A rare Balochi crescent torque neck ring, circa 1950s. Four thick silver strips hammered and fused into one bold curve, crowned by a dramatic sunburst medallion flanked by two smaller rays. Simple cloth ties at the semi-S terminals keep it secure. Stunning tribal power.

This elegant solid silver neck ring is set with a red glass stone in a centre medaillon of engraved floral scroll. A silver flower knob is added on to each side of the neck ring that tapers to a semi S-ring at the terminals.

Circa; 1930

A chunky silver Afghan torque neck ring, mid-century Kuchi. The front gleams with three bold rosettes, each two and a half centimeters wide, crowned in red glass. Deliberate diagonal ridges run the length like proud scars, catching the light. Plain semi-S terminals end in a neat silver flower knobs. Worn smooth by hands and years.

A flat silver neck ring, nineteen-fifties. Twenty-five stamped silver flowers lie flat. Between them, jingling silver chains and little charms that tinkle softly as you turn. A Herati woman would wear one like this on feast nights.

A magnificent Afghan Pashtun bridal necklace, nineteen-fifties. Heavy silver ground stamped with a layer of silver petals and buds; each nestled in a bright red or green glass stone. Centre spot; a gold-washed rectangular plaque, etched tribal patterns swirling round its own flower. Below, twenty-one little chains swing from tiny flower discs, each ending in silver bells. All of it tapers to a final birds clasps.

A sleek Pashtun court neck ring. Thick silver, open centre disc front blazing with red and green glass drops. From there, coiled wire runs tight springs along the length, thinner, thinner until it joins the back, where a spring-loaded hook snaps shut. Precision work, no rough edges. Pure Kabul city style.

A striking Afghan tribal neck ring, thick silver flattened into an open omega and adorned with deep red and green glass cabochons. Each terminal sweeps into a slender S curls, capped by a tiny bloom; flower-knots run down the taper, framing a wide rectangular centerpiece etched with tribal scrolls. Mid-century Kuchi work, pure Pashtun poetry.

A flat and solid silver neck ring etched deep and dotted with colored glass stones, long since lost to time. Still, you can see where they sat. Tapers to those semi-S curls with flowers on each side, proper Kuchi flourish. Still 1950's, mind. That wear just tells its story.

Pashtun gold-foil wrapped solid silver neck ring. It's done in two stages: first, a thick silver torque is hammered, then fired till it's dull. After that, the gold foil is hammered straight onto the silver while the metal is still warm, so it bonds. No solder, just pressure and heat. They only do this for daughters when they marry, or for a boy on his first hunt. Since every family has their own smith, each ring looks alike yet no two are the same. The name engraved is that of the groom's or the bride's father's. Means this is mine but I am giving it away.

The indigo traces is done by heating the gold foil just enough so it's soft, not molten, then presses it with a bone tool so it sinks in. Then a quick flash of the torch, enough to fuse without burning. The pigment seals itself, becomes part of the gold.

Pashtun people live mostly in a long crescent that stretches from southern Afghanistan right through Peshawar in Pakistan. Rough country, dry valleys, sharp mountains, everywhere a two day walk is normal. They herd sheep, they trade, they keep their women in silver and indigo. Language is Pashto, sounds like gravel and honey. Men sit in circles with guns and green tea talking about honor. Women trade stories on the roof. Everyone knows who's cousin of who for fifteen generations. Clans are everything. A Yuzufzai won't marry a Safi. And jewelry is not fashion. It's passport. Cross the border with a good neck ring and no one's asking questions; that's your wealth, your bloodline, your dowry all in one. Today the kids watch Bollywood on mobile phones and still wrap their necks in the same old torque.

This neck ring is made from a flat sheet of gold, hammered thin, incised and punched, then folded around a long solid silver rod like a glove over a hand. The two thirds curve is done. Hinge, pin, little silver balls added. Indigo paste is rubbed into the grooves so the blue sits quiet, deep. The punched writing is done last, on the smooth silver top. A slow deliberate making.

The silver rod is first cut with rows of tiny grooves, think tiny walls. The soft gold foil ( three by twenty-six centimeters) folds right in , pressed down with a mallet. When it's still hot, Indigo paste is rubbed along the lines.

The base sits flat, squared off, then tapers six centimeters into a smooth cylinder; cool against the throat. Indigo fused inside the metal, not just painted. The top band plain silver is punched with a short line of Pashto letters. They read like a father's name and a daughter's wedding date.

Elaborately worked Pashtun torque. Heavy gold foil first hammered, then inlaid with heavy indigo pigment. Sheet wrapped round a solid silver rod to form the curved body; top section hinged, closed with a pin and silver balls. Characters hand-engraved on the terminal.

Six rows of silver flower links drop from a flat triangular plate inlaid with red and yellow glass triangles. Narrow spacers between each row kept the rhythm. Below, the same thing, another six rows to a matching lower triangle. From both triangles hangs a hollow silver charm, wrapped in wire, dotted with enamel flowers and little silver balls.

Kachchh, the dry, salty wedge of western Gujarat, India. The Kutchi people live there, between the desert and the sea. Their silver is almost white, worn to the bone. They share a taste for heavy glass inlay with their northern neighbors, the Baluch and the Kutch. Same style different sky.

Long and broad chain necklace with flower links, red and green glass pieces suspending a U-shape pendant. Jingling triangular pieces decorated the circumference. Some glass pieces are missing.

The Kuchi are nomadic Pashtun people, primarily from the Ghilji confederacy, whose name derives from the Persian word for " migration". They traditionally move seasonally across Afghanistan and Northweastern Pakistan, following ancient trade routes. " Kuchi' refers to a lifestyle rather than a single tribe, encompassing various nomadic groups who have preserved distinctive jewelry traditions for centuries. They wear jewelry as "second skin"rarely removed symbolizing: wealth, marital status, tribal identity and protection against the evil eye. It plays a central role in weddings, festival, and daily life, with heavier pieces for special occasions. The sound of bells and jingles announces presence and adds joy. Today, Kutchi jewelry inspires global boho, tribal fusion, and belly dance styles, while vintage pieces carry stories of resilience across generations. These traditions remain alive, blending ancient nomadic spirit with modern appeal.

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