领带战术 - 袖扣 - 领尖 - 纽扣套

William Spratling(1900-1967) Taxco Modernist sterling Amethyst cufflinks 18mm<br>wide 12.9 grams. William Spratling(1900-1967) Spratling, an architect and artist<br>who taught at Tulane University in New Orleans, came to Mexico in the late 1920s<br>and settled in the city of Taxco. Having developed an interest in Mesoamerican<br>archaeology and culture from his colleagues at Tulane, he traveled to Mexico for<br>several summers lecturing and exploring. He sought out remote villages in the<br>state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the<br>Aztec language, was spoken. Spratling collected artifacts and contemporary<br>indigenous crafts. Spratling made a fortune manufacturing and designing silver,<br>but his true life's work was to conserve, redeem, and interpret the ancient<br>culture of his adopted country. He explained for North American audiences the<br>paintings of Mexico's modern masters and earned distinction as a learned and<br>early collector of pre-Columbian art. Spratling and his workshop gradually<br>became a visible and culturally attractive link between a steady stream of<br>notable American visitors and the country they wanted to see and experience.<br>Spratling had the rare good fortune to witness his own reputation -- as one of<br>the most admired Americans in Mexico -- assume legendary status before his<br>death. William Spratling, His Life and Art vividly reconstructs this richly<br>diverse life whose unique aesthetic legacy is but a part of its larger cultural<br>achievement of profoundly influencing Americans' attitudes toward a civilization<br>different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling mixed metal cufflinks.<br>Each side 18mm x 14mm, 15.3 grams. William Spratling(1900-1967) Spratling, an<br>architect and artist who taught at Tulane University in New Orleans, came to<br>Mexico in the late 1920s and settled in the city of Taxco. Having developed an<br>interest in Mesoamerican archaeology and culture from his colleagues at Tulane,<br>he traveled to Mexico for several summers lecturing and exploring. He sought out<br>remote villages in the state of Guerrero, 110 miles from Mexico City, where in<br>some places Nahuatl, the Aztec language, was spoken. Spratling collected<br>artifacts and contemporary indigenous crafts. Spratling made a fortune<br>manufacturing and designing silver, but his true life's work was to conserve,<br>redeem, and interpret the ancient culture of his adopted country. He explained<br>for North American audiences the paintings of Mexico's modern masters and earned<br>distinction as a learned and early collector of pre-Columbian art. Spratling and<br>his workshop gradually became a visible and culturally attractive link between a<br>steady stream of notable American visitors and the country they wanted to see<br>and experience. Spratling had the rare good fortune to witness his own<br>reputation -- as one of the most admired Americans in Mexico -- assume legendary<br>status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Antonio Pineda (1919-2009) Taxco Modernist Sterling Amethyst cufflinks, No<br>issues whatsoever, fully functional. 30mm x 18mm x 23.2 grams.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Antonio Pineda (1919-2009) Taxco Modernist Sterling Moonstone cufflinks, No<br>issues whatsoever, fully functional. 20mm x 18mm face, 14.3 grams.Antonio Pineda<br>(1919-2009)  Pineda’s jewelry is especially known for its elegant acknowledgment<br>of the human form. It is often said that a Pineda fits the body perfectly, that<br>it feels right when it is worn. So, for example, a thick geometric necklace that<br>might at first glance seem too weighty or rigid to wear comfortably is, in fact,<br>faceted, hinged, or hollowed in such a way that it gracefully encircles the neck<br>or drapes down the décolletage.  In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with as much ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master.

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Antonio Pineda (1919-2009) Taxco Modernist Sterling Onyx cufflinks, No issues<br>whatsoever, fully functional. 20mm square, 21.2 gramsAntonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Antonio Pineda (1919-2009) Taxco Modernist Cat's Eye sterling cufflinks, No<br>issues whatsoever, fully functional. 28mm x 20mm x 25.1 grams. Antonio Pineda<br>(1919-2009)  Pineda’s jewelry is especially known for its elegant acknowledgment<br>of the human form. It is often said that a Pineda fits the body perfectly, that<br>it feels right when it is worn. So, for example, a thick geometric necklace that<br>might at first glance seem too weighty or rigid to wear comfortably is, in fact,<br>faceted, hinged, or hollowed in such a way that it gracefully encircles the neck<br>or drapes down the décolletage.  In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with as much ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master.

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William Spratling(1900-1967) Taxco Modernist sterling Frog in pool cufflinks,<br>fully functional with no issues. 16mm x 12mm x 16.5 grams. William<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling stone inlaid cufflinks,<br>fully functional with no issues. 27mm wide, 17.4 gramsWilliam<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling cufflinks 30mm both ways,<br>10.8 grams. Fully functional with no issuesWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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Fred Davis (1880-1961) Taxco Modernist sterling cufflinks 30mm x 11mm x 20.9<br>grams.Frederick W. Davis is known among collectors for his work as a jewelry<br>designer and silversmith based in Mexico City, Mexico. He began designing and<br>crafting jewelry and decorative objects in the 1920s. The wares he produced<br>often reflected his affinity for pre-Columbian artifacts. He occasionally<br>collaborated with Valentín Vidaurreta, another respected Mexican silver<br>craftsman with roots in Mexico City. Davis is credited as an avid promoter of<br>other silver artists, including William Spratling, who worked in Mexico from the<br>1920s through the 1950s. Frederick Davis Jewelry - HistoryDavis moved from the<br>United States to Mexico in 1910. Working as an assistant manager for the Sonora<br>News Company, he toured the country on buying trips to stock railway station<br>shops with native folk art for his employer. He established relationships with<br>many artisans during his travels, and his knowledge of Mexican crafts grew<br>extensively. His ardent work resulted in a promotion to manager of Sonora’s arts<br>and crafts showroom in Mexico City. René d’Harnoncourt, who later served as the<br>director of the Museum of Modern Art in New York, was employed by Davis in 1927<br>as an assistant. Their work together led to the company’s distribution and<br>exhibition of works by Mexican painters who are now well known, such as Diego<br>Rivera, among many others. During this era, Davis and d’Harnoncourt left an<br>indelible footprint on the trade of Mexican handcrafts, including silver<br>jewelry, from that point on. Davis took a position managing antiques and fine<br>crafts for Sanborn’s department store in 1933 after d’Harnoncourt moved to the<br>United States. He remained with the store for 20 years, where he continued to<br>promote Mexican art and artisans while designing and producing silver wares.<br>Davis died in 1961.

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Antonio Pineda (1919-2009) Taxco Modernist Sterling Onyx cufflinks 18mm square,<br>19.9 grams. Antonio Pineda (1919-2009)  Pineda’s jewelry is especially known for<br>its elegant acknowledgment of the human form. It is often said that a Pineda<br>fits the body perfectly, that it feels right when it is worn. So, for example, a<br>thick geometric necklace that might at first glance seem too weighty or rigid to<br>wear comfortably is, in fact, faceted, hinged, or hollowed in such a way that it<br>gracefully encircles the neck or drapes down the décolletage.  In addition, no<br>other taxqueño jeweler used as many costly semiprecious stones or set them with<br>as much ingenuity, skill, and variety as did Pineda. Only the most talented of<br>silversmiths could master.

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Antonio Pineda (1919-2009) Taxco Modernist Cat's Eye sterling cufflinks, No<br>issues whatsoever, fully functional. 29mm x 25mm face, 27 grams. Antonio Pineda<br>(1919-2009) Pineda’s jewelry is especially known for its elegant acknowledgment<br>of the human form. It is often said that a Pineda fits the body perfectly, that<br>it feels right when it is worn. So, for example, a thick geometric necklace that<br>might at first glance seem too weighty or rigid to wear comfortably is, in fact,<br>faceted, hinged, or hollowed in such a way that it gracefully encircles the neck<br>or drapes down the décolletage.  In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with as much ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 22mm square, 12.7 grams. William Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 20mm wide, 14.7 gramsWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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c1970's Modernist Sterling Cufflinks by Ed Harris 7/8" square, 23.2 grams total.

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Sterling Paul Harrie "Tectonic" Series Style cufflinks. Sterling cufflinks with Art glass shards in mortar. I have had a few Paul Harrie pieces and these are very similar but I'm not sure. I'm sure they are cool and sterling though. 11.8 grams.

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Vintage Zuni Sterling Turquoise channel inlay cufflinks 11/16" square, 13.3 grams. Inlaid squares are sterling, backs are not.

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6 Vintage Navajo Stamped Sterling and turquoise buttons. 20mm wide 12 grams<br>total weight.

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50's-60's Navajo sterling cufflinks. Nice large set of vintage cufflinks 1.25" x<br>7/8" faces, 19.8 grams.

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1950 年代现代主义袖扣西南法律中心德克萨斯石油井架律师礼物。很酷、不寻常的袖扣，没有任何问题。前部尺寸为 15/16"

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2 个复古硬币领带夹 1922 年法国 1925 年丹麦最大的为 7/8 英寸。这些可能是 20 世纪中期制造的，夹子上有漂亮的铜绿。

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复古 Swank 网布/水钻袖扣。真的很好看，水钻闪闪发光，没有明显的磨损。

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中世纪现代主义纯银和木质耳环。一对 20 世纪第三季度的精美耳环，不确定设计师/制造商。螺丝后盖，2 1/8 英寸高 x 1 3/8 英寸宽 x 13.7 克。

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中世纪奥地利轮盘袖扣。高品质袖扣，我相信黄铜或金填充，没有损坏。它们每个都有功能性的轮盘，中心旋钮可以旋转轮盘。

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复古系列袖扣钱夹、领带夹等。出售 20 世纪第三季度的拍品，大多数袖扣都有配对，少数没有。请不要有任何疑问，因为该地块在挂牌后直至售出之前将无法进入。有些是镀金的，有些是纯银的，没有任何明显的磨损或损坏，狗钱夹有一把小刀和指甲锉。如果您在想“为什么他不在每张可以想象到的照片中拍摄 10 张照片，然后花 20 分钟描述每件物品？”答案是，如果我这样做，我将不得不收取两倍的费用，而且我宁愿以优惠的价格出售它。这个价格应该算很划算了。

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中世纪现代主义纯银和木质袖扣。两者都标有英镑，没有其他标记，是 20 世纪第三季度的一对可能独一无二的袖扣。

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1950 年的 Zuni 美洲原住民纯银多宝石镶嵌领带夹。很棒的物品，顶部不是纯正的，刀翼是纯正的，左脚底部的镶嵌略有损失。 2.5 英寸宽 x 2 英寸高 x 总重量 10 克。

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大号复古纯灰色/蓝色猫眼袖扣。大号超大袖扣重 25.6 克，没有重大问题。

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二战时代纯银飞行员翅膀领带杆。翅膀刚刚超过 2 英寸宽，标记为纯币，我不相信顶部的酒吧是纯币。11.3 克。

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中世纪现代纯银袖扣。他们要么是斯堪的纳维亚人，要么是美洲原住民:)。它们真的很酷，大约是 20 世纪中叶的，每块都在酒吧里标有英镑。出售所示的货币对

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3 个复古银色纳瓦霍纽扣，宽 15/16 英寸，总重 7.6 克。安德拉斯

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复古高级绿松石美洲原住民纯银袖扣。这是极其不寻常的两块优质天然绿松石，具有最好的基质。出售的这双鞋与 20 世纪中叶左右展示的一模一样。

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复古登喜路镀金纯银袖扣。无损坏或明显磨损。

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1926 1927 银色六便士袖扣，带镀金纯银支架。品质极高的袖扣，没有任何问题，可能从未佩戴过。

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复古阿甘玉/纯银袖扣。没有损坏，可以使用。阿甘总是使用优质玉石。

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纯银袖扣上饰有复古蒂芙尼 18k 绳索。一对漂亮的正品蒂芙尼袖扣，做工精良，几乎没有磨损。当控制杆移动时，背面的强力弹簧会发出咔嗒声。没有问题。

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复古 David Donahue 扭索饰珐琅纯银袖扣。清洁无损坏且磨损很少。

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10 个复古西南印花纯银纽扣封面。背部一如既往地是钢制的。镍当然是镍和钢。正面宽 0.75 英寸和 7/8 英寸。总重46.4克。安德拉斯

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6 个复古纳瓦霍印花纯银纽扣封面，非常棒，没有任何问题。背部一如既往地是钢制的。前面宽 7/8 英寸。总重 22.5 克。安德拉斯

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复古 18k 白金钻石和缟玛瑙袖扣。无损坏或明显磨损，每个角有 4 颗较大的钻石，中间有 20 颗较小的钻石，所有钻石均经过测试，袖扣经过 18k 金测试，并在每个袖扣的 3 个位置进行标记。每个袖扣上都有设计师印记，虽然目前还没有引起人们的注意，但质量是一流的。 14.9克。

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复古纯银自由形状虹彩宝石袖扣。非常酷的袖扣，标有925，坚固，实用，很少用。

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Deakin & Francis Sterling 袖扣 Dr B 字母图案。非常酷、品质极高的高端袖扣，适合您生活中的 Dr B，坚固、实用，很少使用。

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2 件纯银绿松石和软玉袖扣。出售所示的两对，圆形的标记为 835 和制造商标记，我认为它们是软玉，但可能是错误的，其他的是天然绿松石，背面两侧标记为纯银。

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Antonio Pineda (1919-2009) Los Castillo 现代主义太空时代纯银袖扣 1 5/16" x 0.75" 面，24.7 克。在墨西哥格雷罗州的塔斯科山镇，大规模采矿可以追溯到十六世纪，白银是一种生活方式。墨西哥革命后的几年（1910- 20），珠宝和其他银制品都是在那里以完全创新的方法制作的，知情者现代主义和新的墨西哥民族认同的创造。如今，89 岁的安东尼奥皮内达是塔斯科学院的两名在世成员之一，被公认为世界级设计师和墨西哥国宝。近两百件皮内达广受好评的银制作品将在 展出于《银色诱惑：墨西哥现代主义者安东尼奥·皮内达的艺术》（Silver Seduction: The Art of Mexican Modernist Antonio Pineda）展览于 2008 年 8 月 24 日在福勒博物馆首次亮相。值得注意的是，考虑到皮内达的众多成就和国际声誉，他自我定位主要担任 Taxqueño（塔斯科）银匠。从一开始，塔斯科运动就开创了新的局面以技术成就和设计为基础。出生于美国、居住在塔斯科的设计师 William斯普拉特林被誉为当代塔斯科白银运动的先锋，一群才华横溢的墨西哥设计师后来建立了独立工作室并开发了独特的“塔斯科学校”。这些设计师融合了多种美学取向——前哥伦布时期的艺术；墨西哥殖民时期的银制品、宗教图像和其他艺术品；和当地流行艺术——将它们融入广泛的现代主义之中。皮内达本人因其大胆的设计和对宝石的巧妙运用而受到赞誉。银色诱惑痕迹 他的作品从 20 世纪 30 年代到 70 年代的演变，包括项链和项链各五十多件手镯，以及许多漂亮的戒指、耳环和他的空心器皿的各种例子餐具。所有作品都体现了皮内达难以实现的高度精致执行力的结合和手工制作的吸引力。 Pineda 的珠宝以其对人体形态的优雅诠释而闻名。常常是据说 Pineda 非常适合身体，穿着时感觉很舒服。因此，例如，厚几何项链乍一看似乎太重或太僵硬，佩戴起来不舒服，但事实上，多面、铰接或镂空，优雅地环绕颈部或诱人地垂坠下胸围。此外，没有其他 Taxqueño 珠宝商使用如此多昂贵的半宝石或镶嵌如此多的宝石。与皮内达一样，他具有很多独创性、技巧和多样性。只有最有才华的银匠才能掌握Los Castillo 珠宝 - 历史 Antonio Castillo 和他的兄弟 Jorge、Miguel 和 Justo 于 1939 年创立了 Los Castillo。他们都曾在 William Spradling 的高高店当学徒，然后在墨西哥塔斯科开始自己的生意。安东尼奥·卡斯蒂略在斯普拉特林工作期间晋升为银匠大师。几十年来，洛斯卡斯蒂略作坊培养并雇用了许多熟练的银匠，其中包括卡斯蒂略兄弟的表弟萨尔瓦多·特兰、西吉·皮内达、安东尼奥·皮内达和安东尼奥·卡斯蒂略的妻子玛戈·范·沃里斯·卡尔。所有这些艺术家都继续开设了自己的成功工作室，其中包括范·沃里斯·卡尔 (van Voorhies Carr)，她在与安东尼奥·卡斯蒂略 (Antonio Castillo) 离婚后创立了玛格特·德塔斯科 (Margot de Taxco)。洛斯卡斯蒂略以其优质银器以及将铜和/或黄铜与纯银混合的混合金属而闻名。其他装饰性家居饰品有镀银和镶嵌石材装饰。 查托 (豪尔赫) 卡斯蒂略 (Chato (Jorge) Castillo) 是卡斯蒂略兄弟之一，曾在 20 世纪 30 年代为威廉·斯普拉特林工作。他以其技术专长和设计才华而闻名。他开发了结合金属、银羽毛、阿兹特克马赛克或石镶嵌、贝壳或鲍鱼镶嵌的技术……（墨西哥银：莫里尔和伯克的现代手工珠宝和金属制品（Schiffer：2007 年，第 4 版），第 86 页。

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复古西南英镑和玛瑙袖扣。没有问题。

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Harold Clifton Fithian (1905-1972) 加州现代主义纯银袖扣。 7/8" x 5/8" 面重 20.8 克。哈罗德·菲蒂安 (Harold Fithian)（1905-1972 年）是一位典型的美国浪漫人物 - 他在南加州出生和长大 - 师从埃德娜·艾姆斯 (Edna Ames) 学习表演，并于 20 年代在好莱坞环球影城的后台工作 - 是一位劳工组织者和朋友Woody Guthrie 是 1930 年代和 40 年代的著名设计师和金匠，他是 1950 年代和 60 年代的著名设计师和金属匠，他最出名的可能是他的现代主义袖扣和其他男士珠宝。

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1950 年的 Zuni 美洲原住民纯银多宝石镶嵌鸭领带夹，很棒，独一无二，没有任何问题。

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复古纳瓦霍纯珊瑚和绿松石袖扣。没有问题。

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装饰艺术纯银扭索珐琅袖扣。 20 世纪第二季度的出色设计，原包装盒没有损坏。它们有制造商的标记，但我看不出来。

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复古纯银玛瑙袖扣。一对漂亮的老式中世纪纯银袖扣，没有损坏，铰链又漂亮又紧。

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c1940 Peter Traphagen (1910-2000) 纯银夹子和纽扣套装。很棒的现代主义套装，可以很好地清理，没有明显的磨损。夹子尺寸为 2 英寸，按钮尺寸为 0.75 英寸。 26.3克。 Traphagen 是来自加州帕萨迪纳的一家才华横溢的银匠工作室。安德拉斯

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蒂芙尼纯银钱夹。出售的钱夹显示干净，没有任何问题。包括盒子和袋子。

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3 对复古纯银袖扣。 3 对漂亮的纯银袖扣，没有任何问题。缟玛瑙/贝壳嵌花镶嵌的背面有工匠签名，难以辨认，非常漂亮。以一份价格出售所有三双。安德拉斯

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手工雕刻 L 字母图案纯银袖扣。 20 世纪上半叶的高品质完全手工制作，无标记（经过测试）纯正。 9.1克。

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中世纪现代主义纯银马头袖扣。这些都是最酷的而且制作精良。除英镑外没有任何识别标记。它们看起来像是马或龙，或者类似的东西。 27.6克。安德拉斯

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pr 30 年代至 40 年代纳瓦霍手工冲压银色纽扣 1.5 英寸宽，总重量 16 克。出售所示的两个纽扣

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5 个复古纳瓦霍印花纯银纽扣封面，非常棒，没有任何问题。背部一如既往地是钢制的。正面宽 7/8 英寸。总重 18.1 克。

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6 个复古纳瓦霍印花纯银纽扣封面，非常棒，没有任何问题。背部一如既往地是钢制的。正面宽 7/8 英寸。总重 21.3 克。

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1884、1885 银元袖扣。出售图中所示的一对超大袖扣。正品 90% 银 19 世纪末美国货币，镍银镶座。出售所示的完全相同的一双，没有任何问题。

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中世纪 835 银现代主义袖扣。没有问题。 16.4克。

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