An Oval Waterbird Brooch by Julius Caesar, Pawnee (1910–1982), with Engraved Decoration and Applied Bosses.

An openwork brooch centered on a stylized waterbird, its elongated neck, outspread wings, and tapered tail contained within an oval frame. The bird’s extremities meet the surrounding border, making the figure integral to the structure of the piece. Two domed bosses accent the sides, introducing rounded volumes against the predominantly flat, pierced surface.

The frame is worked with engraved feather-like flourishes, short linear accents, and a gently scalloped outer border. Further ornament defines the bird’s shoulders, breast, and tail. The open spaces around the figure sharpen its silhouette, allowing the fabric beneath to become part of the brooch’s visual composition.

Julius Caesar was a significant figure in twentieth-century Southern Plains metalwork. He learned from the Pawnee jeweler Hiram Jake and subsequently from the Meskwaki metalsmith Bill Leaf, bringing these related artistic traditions into his practice. His instruction of his son Bruce helped carry the family’s metalworking knowledge into another generation.

The waterbird became a central image in jewelry associated with the Native American Church, appearing both as an independent silhouette and within more elaborate compositions. Here, Caesar organizes the motif within a continuous oval, balancing the bird’s angular anatomy with the curved frame and paired bosses. The example offered here demonstrates how a familiar religious image could accommodate considerable variation in proportion, surface treatment, and construction.