-of-a-kind necklace and earrings set was handcrafted in Brazil using natural Golden Grass, a sustainably harvested fiber prized for its warm, sunlit sheen. The necklace slips easily over the head and is accented with vibrant aqua-turquoise resin beads made from recycled materials, thoughtfully spaced between handmade Golden Grass beads.

Rather than woven, the Golden Grass strands are carefully bundled, shaped, and tightly wrapped with fine golden twine to secure their form. The wave-shaped elements framing the necklace—and echoed in the earrings—demonstrate the patience and control required to achieve smooth curvature and structural integrity.

Lightweight yet visually expressive, the set balances organic texture with clean, architectural lines—an elegant interpretation of natural materials suited for collectors who value craftsmanship, sustainability, and distinctive design.

PERFECT FOR:

Collectors of artisan-crafted Golden Grass jewelry
Admirers of recycled and eco-conscious materials
Playful elegance and resort-style wear
Those drawn to lightweight Boho-Chic pieces

✨ Collector’s Circle members receive a welcome offer on their first purchase. 

Pendant Features:

• .925 sterling silver
• Set with eleven green turquoise cabochons consistent with Nevada material
• Color tones range from smoky teal to olive and blue-green
• Matrix showing black, reddish-brown, and yellow veining
• Hand-polished finish preserving the stones’ organic character
• Signed “E.A.”, attributed to Navajo silversmith Evelyn Anderson
• Shepherd's hook bail
  
• Condition: Very Fine — see SCJ Vintage Condition Guide>

Pendant Specifications:

• Wear scale: extra-large statement pendant — covers upper chest area when worn with choker-length
• Largest stone: 7/8" x 1/2" (bezel to bezel)
• Width: 3"
• Length: 4 5/8"
  
• Weight: 29.9 grams

ABOUT THIS PIECE:

This extra-large cross pendant features eleven dark green turquoise cabochons set across a sterling silver framework. Subtle variation in matrix and tone gives the stones an organic rhythm, while the elongated hook bail allows the pendant to move easily between different types of necklaces—from bead strands to Navajo pearls—reflecting the practical versatility often favored in handmade Native jewelry.

Silversmith Evelyn Anderson stands at the heart of a distinguished lineage of Navajo silversmiths spanning three generations. Mother to renowned artisan Aaron Anderson, she helped shape the artistic foundation that would later define his celebrated sand cast and tufa-cast work—skills first learned within the family circle from Evelyn and his stepfather, Wilfred Henry. This turquoise cluster cross pendant reflects that legacy, where careful stone selection and balanced silverwork speak to a tradition passed from one generation of makers to the next. Whether worn alone or layered with strands of Navajo pearls, it stands as both a striking adornment and a meaningful expression of Navajo silversmithing heritage.

Bold in scale yet balanced in presence, the pendant reflects both artistic expression and cultural continuity.

PERFECT FOR:

• Collectors of authentic Native American jewelry
• Southwestern and Boho style enthusiasts
• Those seeking large, bold statement pieces
• Admirers of turquoise with character and matrix
• Anyone who appreciates handcrafted artisan jewelry with cultural significance

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

Renowned Filipino artisans Ronnie and Ramil Glodove bring a global perspective to the Bohemian jewelry style. Rooted in their own traditions and creative vision, their work often carries visual echoes of jewelry aesthetics admired worldwide. This cuff features a radiant arrangement of rich blue turquoise stones with reddish-brown matrices, set in a finely polished silver shank. Its bold cluster design naturally recalls the symmetry and vibrancy associated with Southwestern jewelry, while remaining a distinct expression of the Glodoves’ artistry. The result is a piece that feels both globally familiar and uniquely their own.

Bracelet Features:

• .925 sterling silver
• Cluster of seven high-grade turquoise stones nicely polished 
• Hallmarked by the silversmiths
  
• "Very Fine" SCJ's Vintage Condition Guide

Bracelet Dimensions:

• The largest turquoise cabochon measures approximately 1/2" by 1 3/16" from bezel to bezel
• The face of the cuff measures about 2 7/16” at the center
• On the inside, the bracelet measures 6 1/4” from end to end, with a 1 3/8” gap
• The total circumference of this bracelet is 7 5/8”
• 66 grams
  

At a Glance

Native American cuff bracelet consistent with Navajo work
Late Harvey Era (not a Fred Harvey tourist piece)
High-luster turquoise trio attributed to Cerrillos
Twisted-wire sterling shank with eagle appliqués
Unsigned period piece
One-of-a-kind collector example

Bracelet Features:

• .925 sterling silver (unmarked)
• Three domed green turquoise cabochons
• Applied eagle motifs
• Circa 1950s 
• Heavy-gauge sterling shank
• Condition: Excellent — see  SCJ Vintage Condition Guide

Bracelet Specification:

• Wear scale: medium — noticeable without dominating
• Center turquoise: 3/4" in diameter (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

ABOUT THIS PIECE:

This Harvey Era Navajo bracelet showcases three exquisite green turquoise stones, with characteristics closely associated with Cerrillos deposits, traditionally prized for their rich green hues and natural variations. Smoothly domed and arranged in a classic trio, this cuff showcases a balanced presence with a defined center focus. The cabochons rest atop an equally compelling twisted-wire sterling silver shank, blending their elegance with the strength of the flat-wire design.

Gracefully flanking the side stones, the two small applied hand-chased eagle motifs serve as restrained decorative accents rather than as overt symbolism, an approach associated with the Harvey Era, in which harmony and measured proportion were favored, and ornamentation was intentionally simple. The symmetry of the elements, shank style, and absence of a signature are indicative of 1950s jewelry, created for wearability, longevity, and understated sophistication rather than authorship.

The result is a cuff that feels timeless and quietly expressive, reflecting the subtle confidence of mid-century Native American silverwork. A conversation piece for social gatherings, this cuff is also comfortable and compact enough for everyday wear. 

PERFECT FOR:

• Stand-alone styling or layering without overpowering other pieces
• Collectors of Harvey Era Native American jewelry
• Admirers of green turquoise stones
• Those drawn to symmetrical designs with a defined center focus
• Boho-Chic enthusiasts seeking vintage, artisan-made bracelets
• Anyone who values mid-century jewelry with historical significance
  

✨Collector’s Circle members receive a welcome offer on their first purchase.

At a Glance:

Vintage Native American graduated Navajo pearls
Sterling silver saucer beads with classic chased petal decoration
Fluted terminal beads with fitted spacer below the cones
Period-appropriate unsigned example
Satin silver finish with moderate patina

Necklace Features:

• .925 sterling silver
• Graduated hollow beads strung on vinyl-coated wire core
  
• Hand-chased decoration 
  
• Traditional hook-and-eye clasp
  
• Unsigned
  
• Condition: Very Fine — see SCJ Vintage Condition Guide

Necklace Specifications:

• Wear scale: opera-length per SCJ size guide — falls at or below the bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 10-25 mm
• Total length (including clasp): 30 1/2"
  
• Weight: 161.8 grams — substantial for a strand of this length

ABOUT THIS PIECE:

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.

PERFECT FOR:

• Collectors of vintage Navajo Pearls
• Admirers of visually strong bead necklaces
• Those seeking artisan jewelry without stones
• Southwestern statement styling 
• Layering with turquoise necklaces and additional strands

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

At a Glance:

Late-20th-century Southwestern Eagle Dancer kachina bolo tie
Produced under the Broken Arrow Traders brand
Hallmark associated with Kay Johnson
Additional attribution to Navajo silversmith Pete Morgan
Set with seven turquoise cabochons consistent with Blue Gem material
Accented with five red-orange coral stones
Large-scale figural sterling silver collector piece

Bolo Tie Features:

• .925 sterling silver
• Seven vivid blue turquoise cabochons
• Five red-orange coral accents
• Layered hand-fabricated silver construction
• Eagle Dancer kachina motif
• Thick braided leather cord
• Heavy-gauge sterling tips & ferrules
  
• Double-ring slide back
• Hallmarked by the shop & silversmith 
• Condition: Very Fine - see SCJ Vintage Condition Guide

Bolo Tie Specifications: 

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

ABOUT THIS PIECE: 

This Eagle Dancer kachina bolo tie is a dramatic late-20th-century Southwestern statement piece produced under the Broken Arrow Traders brand, which is closely associated with Anglo silversmith Kay Johnson. Its oversized figural form, layered silver construction, and commanding scale place it firmly within the bold studio-made aesthetic prized by collectors of wearable Southwest art.

The slide centers on a striking Eagle Dancer figure with outstretched wings, richly accented by seven bright blue turquoise cabochons and five coral settings. Together, the stones create dynamic contrast against the dark sterling surface, while the figure's dimensional, overlapping silverwork gives it an unusual presence and movement. A heavy braided leather cord with substantial sterling tips and ferrules completes the piece with a confident, balanced drape.

Because this piece carries additional attribution to Navajo silversmith Pete Morgan, it is best presented as Navajo-attributed work produced by Broken Arrow, rather than as a straightforward single-maker piece. The layered attribution reflects the strongest information presently available while honoring the complexity often found in Southwestern workshop production.

Collector-wise, this is the kind of bolo that reads more like sculptural jewelry than conventional neckwear. It has the visual impact, scale, and workmanship to stand comfortably in an advanced Southwestern jewelry collection.

ATTRIBUTION NOTE: 

The hallmark on this piece aligns with the Broken Arrow Traders brand, which is regularly associated with Kay Johnson, identified in hallmark references as an Anglo silversmith. Secondary-market listings under the Broken Arrow name repeatedly describe Johnson as the maker behind that brand identity, supporting this attribution. 

A comparative evaluation further supports an association between the stylized "M" mark on this piece and Pete Morgan. Documented business records clarifying the exact relationship between Broken Arrow Traders, Johnson, and Morgan were not readily available.

PERFECT FOR:

• Collectors of signed Southwestern & Native American jewelry
• Anyone seeking extra-large bolo ties
• Southwestern style lovers
• Admirers of kachina-inspired designs
  
• Those who appreciate conversation pieces 

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

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

✨ Collector’s Circle members receive a welcome offer on their first purchase.

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)
• Hand-fabricated Navajo construction
  
• Original pin assembly
  
• Circa 1940s - 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.

The construction supports a hand-fabricated reading: a heavier silver backplate, individually formed bezels, and an older pin assembly consistent with bench-made mid-century work. The high-domed turquoise cabochons show slight variation in tone and shape, reinforcing the impression that the design was laid out around the stones rather than standardized from a single template.

The piece is not stamped sterling, which is not unusual in earlier Native American jewelry. Many earlier works were sold without consistent purity or maker stamps, and the absence of such a mark here does not by itself argue against period authenticity.

Taken together, the Turpen-associated mark, hand-built cluster layout, and older construction details place the brooch most comfortably in a mid-century trading-post context, likely postwar rather than late 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:

Vintage Native American squash blossom necklace
Classic Zuni turquoise cluster
Hand-fabricated silverwork
Unsigned post-Harvey Era production
Strong mid-20th-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 Native American squash blossom necklace presents the refined look collectors expect from mid-century classics. The four-petaled blossoms, restrained proportions, and balanced placement of stone and silver support this period attribution. Masterfully cut into clusters of petit point, needlepoint (slightly fuller profile), and round elements, the blue turquoise cabochons— with minimal matrix and subtle shade variation—create a dimensional, mosaic-like composition.

The necklace reflects the mature period of Zuni petit-point cluster jewelry. Handmade two-piece silver beads, carefully calibrated turquoise stones, and layered cluster construction are characteristic of mid-century Zuni silversmithing, when workshop production had become highly refined while still relying entirely on hand fabrication. Based on these construction features, the piece most likely dates to the 1950s–early 1960s. 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 compared with the bolder proportions that became common in the following decade.

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

✨ Collector’s Circle members receive a welcome offer on their first purchase.

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 powerful 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.