Jewelry

Overview:

Circa 1970s, unsigned Navajo sterling silver cuff bracelet with turquoise chip mosaic inlay, a central wheel design, hand-engraved crescent borders, and a heavy-gauge convex shank.

At a Glance:

Vintage heavy-gauge turquoise chip inlay cuff consistent with Navajo work
Central turquoise wheel mosaic with flanking half panels
Crescent-textured engraved border & accents
One-of-a-kind period example — 89.5 grams

Bracelet Features:

• .925 sterling silver
• Inlaid crushed polychrome turquoise chips
• Heavy-gauge convex shank
• Engraved borders and terminals 
• Construction & design consistent with 1970s Navajo silverwork
• Unsigned
• Condition: Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium with broad coverage and low profile
• Face width: 1 1/2"
• Inside length: 5 1/2"
• Gap: 1 3/16"
• Total inside circumference: 6 11/16" (S per SCJ size guide)
• Weight: 89.5 grams
  

ABOUT THIS PIECE: 

This vintage Navajo cuff centers on a repeating constellation of turquoise mosaics, each composed of small 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 1970s 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 applied. The arched cuts provide a visual interruption to the inlay work, adding movement and depth across the shank. The crisp-textured crescents also appear along the borders and at the terminals, giving continuity to the composition. The result is a restrained design: a full central inlaid circle flanked by half-panels that highlight the varied hues of the stones and unify the cuff through symmetry and rhythm. 

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 or heavy ornamentation. Decades of wear have left a deep patina that emphasizes the engraved detail and contrast against the blue palette.

PERFECT FOR:

• Collectors drawn to early chip inlay work
• Navajo handmade jewelry collections
• Anyone who appreciates artisan mosaic jewelry
• Everyday wear with weight and presence
• Wearers who favor pattern over single-stone focus

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

At a Glance:

Five-stone turquoise row cuff bracelet by Navajo silversmith Guy Hoskie
Stones visually consistent with Royston district material
Intricate stampwork extending across the cuff shoulders
Balanced medium statement cuff with strong collector appeal

Bracelet Features:

• .925 sterling silver
• Five natural turquoise cabochons with blue-green & deeper green tones
  
• Deep hand-stamping & vintage revival oxidation
• Heavy-gauge sterling silver construction
• Hallmarked by the maker
• Condition: Excellent — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: medium statement cuff with pronounced presence
• Center turquoise: 1" x 1/2" (bezel to bezel)
• Face width: 7/8"
• Inside length: 5 1/2”
• Gap: 7/8”
• Total inside circumference: 6 3/8" (S per SCJ size guide)
• Weight: 63.5 grams
  

ABOUT THIS PIECE:

This signed Guy Hoskie cuff presents a five-stone turquoise composition with strong visual rhythm and clear material presence. The cabochons move through shades of blue, green, and deeper moss tones, each marked by its own matrix patterning. Rather than aiming for strict uniformity, the bracelet allows that natural variation to become part of the design, creating a Royston-associated palette with depth, contrast, and cohesion.

The silverwork is deliberate and structurally strong. Each stone is set in a smooth bezel, framed with twisted wire, and distributed across a raised outer plate, creating a subtle sense of dimension over the solid inner cuff. Deep stampwork continues through the shoulders and out to the terminals, extending the visual interest well beyond the central setting. The result is a controlled surface work that supports the stones and gives the bracelet a fully resolved profile from end to end, without excess.

The piece reads as confident rather than overstated. Its strength comes from proportion, surface, and material balance: substantial silver, well-chosen turquoise, and stampwork used with purpose. For collectors of signed Navajo jewelry, it offers the combination that matters most—strong stones, convincing structure, and a fully integrated design.

ARTISAN NOTE:

Guy Hoskie is a Navajo silversmith whose work is associated with deep stampwork, substantial silver construction, and strong set-stone compositions. Southwestern galleries consistently identify him as Sunshine Reeves’ brother-in-law, placing him within a family circle known for heavily worked silver and bold stamp patterns. Market-circulated biographies also suggest that he learned the craft from or alongside relatives, especially Sunshine Reeves and Andy Cadman.

Other biographical details repeated across dealer and gallery sources remain unverified. These include claims that he worked for the Navajo Tribe in Window Rock from 1975 to 2000 while making jewelry on the side, became a full-time artisan in the early 1990s, was born in 1952, was born in Fort Defiance, Arizona, later lived in Window Rock, and had family and military ties noted in dealer biographies. These points may offer useful directions for future research, but they should not be treated as independently confirmed.

PERFECT FOR:

• Collectors of signed Navajo silverwork with strong stampwork traditions
• Royston turquoise collections focused on natural color variation
• Curated bracelet groupings anchored by a central statement cuff
• Anyone who appreciates substantial, bench-fabricated Southwestern silverwork 

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

✨Collectors Circle Members receive a welcome offer

At a Glance:

Design: Late Harvey Era Silver Arrow sterling silver cuff bracelet with oval turquoise cabochon, split shank construction, and applied silverwork
Stone: High-grade turquoise cabochon visually consistent with Nevada material
Color: Teal-blue turquoise with dark rust-brown matrix and deeper blue-green movement
Accent: Alternating silver beads, hollow circular appliqués, rope wire, stamped borders, and applied side panels
Metal: .925 sterling silver
Maker: Silver Arrow | a commercial workshop & manufacturer
Era: Circa 1940s
Status: Sterling silver turquoise cuff bracelet, hallmarked by the shop
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: domed stone profile with visually substantial face and comfortable medium-scale wrist presence
• Stone: 7/8" x 1" (bezel to bezel)
• Face width: 1 1/2"
• Inside length: 5 5/8"
• Gap: 7/8"
• Total inside circumference: 6 1/2" (M per SCJ size guide)
• Weight: 35.7 grams

Gallery Note:

Many Harvey-era cuffs have survived. Far fewer still feel this alive today.

This signed Silver Arrow bracelet carries museum-caliber preservation and striking visual energy — from its luminous domed turquoise to the crisp silverwork and interior hallmark, all of it arriving eighty years later with unusual strength. A quiet conversation piece for the collector who notices.

The oval saturated cabochon rises in a smooth dome with a moody blue-green hue, dark rust-toned matrix, and a polished surface that still catches the light — more commanding than the small stones typically found in lighter tourist-period bracelets.

The silverwork earns equal attention. Rounded beadwork, well-defined circular appliqués, and textured rope wire panels build a face with genuine density — elaborate where most Harvey-era cuffs are simple, dimensional where others are flat.

What separates this cuff is how completely those qualities have held together: stone, silver, and hallmark intact, none softened by the decades. History and structure, worn in balance.

Hallmark & Maker Notes:

This cuff is stamped STERLING and Silver Arrow on the interior. The sterling mark is crisply struck inside the fletched end of a long arrow that flows directly into the elegant cursive Silver Arrow hallmark running toward the arrow's tip — an exceptionally clean example of the signature.

Silver Arrow belongs to the mid-century Harvey jewelry story rather than to a single artisan signature — and its role in that story was significant. Rather than a destination shop where tourists stopped to browse, Silver Arrow operated as a major wholesale supplier, moving Indian-design silver jewelry through trade networks, curio shops, and commercial channels across the Southwest. In Fred Harvey Jewelry: 1900–1955, jewelry historian Dennis June documents Silver Products Manufacturing Co. of Kansas City, Missouri, as a prominent company producing silver Indian-design jewelry during the 1940s. June describes the company's evolving mark sequence and notes that Harvey jewelry bearing these stamps is enthusiastically collected today.

Three distinct stamp variations help place Silver Arrow pieces accurately within that history. The earliest, used in the late 1930s and early 1940s, is a blocky SILVER PRODUCTS COIN SILVER stamp paired with an arrow symbol, reflecting the company's origins in coin-alloy production. That practice was already fading by the time Silver Arrow emerged — Mexican peso melting had been largely phased out as coin export to the American Southwest was restricted, and sterling ingots in standardized sheet and wire form had become the industry standard. American coins had effectively left the jewelry bench decades earlier, when defacing U.S. currency was outlawed in 1890.

By the 1940s, Silver Arrow had transitioned to its second and most recognizable mark: the long running script Silver Arrow name paired with a STERLING stamp placed inside the arrow's fletching. This is the mark on this cuff, used extensively through the company's active Southwest trade routes. A third and final mark — a tighter corporate block stamp registered as SILVER ARROW-STERLING around 1950, recorded in registries including Lang Antiques — reflects the postwar period, when standardized retail classification reshaped how makers identified their work.

Because this cuff carries the long script-and-arrow hallmark with STERLING struck inside the feathered end, it aligns with the Stamp 2 production period, supporting a 1940s placement. That distinction matters to collectors because it links the bracelet to the company's most active Harvey-era output, not simply to the Silver Arrow name in general.

Secondary market research adds geographic depth to that placement. The workshop's production roots trace to Albuquerque, New Mexico, where it was established in 1938, with operations later relocating to San Luis, Colorado, before the company closed its commercial routes in the 1950s. Registered as a Midwestern business entity for distribution purposes, Silver Arrow's working history was distinctly Southwestern — and the jewelry reflects it. The company frequently employed machine-assisted die-striking to process sheet silver while relying on regional indigenous silversmiths for hand-stamping, stone-setting, and bench-finishing. This cuff, with its layered construction and carefully worked face, represents that collaborative process at a high level of execution.

✨ 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 collector notes may be featured in our upcoming Collectors Circle Insights publications.

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Bold single-stone turquoise cuff on an open split shank
Stone: Turquoise cabochon consistent with Nevada material
Color: Vivid blue-green over golden-brown host rock, the matrix forming irregular islands
Accent: Applied chased feather motifs flanking the centerpiece
Metal: .925 sterling silver (unmarked)
Attribution: Construction and design consistent with Navajo work
Status: Unsigned single-stone turquoise cuff, no purity stamp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium statement cuff with grounded presence
• Turquoise: 1 11/16" x 1" (bezel to bezel)
• Face width: 2 1/16"
• Inside length: 5 1/2"
• Gap: 1 1/16"
• Total inside circumference: 6 9/16" (L per SCJ size guide)
• Weight: 63.4 grams

Gallery Note:

This bracelet is built around a single commanding stone.

The cabochon presents a saturated blue-green field over golden-brown host rock, the matrix forming irregular islands across the surface — contrast and depth without visual weight. In direct light the blue-green teal hues open; indoors the blue palette prevails. The golden-brown matrix holds steady regardless of light.

The surrounding silverwork stays restrained, its quiet, smooth finish keeping every eye on the stone. Built from solid-gauge stock, the open split shank balances the composition while supporting the centerpiece, and the applied feather motifs — chased for texture and dimension — introduce a traditional element within a controlled, uncluttered design. There is a clear sense of presence here, yet the cuff maintains a composed profile: a bold single-stone piece with defined structure and proportion.

Hallmark & Maker Notes:

The cuff is unsigned and carries no purity stamp. Its construction and design — the open split shank, the applied chased feather work, and the single-stone presentation — are consistent with Navajo silversmithing, and SCJ presents the attribution on that construction evidence alone.

Unsigned work is common across vintage Southwestern silver, where hallmarking practices varied widely from maker to maker and decade to decade. The absence of a mark is noted plainly here and is reflected in the attribution language used throughout this listing.

✨ 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.

✨Collectors Circle Members receive a welcome offer

At a Glance:

Design: Native American cuff with a graduated three-stone turquoise arrangement and twisted flat-wire shank with eagle motifs
Stone: Natural turquoise consistent with Cerrillos material
Color: Green turquoise, ranging from deep forest green at the center to brighter open green at the shoulders
Accent: Applied eagle motifs flanking the side stones
Metal: .925 sterling silver (unmarked)
Attribution: Navajo work associated with the late Harvey Era
Era: Circa 1940s
Status: Unsigned and unstamped turquoise trio sterling cuff
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: high profile, medium scale cuff — noticeable without excess
• Largest stone: approx. 3/4" (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

Gallery Note:

This late Harvey-era Navajo cuff centers on a classic trio of domed turquoise cabochons, arranged in graduated order with a clear central focus. The exquisite stones span the green palette, creating a color story closely associated with Cerrillos deposits, long prized for their rich hues and natural variation. Their high-luster surface and exceptionally preserved condition give the bracelet a refined presence.

The silverwork is restrained but assured. A heavy-gauge twisted flat-wire shank gives the cuff structure and tactile movement, while two small hand-chased eagle appliqués flank the side stones with quiet symmetry. With a 1" face and a high profile, this cuff has presence without becoming oversized. It's an elegant choice as a stand-alone or for layered pairings. Timeless and quietly expressive, it reflects the subtle confidence of mid-century Native American silverwork.

Hallmark & Maker Notes:

This bracelet is unsigned and carries no silver purity stamp, a practice consistent with the norm of the period. The absence of a maker's mark is also common in pre-1970s silversmithing, when pieces were made for tourists, trading posts, and curio markets, with an emphasis on designs, wearability, and production rather than individual maker identification.

The attribution is based on the bracelet’s overall language. The three-stone layout, measured ornament, wearable proportion, and controlled design are elements associated with late Harvey-era silverwork created for understated sophistication rather than authorship. 

✨ 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.

✨ Collectors Circle members receive a welcome offer

At a Glance:

Design: Native American bear claw sterling pendant with turquoise, coral, and intricate silverwork
Stone: Turquoise cabochon consistent with Kingman material
Color: Saturated sky-blue turquoise with minimal matrix
Secondary Stone(s): Two small red-orange coral accents
Accent: Layered wirework, chased leaves, and flower appliqués
Metal: .925 sterling silver
Artist: Signed J.M. | Navajo silversmith under active research
Era: Late 20th century
Status: Vintage Native American jewelry piece with partially faded hallmark
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: mid-size pendant (chain not included)
• Turquoise: 5/16" x 5/16" (bezel to bezel)
• Width:  1 1/4"
• Total length (including the bail): 2 1/4"
  
• Bail: compact, best suited for fine to medium weight chain
• Weight: 13.1 grams

Gallery Note:

This Native American bear claw pendant brings together symbolic strength, saturated color, and detailed silverwork in a compact yet commanding form. A vivid sky-blue turquoise cabochon anchors the upper center, framed by curling wirework and layered sterling silver appliqué, while two red-orange coral accents introduce warmth beneath the stone.

The turquoise-and-coral contrast gives the pendant a classic Southwestern presence, while the genuine bear claw adds visual weight and traditional collector interest. Its mid-size scale keeps the piece wearable, but the layered silverwork, strong materials, and symbolic form give it a bold presence beyond its size.

Compact yet expressive, this pendant reflects the appeal of vintage Native American jewelry with strong visual character, meaningful materials, and construction details consistent with Navajo work.

Hallmark & Maker Notes:

The reverse bears a partially faded hallmark that appears to read “J.M.” beside a clear STERLING stamp. The maker remains under active research, as the mark has not yet been conclusively matched to a single documented silversmith.

The Navajo attribution is based on the pendant’s genuine bear claw element, sterling silverwork, turquoise-and-coral arrangement, curling wire accents, layered appliqué, and overall late 20th-century Navajo jewelry vocabulary — elements consistent with Navajo work, though maker identification remains unconfirmed due to the softened hallmark.

✨ 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.