Celtic knotwork covers the whole crescent here, worked as bands that pass over and under one another so the pattern reads as woven rather than drawn. Three cornered knots sit in the field, and tighter circular knots gather near the lower edge.
The wolf sits at the centre, raised in relief above the pattern and shown in profile, chest lifted and the head tipped back over the shoulders. The crescent curls around it and closes to a point top and bottom, the shape the moon takes when only its sunlit edge faces us, horns always pointing away from the sun.
Shadow gathers in the low ground of the knotwork while the raised surfaces stay bright. That contrast is an old silversmith's advantage: relief carries at arm's length, which matters on a piece holding this much detail.
The second earring in the photograph is turned so its fitting shows, and a straight post runs from the back, which sits the crescent close against the lobe as a stud. Two are shown, one for each ear.
Metal, offered in gold and silver; the photograph shows the silver. The wider range sits in wolf jewelry, and if you are picking a piece to stand for your totem there is a guide to choosing a wolf jewel.
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