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Carved rosewood rectangles tapering into three silver triangular bars give this cuff a deliberate dialogue between warm wood and cool metal, the two materials interlocking rather than one merely framing the other. The taper from rectangle to triangle introduces movement across the wrist.
Combinations of silver and wood were a Spratling specialty, part of the simpler, surface-and-line approach his work took on as his vocabulary matured (Morrill, p. 73). By the Third Design Period (1951-1967) the wood-and-silver bracelet was an established form in his jewelry.
The cuff is recorded in Penny Morrill's Maestros de Plata.
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