At a Glance:

Heavy sterling silver Navajo cuff with commanding turquoise centerpiece
Turquoise cabochon consistent with Morenci material
Stamped leaves & twisted wire frame add a strong traditional profile
Collector-oriented cuff built around a high-impact stone

Bracelet Features:

• .925 sterling silver
• Saturated blue turquoise with dark brown matrix & pyrite
• Clean, heavy silver construction with bold split shank 
• Smooth bezel framed with twisted wire
• Crisp crescent stamps applied to leaf motifs 
• Unsigned hand-fabrication associated with Navajo silversmithing
• Condition: Very Fine — see SCJ Vintage Condition Guide

Bracelet Specifications:

• Wear scale: substantial presence with balanced proportions 
• Turquoise: 2 3/16" x 1 3/8" (bezel to bezel)
• Face width: 2 5/8"
• Inside length: 5 1/4"
• Gap: 7/8”
• Total inside circumference: 6 1/8” (S per SCJ size guide)
• Weight: 105 grams 
  

ABOUT THIS PIECE:

This substantial Native American cuff centers on a 98-carat turquoise cabochon associated with the Morenci mine based on its vivid blue color, matrix patterning, and pyrite-bearing character. Under that attribution, the material would have been mined before 1984 from one of the Southwest’s most storied and increasingly scarce turquoise sources. 

The setting is bold without feeling crowded. A twisted wire bezel draws the eye inward, while a smooth outer border keeps the frame clean and in harmony with the cabochon's active patterning. Large leaf appliqués at the shoulders introduce a traditional Southwestern note and give the mount a more sculptural outline without competing with the stone.

Crafted from heavy-gauge silver, the cuff is built with an open split shank for a balanced profile on the wrist. At 105 grams, it has the kind of weight collectors expect from a serious vintage cuff (likely 1970s-1980s), pairing statement scale with controlled proportions.

PERFECT FOR:

• Collectors of American turquoise jewelry
• Anyone who appreciates turquoise with strong patterns and pyrite 
• Curated bracelet groupings anchored by a central statement cuff
• Bench-fabricated Southwestern Native American silverwork 

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

✨ Collectors Circle Members receive a welcome offer

At a Glance:

Design: Native American signed two-stone turquoise cuff bracelet with flower motif and strong sterling construction
Stone: Two visually matched turquoise cabochons consistent with Turquoise Mountain material
Color: Green-dominant spiderweb stones with vivid sky-blue tones near the bezels
Accent: Fully dimensional hand-fabricated flowers, chased leaves, curling wirework, and silver drops
Metal: .925 sterling silver
Artist: Signed MARCUS | Marcus Chavez, Navajo silversmith
Era: 1980s - 1990s
Status: Signed and sterling-marked Navajo turquoise cuff bracelet
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with high-rise stone profile and sculptural wrist presence
• Largest turquoise: 1 5/8" × 1 3/8" (bezel to bezel)
• Face width: 2 1/2"
• Inside length: 5 3/4" 
• Gap: 1 1/4"
• Total inside circumference: 7" (L per SCJ size guide)
• Weight: 78.8 grams

Gallery Note: 

This cuff makes its first impression as a complete composition: high-domed turquoise, dimensional flowers, and open silver construction working in the same visual language. The cabochons bring saturated blue-green color and height, while the hand-fabricated flowers, chased leaves, and curling wirework give the bracelet a bright botanical character rather than simply serving as decoration.

The turquoise remains vivid in indoor light. The green areas deepen into rich forest and foliage tones, while clear sky-blue stays visible near the bezels and stone edges. In stronger light, the blue opens further across the surface, brightening the cabochons and giving the stones a livelier, more expansive presence. The two stones are visually matched not because they are identical, but because they move together in color, temperature, and overall character.

The construction supports that same sense of lift and openness. The high-set stones create the bracelet’s bold profile, but the open multi-band shank keeps the cuff from feeling dense or overbuilt. Leaves tuck beneath and around the cabochons, wire stems curve through the open framework, and silver drops add small points of brightness against the oxidized recesses. The silverwork is strong enough to carry the scale of the stones, yet open enough to let the floral design breathe.

The flowers are especially compelling. They are not flat stamped motifs, but built silver forms with raised petals, chased interior lines, rounded silver-shot centers, and leaves that curl away from the surface. Each element feels individually shaped, giving the cuff the presence of a sculptural floral piece rather than a standard two-stone bracelet with added ornament.

The result is a statement cuff with unusual balance: vivid turquoise, dimensional floral silverwork, and a construction that feels open, strong, and carefully composed. The stones draw the eye immediately, but the flowers and layered build reward closer study from every angle.

The turquoise is identified as consistent with Turquoise Mountain material based on visual and contextual assessment. No laboratory documentation accompanies the cuff, so SCJ presents the mine identification as an evidence-led working attribution rather than a provenance guarantee.

Hallmark & Maker Notes:

This bracelet is signed MARCUS and carries a sterling mark. SCJ identifies the maker as Marcus Chavez, a Navajo silversmith from Shiprock, New Mexico, on the Navajo Nation. Reference examples for Chavez more commonly show the fuller MARCUS C signature, while this cuff is stamped MARCUS only. Even so, the letter formation shows a notable visual relationship: the MARC portion rises slightly, while the U and S sit offset on a downward incline, a pattern also seen in Marcus Chavez reference marks. This supports presenting the bracelet under Marcus Chavez while noting the shortened hallmark.

Public retail references and comparable market examples show that pieces stamped MARCUS and MARCUS C share a related construction vocabulary, especially the pairing of large natural stones with hand-fabricated silver flowers and leaf forms. Current market examples also show Chavez working across a wide range of materials, including Royston District, Kingman, Bumble Bee, Wild Horse, and Rainbow moonstone, reinforcing the stone-forward character of his known work.

The silverwork on this bracelet is notably more dimensional and sculptural than many currently circulating pieces under the full Marcus Chavez hallmark, suggesting a more ambitious build — possibly an earlier or higher-grade example. SCJ presents the maker identification confidently in the listing while preserving the hallmark nuance here for transparency.

✨ 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: Signed vintage spiderweb turquoise and sterling silver bead necklace with bench-made beads, three suspended stone stations, and a tandem center drop
Stone: Spiderweb turquoise with professional opinions noting both Kingman and high-grade Hubei visual possibilities
Color: Perfectly matched saturated blue turquoise with reddish brown spiderweb matrix and darker host-rock movement
Accent: Heavy-gauge pendant settings with twisted wire borders, stamped side accents, and oxidized silver depth
Metal: .925 sterling silver
Artist: Signed BEN.S | Ben Sandoval, Navajo silversmith
Era: Late 20th century, most likely 1980s
Status: Signed turquoise and sterling silver statement necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications: 

• Wear scale: princess-length statement necklace spanning the upper chest
• Largest stone: 1 1/2" (bezel to bezel)
• Center drop station: 4 3/4" (including bail)
• Side stations length range: 2 1/4" - 2 1/2"
• Beads: approx. 7 mm
• Total length: 17 3/4" (including clasp)
• Weight: 90.3 grams

Gallery Note:

This signed necklace is a serious turquoise statement piece: saturated blue spiderweb stones, heavy sterling pendant settings, and a strong bead construction that sits high across the chest. The design is built around three suspended turquoise stations, with the center pendant extending into a dramatic tandem drop that adds movement, length, and visual focus to the necklace.

The turquoise is the immediate draw. Each cabochon shows a vivid blue color moving through a reddish-brown spiderweb matrix, with darker host-rock passages that add depth and contrast. The stones have the kind of bold surface activity collectors look for in spiderweb turquoise, while the matching color family keeps the necklace cohesive rather than busy.

Sandoval’s silverwork gives the piece its structure. The pendant settings feature substantial bezels, twisted-wire borders, stamped side accents, and a dark oxidized ground that sharpens the blue of the stones. The bench-made sterling beads add weight and rhythm, shifting from a double-strand center section to a single strand toward the clasp for a balanced, wearable drape.

The turquoise is presented transparently. Professional review has produced two plausible readings: Kingman turquoise and high-grade Hubei Province material. Kingman was considered the more likely identification in one professional review, based on the necklace’s construction context and the understanding that Ben Sandoval is not known to work with imported material. Other turquoise specialists noted visual characteristics consistent with high-grade Hubei. Because no mine paperwork or laboratory report accompanies the necklace, SCJ presents the stones as high-grade spiderweb turquoise visually consistent with Kingman, with the Hubei comparison disclosed as part of an open, evidence-led identification.

Hallmark & Maker Notes:

Signed BEN.S / .925 — identified as a variation consistent with the documented BEN S. hallmark recorded in both Billie Hougart's Native American and Southwestern Silver Hallmarks and Barton Wright's Hallmarks of the Southwest. This piece is believed to be the work of Ben Sandoval, a Navajo silversmith documented in collector communities as a skilled production benchsmith who worked across multiple shops — a career path common among the craftsmen responsible for much of the finest mid-market Navajo silver of the 1980s.

During that decade, skilled Navajo artisans were working out of shops in Gallup and Albuquerque, supplying trading posts and gift stores across the country; trade schools were actively producing trained silversmiths, and the work was serious. The period also predates the Indian Arts and Crafts Act of 1990, which helps explain why talented production smiths like Sandoval built strong reputations through trade channels while leaving a limited institutional footprint.

A Native American jewelry specialist who consults with the Silver Cactus Jewelry team has reviewed the hallmark and construction, and the attribution is considered consistent with his known body of work. His pieces reflect a confident, experienced hand — heavy-gauge silver construction, strong chasing, and careful stone selection that speak to a craftsman who took his work seriously. The Sandoval name carries deep roots in the silversmithing community of Tohajiilee (Cañoncito), New Mexico, where multiple generations of the family worked in silver. Extensive research has yet to yield specific family ties or associations; BEN.S's work survives on its own merits.

✨ 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 on their first purchase. 

At a Glance

Design: Native American signed wide turquoise cuff bracelet with heavy-gauge sterling construction, openwork sides, and crisp, measured silverwork
Stone: Large turquoise cabochon consistent with Pilot Mountain material
Color: Vivid blue-green turquoise with copper-brown matrix and strong natural variation
Accent: Hand-notched bezel, stampwork, chased linear cuts, small perforations, and triangular cut-out accents
Metal: .925 sterling silver
Artist: Signed Fred Guerro | Navajo silversmith Fred Guerro Senior
Era: Circa 1980s
Status: Signed heavy Navajo turquoise cuff bracelet
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with substantial wrist presence
• Turquoise: 1 3/4" x 1" (bezel to bezel)
• Face width: approx. 2"
• Inside length: 5 7/8"
• Gap: 1 3/8"
• Total inside circumference: 7 1/4" (L per SCJ size guide)
• Weight: 139.2 grams

Gallery Note:

This Fred Guerro cuff has the bold, disciplined presence collectors look for in late-20th-century Navajo silverwork. The large oval turquoise cabochon anchors the design with vivid blue-green color and broad copper-brown matrix, creating strong natural contrast without excess ornament.

The silverwork is measured and graphic. A hand-notched bezel frames the stone, while crisp stampwork, chased linear cuts, small perforations, and triangular openwork give the wide cuff movement, depth, and visual relief. Polished silver planes keep the composition clean, allowing the stone and construction to carry the piece.

From the side, the bracelet reveals its architecture: a high-profile stone setting, thick tapering shank, smooth interior, and substantial gauge. At 139.2 grams, it has the weight and presence of a serious statement cuff, while the openwork keeps the design from feeling visually heavy.

Built with strong turquoise character, confident bench work, and collector-scale weight, this cuff is a powerful example for those drawn to substantial Navajo bracelets with clarity, structure, and presence.

Hallmark & Maker Notes:

This bracelet is signed FRED GUERRO and carries a STERLING stamp. Reference and market examples associate this full Fred Guerro signature with Fred Guerro Sr., Navajo silversmith, distinguishing it from Fred Guerro Jr. examples that are commonly marked with a junior designation or FG Jr.

Fred Guerro Sr. was born on November 14, 1934, and lived a long life shaped by family, faith, work, and craft. Although he is widely identified as a Diné/Navajo, biographical references describe him as Chishi, Apache Clan, born for Áshiihí, Salt People Clan, reflecting Navajo clan identification rather than a separate primary tribal attribution. He spent much of his life in Alamo, with periods in To’hajiilee and Socorro, and passed away in Albuquerque on November 21, 2020.He spent most of his life in Alamo, with periods in To’hajiilee and Socorro. He passed away peacefully in Albuquerque on November 21, 2020, leaving behind a large family, a strong local memory, and a body of jewelry that continues to circulate among collectors.

By all accounts, Fred was the kind of man people remembered vividly. He was known for his humor, storytelling, teasing nature, and generosity. He opened his home to people who needed a place to stay, a place to recover, or simply a little steady ground. He was also deeply committed to his Christian faith, known for quoting scripture and encouraging others to know it well. That mix of warmth, conviction, and wit seems to have stayed with those who knew him best.

He was not only a silversmith; he also worked with his hands in other demanding trades, building houses, often in adobe, and taking on fence-building jobs that carried him across New Mexico. Family members remembered traveling with him for work and hunting, listening to his stories along the way. That kind of life matters when looking at his jewelry. His pieces do not feel detached from the world of labor, land, and daily use. They tend to have presence, weight, and a practical confidence that sits well within late-20th-century Navajo jewelry.

Reference sources and collector literature associate Fred Guerro’s work with stamp and file work, shadowbox construction, and set-stone jewelry. Reported hallmarks include F G, Fred G, and the previously mentioned "Fred Guerro" appearing in either stamped or inscribed form. Online examples of his signed jewelry also suggest a preference for substantial silver, bold stone presentation, and collector-scale forms, especially cuffs and other statement pieces. What makes his work appealing is that it does not need exaggerated language. The better pieces speak clearly on their own: strong silver, decisive stones, and a direct design sense that feels rooted rather than ornamental. 

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At a Glance:

Design: Native American signed spiderweb turquoise cluster cuff bracelet with polished heavy-gauge solid shank
Stone: Natural spiderweb turquoise consistent with Turquoise Mountain material
Color: Sky-blue and pale blue stones with green spots and dense brown and golden spiderweb matrix
Accent: Silver beads at the stone settings
Metal: .925 sterling silver
Artist: Signed M. Spencer | Navajo silversmith Mary Ann Spencer, Gallup, NM
Era: Late 20th century
Status: Signed Navajo turquoise cluster cuff and maker-labeled
Condition: Excellent — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: medium-width cuff with substantial visual presence
• Largest turquoise: 3/4" × 9/16" (bezel to bezel)
• Face width: 1 9/16"
• Inside length: 5 7/8" 
• Gap: 1 1/2"
• Total inside circumference: 7 3/8" (L per SCJ size guide)
• Weight: 92 grams

Gallery Note:

Twelve natural spiderweb turquoise cabochons are set in two staggered rows across the center face — rounded ovals, elongated forms, and tighter cabochons positioned so the color and web pattern travel naturally from one stone to the next. The ground shifts from soft sky-blue to blue-green, with pale blue passages and green spotting laced by a fine web of golden to red-brown matrix. Each carries its own character; together they read as a carefully chosen suite.

Spiderweb patterning is among the most sought expressions of Turquoise Mountain material, and this cluster shows why — the webbing is fine, consistent, and distributed across stones of genuine visual range rather than selected for uniformity.

A polished heavy-gauge shank rises cleanly beneath the cluster, bright and substantial against the aged complexity of the turquoise. Silver beads punctuate the settings without crowding them, and the bezels are tight and even — the confident, finished presence collectors look for in Mary Ann Spencer's work.

Hallmark & Maker Notes:

The shank is stamped “M. SPENCER Sterling,” Mary Ann Spencer’s recognized hallmark. An accompanying adhesive label reading “MARY ANN SPENCER TURQ MNTN” identifies both the maker and the stated turquoise source. Turquoise Mountain is a trade name associated with material from the Kingman, Arizona region; in this listing, the stone attribution is supported by the accompanying label and the bracelet’s visual character rather than independent gemological verification. For a vintage or pre-loved piece, that kind of surviving material notation is a meaningful collector detail.

Spencer is a Navajo silversmith based in Gallup, New Mexico. Market and gallery biographies commonly note that she learned silversmithing at age 13 within a working artist community on the Navajo reservation. Her multi-stone cluster cuffs are among her most recognized and collected formats, and her work appears regularly in the Southwest gallery and trading-post market.

Collectors and dealers often associate Spencer’s work with heavy-gauge sterling construction, strong turquoise selection, and clean, confident fabrication. This cuff reflects those qualities through its substantial shank, even bezels, balanced stone placement, and polished finish.

✨ 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: Navajo-attributed statement turquoise cuff bracelet with heavy-gauge sterling construction, split-shank form, and leaf motifs overlapping the stone
Stone: Large turquoise cabochon consistent with Kingman material
Color: Saturated blue turquoise with golden-brown matrix and natural green-gold movement
Accent: Chased leaf appliqués, rope border, and silver drop accents
Metal: .925 sterling silver (unmarked)
Attribution: Unsigned piece aligned with late-20th-century Navajo silverwork
Era: 1970s
Status: Unsigned and unstamped sterling turquoise cuff bracelet
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: extra-large statement cuff with major wrist coverage and bold collector presence
• Turquoise: 3" x 2 1/2" (bezel to bezel)
• Face width: 3 3/8"
• Inside length: 6" 
• Gap: 1 9/16"
• Total inside circumference: approx. 7 9/16" (L per SCJ size guide)
• Weight: 161.7 grams
  

Gallery Note: 

This cuff is built around one undeniable feature: a massive, high-domed turquoise cabochon with the scale and color presence that stops a collector mid-scroll. The turquoise dominates the face, with its natural variation shifting between sky-blue, aqua, and green-gold across the surface.

The silverwork frames it without competing. A rope border traces the cabochon, chased leaf appliqués rise along the sides and partially overlap the turquoise, and silver drop accents give the design rhythm at key points — enough detail to hold the eye, not enough to pull it from the stone.

From the side, the architecture becomes clear: tall stone profile, open split-shank construction, and heavy-gauge silver supports that lift the face high above the wrist. The design carries the bold confidence of 1970s Navajo statement work, where stone scale, silver weight, and hand-formed construction did the talking.

At 161.7 grams, this bracelet makes its presence known. The openwork shank keeps it from reading as heavy despite the scale, but nothing here is understated. It is a piece built for the turquoise that anchors it.

Hallmark & Maker Notes:

This bracelet is unsigned and carries no visible sterling stamp. The Navajo attribution is based on the silver construction and overall late-20th-century Navajo design characteristics. 

✨ 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 signed coral cluster bib necklace with articulated sterling silver construction and graceful upper-chest drape
Stone: Matched coral cabochons arranged in cross-form cluster stations
Color: Warm red-orange coral with an almost matte vintage finish, contrasted by oxidized sterling silver
Accent: Silver drop accents and open sterling connector links
Metal: .925 sterling silver
Artist: Signed H Ortega | Helen Ortega, Navajo silversmith
Era: Circa 1970s
Status: Signed vintage coral and sterling silver bib necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: princess bib — spans the upper chest
• Stones: approx. 5/8" x 1/4" (bezel to bezel)
• Pendant size: approx. 1" x 1"
• Round beads: approx. 8 mm
• Melon beads: approx. 13 x 5 mm
• Total length: 17 1/2" (including clasp)
• Clasp: hook-and-eye closure
• Weight: 75.4 grams

Gallery Note:

This Helen Ortega necklace features a striking articulated bib form, built from repeating cross-form coral cluster stations joined by open sterling links. Rather than presenting as a single pendant, the necklace spreads across the upper chest in a light, lace-like arrangement, giving the piece movement, drape, and a strong graphic silhouette.

The coral cabochons are closely matched in a warm red-orange hue, lending the piece a softened vintage character. Each cluster is set in sawtooth bezels against dark oxidized recesses, creating a vibrant contrast and making the coral read with greater depth and dimension.

The open connector work is an important part of the design. Diamond-shaped sterling links and slender bar elements give the bib flexibility, allowing the stations to articulate across the neckline instead of sitting as a rigid plate. Small silver drops add rhythm at the cluster edges, while the upper strand of round and melon beads gives the necklace structure without competing with the coral bib.

The result is a vintage coral statement necklace with unusual movement, balanced proportions, and lovely color harmony — a piece well suited to collectors drawn to signed Native American silverwork with warmth, graphic presence, and graceful wearability.

Hallmark & Maker Notes:

This necklace is signed H. Ortega. Public biographical information on Helen Ortega appears limited, so the listing focuses on the maker's mark, coral cluster construction, sterling silver beadwork, foxtail chain, hook-and-eye closure, and the circa-1970s character of the piece.

Helen Ortega was a Navajo silversmith active in the 1970s whose work most likely circulated regionally through trading posts and private buyers rather than galleries or shows — the path most working Navajo artists of her era traveled. She doesn't appear to have entered her pieces into juried museum competitions (such as the Gallup Inter-Tribal Indian Ceremonial or the Heard Museum Guild Fair), missing the standard avenues that generated permanent biographical entries in reference texts like Hougart’s or Wright’s. 

Helen Ortega does not appear to be associated with the Ortega Indian Jewelry Store located in Gallup, New Mexico. Extensive research across hallmark databases, auction records, museum collections, and Native American jewelry archives yields no published biographical record, which is entirely typical of skilled craftspeople who let their work speak for itself. She is a marker of a tradition of quietly talented artisans whose names rarely made it into books but whose pieces endure. The script signature on this necklace — hand-engraved in her distinctive dotted cursive — is both her hallmark and her story.

✨ 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: Vintage turquoise and sterling silver bead necklace with double-strand center, single-strand ends, and suspended center drop
Stone: Turquoise cabochons visually consistent with Fox material
Color: Saturated, darker green and teal tones with golden brown matrix and subtle blue-green highlights in stronger light
Accent: Rounded stone stations with twisted wire borders, and oxidized recesses
Metal: .925 sterling silver (unmarked)
Attribution: Design and construction consistent with Navajo work
Era: Circa 1970s
Status: Unmarked and unsigned vintage turquoise and sterling silver bead necklace
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: statement choker sitting slightly above or at the collarbone on most wearers
• Largest stone: 1 1/2" (bezel to bezel)
• Center drop length: 2 3/4"
• Side stations length range: approx. 13/16" - 1"
• Beads: approx. 8 mm
• Total length: 16 1/2" including clasp; average neck sizes may benefit from a 2-3" extender for a more relaxed drape
• Weight: 88.7 grams

Gallery Note:

This necklace has a quieter kind of presence: dark green to deep teal turquoise, oxidized sterling, and a compact choker profile that feels substantial without becoming loud. The stones are not bright blue statement pieces — their appeal is more restrained, with saturated color, golden-brown matrix, and subtle teal highlights that reward close attention.

The composition is built around rhythm and weight. Seven turquoise stations crown the collar, framed by darkened silver and joined by a double strand of bench-made sterling beads. A suspended oval drop at the center adds movement and a clear focal point without breaking the choker silhouette.

Light changes the read. Indoors, the stones run deeper and more subdued, dark green and teal, carrying the eye from station to station. In stronger light, brighter blue-green flashes surface briefly — then the mood settles back, grounded and refined rather than bright or showy.

The silverwork holds that same character. Beads are visibly hand-assembled, with softened surfaces, seams, and oxidation that give the piece its vintage depth. Each station sits in a heavy frame with twisted wire borders and dark recesses — an old-style protected setting that feels hand-worked from every angle.

The turquoise is identified as visually consistent with Fox material based on color, matrix, and overall appearance. No laboratory documentation accompanies the necklace, and SCJ presents the identification as an evidence-led working attribution rather than a provenance guarantee.

Hallmark & Identification Notes:

This piece carries no maker's hallmark or sterling stamp. The construction speaks clearly — hand-built sterling beads, twisted wire borders, heavy stone stations, oxidized recesses, a wire hook clasp, and a double-strand center — all hallmarks of traditional Navajo silversmithing. SCJ describes the attribution through construction and design language, as is standard practice for unsigned vintage work.

✨ 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.

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: Native American graduated Navajo pearl necklace with smooth hollow sterling silver saucer beads
Stone: None
Color: Bright satin sterling silver with minor scattered oxidation
Accent: None
Metal: .925 sterling silver
Artist: Signed "LY" | Leo Yazzie, Navajo silversmith
Era: Late 20th century
Status: Signed vintage Navajo pearl necklace with classic graduated beadwork and hand-fabricated construction
Condition: Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: classic matinee length, falling between collarbone and bust on most wearers
• Center bead diameter: 25 mm (approx. 1")
• Graduated bead range: 11-25 mm, strung on link chain
• Total length: 22 3/8" (including clasp)
  
• Clasp: traditional wire hook and eye
• Weight: 100.1 grams

Gallery Note: 

Rather than relying on surface ornament, this necklace demonstrates the quiet confidence of classic Navajo beadwork, where proportion, silhouette, and craftsmanship define the design. The smoothly graduated strand builds naturally toward an oversized 25 mm center bead before tapering evenly toward the clasp, creating balanced visual weight and an elegant drape along the neckline. Individually linked hollow beads articulate freely, allowing the strand to move comfortably while maintaining its sculptural profile.

Each bead was hand-fabricated from sterling silver sheet, soldered into a hollow form, then finished with smooth surfaces that place the emphasis on contour rather than decoration. Subtle variations among the beads reflect the individuality expected of bench-made work, giving the necklace a character distinct from machine-perfect production while preserving the harmony of the overall composition.

Silver bead necklaces became part of Navajo silversmithing during the late nineteenth century as metalworking traditions evolved throughout the Southwest. By the early twentieth century, hollow sterling beads had become enduring symbols of both personal adornment and portable silver wealth. Their enduring appeal continues to rest in the balance between refined simplicity, skilled fabrication, and timeless versatility.

Hallmark & Maker Notes:

The necklace is signed "LY" on the silver tag at the closure. This maker's mark is associated with Leo Yazzie, a Navajo silversmith from the Black Mesa region of Arizona who later worked in Flagstaff. His introduction to silversmithing began while attending Northern Arizona University, where a metalsmithing elective redirected his studies toward jewelry. By the early 1980s, he was working as a full-time silversmith, a career that continued for more than three decades before his retirement.

Yazzie's work reflects influences rooted in home and family. He has cited the storm-pattern geometry found in his mother’s and grandmother’s Navajo weaving, along with Navajo spiritual teachings, as formative sources. Rather than relying on heavy surface ornament, his designs tend to favor measured spacing and deliberate stone placement, where the pattern is created by the stones themselves. When decorative elements such as stamping and chasing are utilized, they are applied with restraint and precision, supporting the form rather than dominating it.

During his active years, Yazzie worked primarily in sterling silver, sometimes incorporating gold. He preferred fine turquoise alongside coral, sugilite, lapis, and opal. Precisely fitted inlay and controlled settings became consistent features of his mature pieces, emphasizing balance between material and form.

Leo Yazzie's pieces have been widely shown through regional and national galleries, earning juried recognition and developing a strong collector following. With his retirement, signed examples now represent completed studio work from his late 20th- and early 21st-century production period.

✨ 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.

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At a Glance

Design: Southwestern wide multi-row spiderweb turquoise cuff bracelet with heavy sterling construction, dark oxidized ground, and hand-stamped detail
Stone: Spiderweb turquoise with professional opinions split between Kingman and high-grade Hubei Province material
Color: Deep teal-blue turquoise with tight dark spiderweb matrix and pale host-rock accents; brighter blue tones are most visible in direct sunlight
Accent: Stamped borders, interior geometric stampwork, arrow stamps, pictorial terminal details, and single turquoise cabochons at each end of the shank
Metal: .925 sterling silver (unmarked)
Artist: Greg Thorne | Anglo silversmith-confirmed through SCJ’s appraiser
Era: 1990s
Status: Unsigned artist-confirmed spiderweb turquoise sterling cuff; no visible sterling stamp
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: large statement cuff with wide wrist coverage, substantial weight, and strong collector presence
• Stones: approx. 7/16" in diameter (bezel to bezel)
• Face width: 1 15/16"
• Inside length: 6" 
• Gap: 1 3/8"
• Total inside circumference: approx. 7 3/8" (L per SCJ size guide)
• Weight: 144.1 grams

Gallery Note: 

This Greg Thorne cuff has the presence of a serious collector piece: substantial in weight, broad across the wrist, and built with a dense multi-row arrangement that gives the bracelet a strong old-style Southwestern look. The dark oxidized ground deepens the overall tone, making the spiderweb turquoise read moodier in shade and indoor light, while direct sunlight brings forward brighter blue flashes within the teal matrix.

The interior stampwork adds one of the cuff’s most distinctive details. Rather than serving only as decoration, the hidden geometric pattern gives the piece a personal, maker-driven quality and reflects the kind of thoughtful construction that rewards close handling.

The turquoise is presented transparently. Professional opinions include Spiderweb Kingman and high-grade Hubei Province material, with recent expert review favoring Hubei based on the bracelet’s 1990s context, visual characteristics, and market history. Because no mine paperwork or laboratory report accompanies the cuff, SCJ presents the stone as high-grade spiderweb turquoise with open, evidence-led identification rather than a closed mine claim.

Hallmark & Maker Notes:

This cuff is unsigned and carries no visible sterling stamp. SCJ identifies the maker as Southwest artisan Greg Thorne through its professional evaluation process, including direct artist confirmation obtained through an SCJ consulting appraiser with established knowledge of Southwestern and Native American jewelry.

As part of that review, the consulting appraiser spoke directly with Greg Thorne regarding the cuff. Thorne recalled the bracelet, the cabochons he remembered as Kingman, and the hidden geometric stampwork on the interior. He described the interior design element as personally inspired by patterns he encountered during a trip to Mexico.

That specific recollection is especially meaningful because the interior stamping is not a generic surface detail; it is a maker-driven feature placed where it is primarily discovered through close handling. The detail supports the attribution while adding context that would not be visible from the unsigned exterior alone.

Greg Thorne is an Anglo silversmith known for work that draws on older Southwestern forms and traditional techniques he learned through exposure to Navajo and Pueblo artists. His pieces often appeal to collectors who appreciate substantial silver, strong stone presence, and the visual language of earlier Native American and Southwestern jewelry, while remaining clearly identified as Anglo Southwestern work rather than Native-made.

✨ 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: Wide tapered Navajo cuff built around a single large turquoise cabochon on a cutout shadowbox face
Stone: Turquoise, consistent with Royston district material
Color: Deep forest and mossy green with islands of pale tan matrix
Accent: Beadwire bezel framing and oversized flanking forms
Metal: .925 sterling silver
Artist: Signed Elouise Kee | Navajo silversmith
Era: Late 20th century
Status: Signed and sterling stamped Royston turquoise cuff
Condition: Very Fine — see SCJ Vintage Condition Guide

Specifications:

• Wear scale: substantial weight with balanced proportions
• Stone: 1 13/16" x 1 1/8" (bezel to bezel)
• Face width: 2 1/2"
• Inside length: 5 1/2"
• Gap: 1 5/16"
• Total inside circumference: 6 13/16" (M per SCJ size guide)
• Weight: 114.8 grams

Gallery Note:

Royston is a district most often pictured in bright blues and vivid greens, but this turquoise sits somewhere quieter and deeper. The dark, saturated forest-and-moss body is broken by islands of pale tan matrix, brightening just a tad, under natural lighting. No matter the environment, the piece retains its elegant and moody presence.

A smooth bezel edged in beadwire hugs the stone, while the cutout shadowbox behind it opens the face with bright silver planes against recessed negative space. Radiating chased lines and stampwork across the shoulders draw the eye to the center, in a disciplined, legible layout.

On the wrist, the piece resolves as architecture. The shank is heavy-gauge sterling, and oversized flanking forms give the mount a structured rhythm. At 114.8 grams, it carries genuine weight for a cuff, yet the tapered profile keeps it composed — substantial to wear, never unwieldy.

Hallmark & Maker Notes:

Available reference material identifies Elouise Kee as a Navajo silversmith associated with Gallup, New Mexico, and as married to Eugene Belone, whom she is described as having taught the craft of jewelry making and silversmithing. Jewelry attributed to Kee is admired for refined sterling silverwork, crisp detail, and carefully selected turquoise, including material represented as Kingman and Royston. Her work reflects a confident design voice grounded in traditional Navajo silversmithing, balancing strong form with measured ornament. Family information published in Gerald Gene Belone’s January 2025 obituary names Elouise Kee and Gene Belone as his parents, confirming that she was living at least as of early 2025. While we have not located a definitive public source confirming her current production status, her jewelry continues to appear in recent market offerings, reflecting ongoing visibility and collector interest.

✨ 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.