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This cuff condenses Terán's architectural silver language into a direct wrist form. The open band is broad enough to carry a recessed front panel, but restrained enough that the graphic overlay remains the central event: silver line, oxidized ground, and shadowbox depth working together as modern relief.
The auction description records the set as stamped Salvador, Sterling, Mexico, with Eagle 36 and design-number stamping, though it names design number 165 specifically for the necklace and does not separately assign a number to the cuff. Hougart documents Salvador Terán sterling marks with Eagle 36 in the 1955-1970 period, and Morrill places Terán among the early Las Delicias and Los Castillo circle, admired by peers for both design and technical ability.
As a bracelet, the motif reads differently than on the necklace: compressed into a single curved field, it becomes a small architectural façade for the wrist. The piece is useful evidence for the sterling jewelry branch of Terán's practice, distinct from the brass-and-mosaic objects for which he is often better known.
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