产品

Wilbur Musket Navajo 印花纯银 - 绿松石和珊瑚影盒皮带扣。 3 1/8 英寸 x 2 5/8 英寸，适合 1.5 英寸皮带，重 57 克，没问题。 Wilbur Muskett Sr. 在 20 世纪 60 年代开始制作珠宝。他的儿子也是纳瓦霍银匠。沙夫的《美洲印第安人珠宝 III》和霍加特的《美洲原住民和西南部银质标志》中都提到了他。所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。任何标记的内容都保证与其标记的一致，大多数手镯都是在 6 英寸的手腕（无毛）上拍摄的，戒指则尽可能在适当尺寸的手指上拍摄。对于手镯，如果描述中未给出尺寸，则显示内周长金属与布卷尺上的数字相符的地方。

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Wilbur Musket Navajo 印花纯银 - 绿松石暗影盒皮带扣。 3 1/8 英寸 x 2 5/8 英寸，适合 1.5 英寸皮带，重 54.6 克，没问题。 Wilbur Muskett Sr. 在 20 世纪 60 年代开始制作珠宝。他的儿子也是纳瓦霍银匠。沙夫的《美洲印第安人珠宝 III》和霍加特的《美洲原住民和西南部银质标志》中都提到了他。所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。任何标记的内容都保证与其标记的一致，大多数手镯都是在 6 英寸的手腕（无毛）上拍摄的，戒指则尽可能在适当尺寸的手指上拍摄。对于手镯，如果描述中未给出尺寸，则显示内周长金属与布卷尺上的数字相符的地方。

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7.75 英寸高 x 6.75 英寸宽。无裂纹、缺口或修复。可能曾经有一个额外的盖子，并且顶部的镀金有磨损。

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William Lawrence deMatteo (1923-1988) 手工锤打纯银叶盘 6.5 英寸 x 4.5 英寸 x 114.5 克，没有任何问题。 威廉·劳伦斯·德马特奥（William Lawrence deMatteo，1923年10月12日至1988年5月14日），银匠和工艺大师，出生于纽约市，是伊丽莎白·罗梅尔曼·德马特奥和威廉·盖塔诺·德马特奥的儿子，威廉·盖塔诺·德马特奥是一位出色的银匠，从萨勒诺的阿西亚罗利移民到美国，意大利，当他还是个孩子的时候，和他的家人在一起。威廉·劳伦斯·德马特奥 (William Lawrence deMatteo) 在新泽西州伯根菲尔德郊区长大，在附近的特纳夫莱 (Tenafly) 上学，同时观察和吸收父亲的精湛技艺。德马特奥于 1941 年开始在哥伦比亚大学学习雕塑和美术，但在美国加入第二次世界大战后，他于 1942 年 11 月加入海军，并在太平洋战区担任鱼雷轰炸机飞行员。 1946 年 11 月 14 日，他在阿斯伯里帕克与画家杰恩·沃波尔 (Jayne Walpole) 结婚，后者后来与他人共同创办了一家美术馆。他们育有三个女儿和一个儿子。德马特奥恢复了父亲的学徒生涯，并可能在朝鲜战争期间被召回海军服役之前继续在哥伦比亚大学学习。 1953年他出院。 比尔·德马特奥（Bill deMatteo），正如人们所熟知的那样，在服役期间参观了修复后的弗吉尼亚殖民地首府，并要求参观银匠店。当得知殖民地威廉斯堡没有这些设施时，他看到了自己的机会。德马特奥离开海军后不久，他回到威廉斯堡，并于 1953 年 7 月加入参谋部，担任银匠。他创建了整个银匠项目，并负责 James Geddy 银匠店，在那里他培训店主向游客解释手工艺，指导和监督学徒进行各种金属加工，并手工制作十八世纪银制品的复制品在店里出售。 。德马特奥还复兴了殖民地银匠詹姆斯·克雷格在威廉斯堡的商店“在金球奖的标志处”。 1963 年 1 月，德马特奥晋升为工匠大师和银匠大师。 根据威廉斯堡殖民地的座右铭——未来可以从过去学习——德马特奥将大部分时间花在教育和广告工作上。根据威廉斯堡殖民地工作人员托马斯·K·布洛克 (Thomas K. Bullock) 准备的一份研究报告，德马特奥于 1956 年出版了《十八世纪威廉斯堡的银匠——关于他的生活和时代以及他的工艺的叙述》，简要介绍了银器制造和所用技术的历史在殖民时代。 DeMatteo 还为 1971 年的视频节目《威廉斯堡的银匠》以及随附的手册提供了大部分信息。在影片中，他展示了制作十八世纪银咖啡壶的每个阶段，从接收银币或待熔化的废料开始，与客户讨论委托细节、方法和设计，然后用锤子塑造作品并抛光完成的咖啡壶。 1971年和1972年，德马特奥在伦敦城市理工学院约翰卡斯爵士艺术系学习设计、银匠和方法，并与专业的伦敦银匠一起学习； 1975 年，他成为第一位被伦敦 Worshipful Company of Goldsmiths 选为荣誉外籍会员的美国工匠。 随着德马特奥的技艺逐渐为工作人员和访客所认识，他收到了许多设计和制作纪念礼物的请求。 1955 年，他为殖民地威廉斯堡制作了一枚城镇传令钟，送给温斯顿·丘吉尔爵士，次年，丘吉尔的照片出现在《生活》杂志的封面上。德马特奥为白宫记者协会向约翰·F·肯尼迪、林登·B·约翰逊、理查德·M·尼克松、杰拉尔德·R·福特和吉米·卡特总统的年度演讲设计了演讲稿。他为来访的总统、女王、国王和总理设计了许多手工制作的礼物，美国国务院委托 deMatteo 制作银托盘，并于 1978 年在戴维营协定中赠送给埃及总统安瓦尔·萨达特和以色列总理梅纳赫姆·贝京。 1976 年，为了纪念亚历山大·格雷厄姆·贝尔 (Alexander Graham Bell) 发明电话一百周年，美国电话电报公司委托德马特奥制作了一件抽象银件，这与他殖民风格的杰作不同，上面刻有贝尔通过电话传送的第一句话。电话。尽管他很聪明，但他是一个谦虚的人，坚持认为自己是一名工匠，而不是艺术家。德马特奥满足于制作美丽的实用物品，他认为这些物品没有达到艺术家所需的想象力和执行力的水平。他对卓越的追求得到了美国建筑师学会的认可，并于 1960 年授予他工艺奖章，以表彰他在工业艺术方面的杰出成就。 在殖民地威廉斯堡工作了 26 年后，德马特奥于 1979 年离开并与家人一起搬到了亚历山大。他与儿子奇普·德马特奥 (Chip deMatteo) 以及殖民地威廉斯堡的同事菲利普·索普 (Philip Thorp) 一起开设了 Hand & Hammer Silversmiths。德马特奥继续探索并扩展他的范围，超越十八世纪的形式。他是一个和蔼可亲的人，以令人放松的微笑而闻名。他是一位强烈的完美主义者，坐在长凳上用锤子塑造贵金属时，对周围的环境充耳不闻。他也是一位足智多谋的工匠，当他在市场上找不到合适的锤子时，他会自己制作锤子。德马特奥曾经说过，“成为一名银匠是一种令人愉快、可爱的生活方式”，虽然他对自己的银制品并不完全满意，但他“对我过的生活非常满意”。威廉·劳伦斯·德马特奥 (William Lawrence deMatteo) 于 1988 年 5 月 14 日在亚历山大的一家医院因白血病去世。他的儿子继续在 Hand & Hammer 银匠店工作，保存了他的骨灰。

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William Spratling silver modernist sterling screw back earrings sphere 18 grams, measurements in pics, no issues.. 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 silver modernist sterling screw back hand earrings, a rare variation in all sterling. These are all one piece, typically they have an amethyst tulip.. 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 sterling Amethyst pre-columbian style pin 1 5/8" tall x 1 1/16" wide. 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 sterling Aztec style pin 1.5" wide with no issues. 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 sterling Aztec style pin 1/7/8" wide with no issues. c1940'sSpratling, 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 sterling Bird pin with amethyst 52.7 grams, other measurements in pics. 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 sterling Feather fur clip with amethyst 22.5 grams, other measurements in pics.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 Sterling Fish abalone pins pair, measurements in pics. Selling the two pins shown for one price.. 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 sterling fur clip 14 grams, other measurements in pics.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 Sterling Pan American buttons (4) c1940's .75" x 1" each. I think these go in open button holes, maybe on a shirt pocket back in the days. I think they were to celebrate a special Pan American 50 year thing in the 1940's. Selling all 4 shown for one price. . 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 Sterling Pan American pin c1940's 6.31 grams, measurements in pics.. 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 sterling tulip hand pin with amethyst 20.2 grams, other measurements in pics. Stone intact with possible chip(s) to top center of tulip.. 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 sterling Bird pin with amethyst 20.9 grams, other measurements in pics. Stone intact and structurally sound with what appears to be natural fissures.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 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 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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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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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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William Zunie (Zuni, 1938-1983) Channel inlay bolo tie 38" long with 2.25" tallx 2" wide slide. 32.1 grams.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist, rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Willie Shaw 纳瓦霍珍珠母槽镶嵌纯银手链。适合最大 6 5/8 英寸的手腕，没有问题。 所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。任何标记的内容都保证与其标记的一致，大多数手镯都是在 6 英寸的手腕（无毛）上拍摄的，戒指则尽可能在适当尺寸的手指上拍摄。对于手镯，如果描述中未给出尺寸，则显示内周长金属与布卷尺上的数字相符的地方。

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Willie Shaw 纳瓦霍多石纯银重型印花纯银耳环 1 5/8 英寸高 x 1 1/8 英寸深 x 0.5 英寸宽 14.7 克，没有任何问题。

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver belt buckle 2" x 1 5/16" x<br>22.5 grams with no issues. Fits a 1" belt.<br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver pins (2) Largest 2", 18.9 grams total weight. <br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Roadrunner and Cactus Overlay silver belt<br>buckle 2 7/8" x 1 15/16" x 41.7 grams with no issues. Fits a 1.5" belt.Navajo<br>Overlay Artist Willie YazzieAfter the success of the overlay designs made at the<br>Hopi Guild many other silversmiths and shops incorporated overlay in their<br>designs (see Overlay is Not Always Hopi Made). Navajo trader Dean Kirk opened<br>his own trading post at Manuelito, New Mexico (between Gallup and the Arizona<br>border) by January 1941. The silver work made in Dean’s shop was typically<br>Navajo tourist type designs and hallmarked UITA22 (under the auspices of the<br>United Indian Traders Association) until about 1951. That’s when Kirk designed a<br>series of overlay pins to be made by Navajo smiths in his employ incorporating<br>Hohokam and Mimbres designs. These designs proved to be very popular, as a 1958<br>newspaper advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s<br>Navajo Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely<br>hallmarked.However, one of the Navajo silversmiths who worked for Dean Kirk was<br>Willie Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s<br>shop.Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.According to Social Security records, Willie A. Yazzie was born at<br>Chinle, Arizona in 1928. His son says he learned silverwork at Dean Kirk’s<br>trading post in Manuelito in the early 1950s, and created his touchmark (or<br>hallmark) no later than 1960, and after that time his pieces made at Dean Kirk’s<br>would have included his gourd dipper hallmark. His designs often incorporated<br>animal figures such as roadrunners or Navajo designs including Yeis and Father<br>Sky. He never added “tamp work,” or a textured pattern to the background<br>designs.In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was<br>looking for a silversmith to demonstrate at the park during the summers months,<br>Dean Kirk recommended Willie Yazzie and he was hired by Hall. Willie worked at<br>Mesa Verde in the summers from 1960 to 1983, except for 1965 when he was sick.<br>Yazzie created a special hallmark to denote pieces he made at Mesa Verde. The<br>mark depicts Square Tower House, a ruin within the park, and was included with<br>his gourd dipper mark during the summers of 1960-1964 and 1966-1983.Willie A.<br>Yazzie died in 1999, but his family, including his widow, daughter and Willie Jr<br>continue the tradition of Willie’s overlay work. Willie Jr said that his sister<br>has most of their father’s tools and stamps, and that she still uses the gourd<br>dipper mark. Willie uses mostly his initials as his hallmark, but doesn’t do<br>much silverwork anymore, he is retired from the National Park Service where he<br>was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his sons do<br>a little silversmithing, but that they are busy and don’t have much time for it.

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Wilson Navajo Sterling Heavy 印花手镯。无损坏或明显磨损。

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科隆大学 550 周年纪念铜牌。 （沃尔夫冈·瓦尔纳）。城市徽章上方的龙船，躺着的密涅瓦举起一只猫头鹰/铭文“科隆汉萨城大学 1388 - 1938”，宽 70 毫米，罕见，但特别是带有原始表壳且保存完好。

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Working 1962 Hamilton Front load watch works 27mm dial. This came from a 14k gold front loading watch. It is in working condition, ticking, keeping good time. Also comes with crown that attaches via a groove. Crystal included but damage to crystal. The watch this came out of did not open in the back, the works/dial come out from the front after the crystal is removed. The crown is original with a big H on it, mostly gold.

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工作古董 Tavannes 瑞士怀表 15 颗宝石。漂亮的古董手表，滴答作响，似乎走得很准。总宽度 45 毫米，表盘约 40 毫米。外壳状况良好。

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Working Chonographe Suisse Works/Dial/Crystal/18k buttons 36mm dial, working condition, removed working, still ticking, chronograph works. It will be handled/stored carefully. The buttons are likely solid 18k gold as it came from an 18k watch with a damaged case. Including everything shown including the frame that goes inside the watch and the back that covers the works under the gold back. The crown was carefully removed to remove the watch. Nothing was damaged. This is ready to go in a watch.

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世界旅行者系列纯银小咖啡勺。出售展示的拍品，是从大量收藏中挑选出来的。各种含量的银子，大多是800英镑，总计113克。最长的“袋鼠爪”5英寸

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WRC Transjo 瑞典现代艺术玻璃足碗。 4 5/8 英寸高 x 6 3/8 英寸宽，无裂纹、缺口或修复。

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ww1 美国胜利铜质奖章“伟大的文明战争”3 英寸高，带丝带。

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WW1 时代书形战壕打火机。功能齐全，没有损坏，内脏出来可以更换液体/燧石，所有盖子都就位。我的妻子没有给机械装置拍照，不幸的是我没有也永远不会有时间。很棒的、不寻常的打火机，没有任何问题。我在任何地方都找不到识别标记。两端刻有假页，不确定图片中是否显示。书架

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WW1 时代准备牙签架与士兵。 2 1/8 英寸高，顶部边缘有一些非常小的缺口，没有其他缺口，没有裂缝。牙签抽屉

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WW1 时代战壕艺术灯 3 Lite。酷炫的沟槽艺术灯看起来接线良好，如果您想让它再次成为一盏灯，只需要在其上安装新的灯顶即可。没有其他问题。 TW87

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ww1 德国铜壳风沟艺术开信刀。出售两个最长 8.25 英寸的开信刀，两者都具有有史以来最好的 100 年未抛光“无需思考”铜绿。我认为它们是由手榴弹迫击炮导带制成的。 TW187

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WW2 Era Caterpillar Watch Fob Art Deco Sentinel 怀表 1940 年代.. 出售手表和表扣，全新，很可能从 1940 年代就在一起了。这块手表可能已经很长时间没有使用了。我稍微试了一下，它滴答作响了一下就停了。所以它可能需要清洁一下，我没有时间弄乱它，也不想在我有限的时间里弄乱它。在我看来，表链比手表更有价值。钥匙扣顶部的绿色是蜡，我用拇指指甲轻松地取下了一些。 TW208

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二战时代日本病理学手术刀片。刀片顶部刻有Nothung...Nacht，案子上刻有庆城帝国大学医学院病理学系普通病理学。所以刀片可能是德国制造的。刀片上有一些小缺口，否则很锋利，不确定它有什么类型的手柄，但它不存在。盒子长 12 1/8 英寸，有些磨损并丢失了盒子中的细木工。

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二战时代照片海军士兵照相亭照片。就规模而言，一分钱一分货。 TW255

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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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WW2 Era 纯银飞行员甜心手链。出售所示的手链没有任何问题。

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ww2 时代韦科德克萨斯州添加银行公民国家银行批次 (3) 出售所有三个。棕褐色的一件是薄荷色的，原盒装，另外两件处于良好的工作状态，干净且有吸引力。没有照片中未显示的明显瑕疵。我只有一把钥匙适用于所有三个银行。它们的尺寸约为 4.25 英寸宽。

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二战日本军事马刺。他们有可更换的滚轮，但丢失了。 TW30

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二战曼哈顿计划核试验场补丁和别针。两件正宗的曼哈顿项目物品来自于 80 年代组装的大型二战收藏品。它们装在一个小型现代阴影盒中，部分显示，因此贴片背面有魔术贴。补丁尺寸为 2 5/8" x 2"，徽章尺寸为 0.75"，由 Whitehead 和 Hoag 制作。我包括了他们附带的玻璃正面暗盒。

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二战时期的斯特林航空队机翼与 Star HJ。 1 5/16 英寸宽 x 1 3/16 英寸高。 b41

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二战 Sterling Pilots 甜心胸针。 2.75 英寸 x 2 英寸，13.1 克，经过纯正标记和测试。

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ww2 纯银步枪射手徽章 3 英寸宽。清洁状况良好，没有任何问题。17.5 克

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WW2 USN 西部博尔德 CO 固定刀片刀 10.25 英寸长，无刀鞘，5.75 英寸刀片，整体锋利，尖端稍钝，刀片未被我碰过，原装刀鞘缺少紧固件环/按钮。书架

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二战/后来的美国军用飞机温度/其他仪表 AN-5774-15。出售所示的三个未经测试的仪表和探头。最大的一个缺少玻璃。

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山崎商店 [山崎商店] (1893 ~ 1990) 日本纯银花瓶。固体高含量银，漂亮温暖的铜绿...如果您希望我手工抛光，请在付款后提出要求，我会在发货前完成。不然我不会。 8.25 英寸高 x 3.75 英寸宽 x 201 克，没有任何问题。

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YSL Gripoix 胸针 Yves Saint Laurent 复古正品现代主义 c.1980 年代 2.75 英寸宽 x 1 5/8 英寸高，没有任何问题。

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Zanetto Maia 意大利 MCM 风格银盘投手。这个水罐不是很旧，但质量令人难以置信，全新零售价为 480 美元。它处于近乎全新的状态，没有凹痕或明显的划痕或其他磨损。 7.25 英寸高 x 9 英寸喷嘴手柄。如果你在照片中看到任何看起来很糟糕的东西，要么是指纹，要么是反光，但这个东西很漂亮。萨内托意大利威尼托银匠Zanetto 成立于 1963 年，是一家技艺高超的银匠作坊，致力于用银、银板和精细金属合金制作家居装饰用品。他们的产品以创新设计和无与伦比的工艺的精致融合而著称。他们的理念的基础是生产线上每一件产品的手工制作的坚定传统，以及世界对意大利设计所期望的高品质风格。 b22

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Zealandia Shell and Fossil Sterling Native American style pin 2 5/8" x 2 1/8" x 21.1 grams, no damage or issues. Very well made, retired, vintage, hard to find pin.

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