All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Fred Harvey Era Native American Cuff Bracelet. Nice old cuff from the second quarter of the 20th century. No makers or purity markings as it is will older 1970's and before Native American Cuffs, tested and guaranteed a minimum of coin silver (90%). No issues.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Eugene Belone Navajo Sterling Spiney Oyster cuff. No issues.Eugene Belone is an accomplished Navajo jeweler and silversmith. Hailing from Gallup, New Mexico, Eugene has been making jewelry for over a decade. Eugene's wife, Elouise Kee, taught him the craft of jewelry and silversmithing. No issues.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7.5" Native American Sterling and abalone cuff. Nice thick cuff with no issues.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6.25" Carmelita and Dan Simplicio (1917-1969) Zuni silver and coral bracelet. No<br>issues.<br><br>Zuni silversmith, Dan Simplicio (1917-1969) learned the art of jewelry making<br>from his uncle, Juan DeDios, one of the earliest Zuni silversmiths. Although<br>this World War II veteran only had about 30 short years of jewelry making, his<br>talent and techniques are still recognized. Simplicio is one of the first known<br>artists to begin incorporating natural red coral branches and rough-cut coral<br>nuggets into his jewelry. As early as 1931, it is also said that he is possibly<br>one of the first Zuni artists to begin using gold. Simplicio worked at C.G.<br>Wallace’s trading post and collaborated with amazing Zuni artists including<br>Leekya Deyuse, Teddie Weahkee, Leo Poblano, Bernard Homer and Lee Edakkie.<br>Throughout his time, he developed an inapt ability to create stunning leaf<br>motifs with intricate stamps and carved details, beginning his signature balance<br>of delicate leaf work and heavy turquoise and coral designs.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Weller Hudson Cherry Blossom Vase. 7.25" tall with no cracks, chips. or restorations. Some crazing with a few light stains. tw212

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1920's Fulper Porcelain perfume lamp. 6" tall x 5" wide in working condition<br>with no cracks, chips, or restorations. Embossed fulper on base. The same Fulper<br>American art pottery company from New Jersey.<br>tw212<br><br>The Fulper Pottery Company was founded in Flemington, New Jersey in 1899 by<br>Charles Fulper and his sons. However, the pottery had existed since 1815 when<br>the first pottery was created by Samuel Hill. The pottery initially produced a<br>wide variety of utilitarian ware, and drain tiles and storage crocks and jars<br>from Flemington’s red earthenware clay. In 1847 Dutchman Abraham Fulper, an<br>employee since the 1820s became Hill’s partner. He later took over the company.<br><br>It was not until the early 1900s when William Hill Fulper II (1870-1953) started<br>to experiment with colored glazes and the company started to create some of the<br>art pottery it is famed for. Fulper is credited with inventing the dry-body slip<br>glaze, which was used to create colorful designs on his pottery. He also<br>developed a method of using electric kilns to fire his glazes, which resulted in<br>brighter and more consistent colors.<br><br>Fulper Pottery’s Vasekraft line was inspired by the work of German potter John<br>Martin Strangl. The line includes a wide variety of vases, bowls, and other<br>vessels, all with Strangl’s signature clean lines and simple forms.<br><br>The company is especially known for the Fulper lamps-with glazed pottery shades<br>inset with colored glass-were truly innovative forms. The firm’s most<br>spectacular and innovative accomplishments are the table lamps made with glazed<br>pottery bases and shades, which were inset with pieces of colored opalescent<br>glass. These were produced from about 1910-1915 and are very rare, especially in<br>perfect order.<br><br>William Hill Fulper II was also an excellent advertiser and marketeer and<br>Fulper’s Vasekraft products were sold throughout the United States in the most<br>prestigious department stores and gift shops. Fulper’s pottery was exhibited at<br>the 1915 Panama-Pacific International Exposition in San Francisco, where it<br>received a gold medal. His work is also included in the collections of the<br>Metropolitan Museum of Art, the Smithsonian Institution, and the Philadelphia<br>Museum of Art.<br><br>During its first twenty-five years, Fulper Pottery was particularly known for<br>its flambé glazes, which were heavily influenced by Chinese and Japanese ceramic<br>traditions. These glazes, which resulted in vibrant and often unexpected colors,<br>helped to establish Fulper Pottery’s reputation for innovative and high-quality<br>art pottery.<br><br>After World War I, Fulper Pottery began to shift away from its Germanic roots<br>and move towards more Oriental-inspired forms. The company’s designers began to<br>experiment with new shapes and glazes, inspired by the Art Deco movement that<br>was sweeping Europe at the time. The Vasekraft name was changed to Fulper<br>Pottery Artware. These new pieces were softer and more graceful than the<br>functional stoneware that Fulper had been producing up until that point, and<br>they proved to be very popular with the public.<br><br>In the 1920s, Fulper Pottery was one of the leading producers of Art Deco<br>ceramics in the United States. The company’s designers created a wide range of<br>vases, lamps, and other objects that were both beautiful and stylish. Fulper’s<br>pieces were featured in some of the most prestigious design magazines of the<br>day, and they were popular with both collectors and everyday consumers.<br><br>In 1925, Charles Fulper died, and his sons took over the operation of the<br>pottery. Under their leadership, Fulper Pottery continued to experiment with new<br>glazes and firing techniques. They also began to produce a line of dinnerware,<br>which was very popular during the Depression-era.<br><br>The Great Depression hit Fulper Pottery hard, as it did many other businesses.<br>The company was forced to lay off a large number of employees and cut back on<br>production. However, Fulper’s designers continued to experiment with new ideas,<br>and the company managed to survive the difficult economic times.<br><br><br>William Hill Fulper II died suddenly in 1928. The company continued to be run<br>with Martin Stangl as President. In 1935, Fulper Pottery Artware production was<br>ceased at the small remaining Flemington location, and that building was<br>utilized solely as a retail showroom for the company’s ceramic products. After<br>1935, the company continued to be Fulper Pottery, but produced only Stangl<br>Pottery brand dinnerware and artware.

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Huge 1943 Tlaquepaque Vase Souvenir of Santa Fe New Mexico. Great piece of<br>1940's Mexican Folk/Art pottery. Two very shallow chips on foot, no other<br>cracks, chips, or restorations. Very substantial 12.5" tall

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1957 Harding Black Texas Studio Art pottery Lava Glaze vase. No cracks, chips,<br>or restorations 5 1/8" tall.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br>tw163

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c1900 Weller Dickens Ware Stag Pitcher. 7" tall x 5" wide. Hand painted and hand<br>carved design. No cracks, chips, or restorations. Factory chip on back side of<br>base resulting in a sharp edge that has the tiniest chigger bite off of it.<br><br>tw163

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Vintage Chinese Cloisonne/Rose Quartz Necklace hand tied with silver clasp, high<br>quality necklace from the mid 20th century. 24" long with 2.25" drop, 110.9<br>grams. Approx 10mm beads, 16mm cloisonne beads.

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Vintage Native American Squash blossom necklace. Circa 1950's Native American old pawn Squash blossom necklace, Stable fracture in top stone, diminutive necklace with smaller than average beads 21" long with 2.25" x 1 5/8" central pendant. 55.9 grams.

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Vintage Lavonne Lalio Zuni carved multi-stone inlay bolo tie grams total weight.<br>37" long 2 3/8" x 1.25" bolo slide, 26 grams.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6 1/8" c1930's Ingot Silver Navajo bracelet with turquoise. Stone secure in<br>bezel with old fracture.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Men's Size 11 Ring.

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sz6.5 Vintage Zuni Sterling snake eye turquoise ring. 1.25" face, 6.7 grams. All precious metals are tested and guaranteed,

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Early Van Briggle Cabinet vase. Teens-20's 4" tall with no cracks, chips, restorations, or crazing. tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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c1950's Native American sterling silver c-31 bolo tie 37" long 1 1/16" x 7/8" bolo slide, 25 grams total weight.

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c1920's Van Briggle Elephant Paperweight in Blue Matte. No cracks, chips, or restorations, overall crazing with no stains. 3.5" long x 2.5" tall. tw122 Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston. The Van Briggle Pottery Studio closed in spring 2012 Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris. In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes. Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history. Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895. In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade. Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis. Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort. With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations. In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips,<br>restorations or crazing. 3 7/8" long x 2.5" tall.<br>tw122<br><br>Van Briggle Art Pottery was at the time of its demise the oldest continuously<br>operating art pottery in the United States, having been established in Colorado<br>Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant<br>impact on the Art Nouveau movement in the United States, and his pottery is<br>foundational to American Art Pottery. The Art Nouveau style favored by its<br>founders continues to influence the pottery's designs.<br><br><br>Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself<br>as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née<br>Gregory), his new wife, Artus began exploring the Art Nouveau style in their<br>pottery creations, drawing awards and accolades from the American and European<br>art communities. Although he was a talented painter who had displayed and won<br>awards in Europe, from 1899 until his death Artus devoted himself almost<br>exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs<br>and distinctive matte glazes were awarded high honors from prestigious sources,<br>including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark<br>Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.<br><br>The Van Briggle Pottery Studio closed in spring 2012<br><br>Artus Van Briggle in 1900.<br>Born to artistic parents on March 21, 1869, Artus Van Briggle had an early<br>introduction to painting using materials found about the home. The Van Briggle<br>family lived in Ohio, one of America's hotbeds of ceramic design. At the age of<br>17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold<br>Fairyland Doll Store, while attending his early art studies at the Cincinnati<br>Art School. After a stint at the Avon Pottery where he was introduced to the<br>ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at<br>hand-painting designs. His skill and talent were recognized by Rookwood founder,<br>Maria Storer, who became his benefactor, even sending him to France to study art<br>at the Académie Julian in Paris.<br><br>In Europe, he was exposed to styles of art and became infatuated with an early<br>matte glaze from the Chinese Ming Dynasty; a type that was lost to history.<br>Artus also met his future wife, fellow American student Anne Lawrence Gregory,<br>an accomplished artist in her own right. Finishing their Paris studies in 1896,<br>they returned to America. Artus resumed his work at Rookwood and also started<br>sculpting and experimented with recreating the lost Ming Dynasty glazes.<br><br>Perfecting the distinctive dull or matte glaze<br>In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood<br>and moved to the drier air of Colorado Springs, Colorado. Upon befriending the<br>Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of<br>1899, 1900, and 1901 to reduce work stress and regain strength while pursuing<br>his own styles of pottery, centered around the Art Nouveau movement. He<br>continued his research on the ancient matte glazes that fascinated him in Paris.<br>After two years of trials and experiments a matte glaze was perfected. One of<br>the matte glazes perfected by Artus was the matte blue glaze, based on an<br>ancient Chinese process that had long been lost to history.<br><br>Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who<br>took a position as a high school art teacher in Colorado Springs. In 1903, Artus<br>Van Briggle was appointed First Director of the Department of Art and Design in<br>Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva,<br>Switzerland) he met in Paris in 1895.<br><br>In 1902, Anne and Artus were married, and she devoted herself to their pottery;<br>she created designs and collaborated in all aspects of the enterprise with her<br>husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art<br>Nouveau from the prestigious Paris Salon; he was now an accepted artist. During<br>their early years, Artus and Ann established hundreds of Art Nouveau styles of<br>pottery under the Van Briggle name. The Despondency vase won Van Briggle wide<br>acclaim and first place at the Paris Salon in 1903. A display at the 1904<br>Centennial Exhibit in St. Louis won Van Briggle more awards and greater<br>international fame.<br><br><br>Van Briggle Memorial Pottery<br>Pottery loses its founder<br>Artus Van Briggle died in July 1904, at the age of 35. Anne continued the<br>pottery using the forms created by Artus as a foundation and adding more designs<br>of her own. In 1907, Anne and pottery stockholder and city-founder William<br>Jackson Palmer began construction on a new pottery on Uintah Street. The Van<br>Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend —<br>was opened in 1908 and stands today as an historic landmark noted for its<br>architecture and use of ceramics in the facade.<br><br>Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912<br>to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922<br>to J.F. and I.H. Lewis and moved to Denver the following year, where she would<br>concentrate on painting and where she remained until her death in 1929. In her<br>absence, the pottery fell under financial hardships and was sold at sheriff's<br>auction; later it was re-sold, once more becoming the property of Mr. Curtis.<br><br>Surviving disaster and war<br>The pottery was sold twice more in the ensuing decade and survived a fire in<br>1919 that gutted the interior but left the brick shell and kilns. New owners<br>I.F. and J.H. Lewis took the opportunity to modernize and expand the facility<br>beginning in 1920 and stabilized the production and financial aspects of the<br>pottery for the first time. Despite damage from the flood of 1935—the most<br>destructive flood in Colorado Springs history — that destroyed much of the<br>company's records and molds, the pottery continued to enjoy success up to World<br>War II, when they closed for approximately three years as the United States<br>focused its resources on the war effort.<br><br>With the increase of interstate travel in the United States a freeway was<br>planned in 1953 for Colorado Springs which J.H. Lewis estimated would run<br>through the Memorial Plant site. Although the freeway eventually was planned to<br>avoid destroying the historic pottery, Mr. Lewis nonetheless put into action<br>plans to relocate the pottery to a higher-traffic area of Colorado Springs. In<br>1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated<br>railroad roundhouse on Midland Road. The new facility, known as the Midland<br>Plant, had a smaller capacity but enjoyed quick success due to its location on<br>the main highway to the Garden of the Gods and other tourist locations.<br><br>In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into<br>disrepair for the ensuing 40 years, being used variously as offices and storage.

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Antique Hand Carved Jointed Artists Model Doll. This is from the Estate of<br>Milton Simpson, author of several books and publications of Folk a. He was the<br>graphic designer who discovered the Woodbridge figures collection in New Jersey.<br>Not the construction worker that found them but the person who purchased them<br>all from a local pawn shop and recognized their importance. There is a very high<br>probability this piece is published in one or more of his books/publications.<br>20" tall and Jointed everywhere, all the joints are functional, some a little<br>loose as this is about 100 years old. It is standing unassisted in two of the<br>pics but might not be the best idea unless held with "museum wax" or something<br>similar. tw106<br><br>Milton Simpson (1911-2023)<br>Milton – also known by his friends and acquaintances as Milt - was born and<br>raised in Brooklyn, New York City and raised his family in Millburn, New Jersey.<br>He attended the New York School of Industrial Art (SIA), now the School of Art<br>and Design. He then worked for Incorporated Ideas Advertising Agency in New<br>Jersey before joining the United States Army, serving in Korea.<br>After his discharge from the Army, Milt attended The Workshop School of<br>Advertising & Editorial Art. Upon completion of his studies there, he became the<br>Art Director of The American Baby Magazine in New York, Assistant Art Director<br>at Lewin, Williams & Saylor in New Jersey, and then Art Director of Kenyon-Baker<br>Advertising & Baker Printing Company, (both of which were under one roof) in New<br>Jersey. (He left there because the promised air conditioner was never<br>installed!)<br>He then worked as a freelance graphic designer and illustrator for several<br>years.<br>In 1964, he and business partner Don Johnson founded the firm of Johnson &<br>Simpson Graphic Designers with Milt as president. They were based in a townhouse<br>in beautiful downtown Newark, New Jersey and specialized in corporate<br>communications. The design projects they took in included annual reports,<br>corporate magazines, capability brochures, posters, museum catalogs, trademarks<br>and books. Their clients included Conoco, Johnson & Johnson, New Jersey Bell,<br>Hoffmann-La Roche, The Newark Museum and Singer Corporation.<br>The firm was featured in every major design publication, was recognized by over<br>350 graphic design awards and he and Don were inducted into the New Jersey Ad<br>Club's Advertising Hall of Fame in 1991.<br>Milt also served on the Advisory Board of The Greater Newark Chamber of Commerce<br>and was an Adjunct Professor (Publication Design) at Montclair State College.<br>The New Jersey Art Directors Club voted Milt Art Director of the Year in 1972.<br>Books were his passion. He couldn't seem to get them out of his system and<br>didn't try to. For many years he produced and self-published a series of<br>Artists' Books using several print-on-demand platforms. Milt was always a<br>student and appreciator of quirky, eccentric and irrational human behavior.<br>These Artists' Books were very much influenced by his observations and<br>obsessions.<br>Among many others too numerous to mention, he wrote "Windmill Weights; which was<br>self-published and "Folk a" published by HarperCollins.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. James Shay Navajo Sterling Chrysocolla cuff bracelet. Very sturdy cuff weighing<br>74.4 grams with no issues 2.25" wide in center 1.5" gap, fits a 7.25" wrist.<br><br>Navajo silversmith James Shay has been an active silversmith since ca 1989 He is<br>known for his traditional stampwork.. James resides in the Lukachukai area. He<br>uses the hallmark “JS

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18k Natural Ethiopian Brown Opal/Diamond pendant. Beautiful pendant marked and tested 18k gold with appox .15ct diamonds and a .9ct natural opal 2 grams with no damage or significant wear. 1 1/8" tall x .5" wide.

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Large Modernist Erika Hult de Corral Taxco Sterling RIC Earrings 3" tall x 1.25" wide x 26.8 grams with no damage. Early in her career she worked for Sigfrido Pineda, and Enrique Ledesma, later owned shops in Puerto Vallarta. She was trained at Parsons School of design in Paris ( Hougart Mexican Silver Trade and Hallmarks, Bille Hougart, 2006). This piece is reflective of that training.

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Vintage Woven Native American Liquid Silver/turquoise necklace. Approx 20" long with no issues.

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c1970's American Ceramic Penis Man sculpture. 8" tall with one tiny glaze flake<br>on bottom of cloak, no large chips or cracks, no touch ups. This was likely made<br>in a ceramic class, it's in the same category as "holland mold", like the<br>ceramic xmas trees that are now so popular.<br><br>This is from the Estate of Milton Simpson, author of several books and<br>publications of Folk a. He was the graphic designer who discovered the<br>Woodbridge figures collection in New Jersey. Not the construction worker that<br>found them but the person who purchased them all from a local pawn shop and<br>recognized their importance. There is a very high probability this piece is<br>published in one or more of his books/publications. It's a great hand carved,<br>one of a kind piece. It's 9" tall and happens to be painted black, if it were<br>painted white, green, yellow, purple it would be equally important in my eyes,<br>really just a strange and wonderful thing with these orange breasts, etc.<br><br>Milton Simpson (1911-2023)<br>Milton – also known by his friends and acquaintances as Milt - was born and<br>raised in Brooklyn, New York City and raised his family in Millburn, New Jersey.<br>He attended the New York School of Industrial Art (SIA), now the School of Art<br>and Design. He then worked for Incorporated Ideas Advertising Agency in New<br>Jersey before joining the United States Army, serving in Korea.<br>After his discharge from the Army, Milt attended The Workshop School of<br>Advertising & Editorial Art. Upon completion of his studies there, he became the<br>Art Director of The American Baby Magazine in New York, Assistant Art Director<br>at Lewin, Williams & Saylor in New Jersey, and then Art Director of Kenyon-Baker<br>Advertising & Baker Printing Company, (both of which were under one roof) in New<br>Jersey. (He left there because the promised air conditioner was never<br>installed!)<br>He then worked as a freelance graphic designer and illustrator for several<br>years.<br>In 1964, he and business partner Don Johnson founded the firm of Johnson &<br>Simpson Graphic Designers with Milt as president. They were based in a townhouse<br>in beautiful downtown Newark, New Jersey and specialized in corporate<br>communications. The design projects they took in included annual reports,<br>corporate magazines, capability brochures, posters, museum catalogs, trademarks<br>and books. Their clients included Conoco, Johnson & Johnson, New Jersey Bell,<br>Hoffmann-La Roche, The Newark Museum and Singer Corporation.<br>The firm was featured in every major design publication, was recognized by over<br>350 graphic design awards and he and Don were inducted into the New Jersey Ad<br>Club's Advertising Hall of Fame in 1991.<br>Milt also served on the Advisory Board of The Greater Newark Chamber of Commerce<br>and was an Adjunct Professor (Publication Design) at Montclair State College.<br>The New Jersey Art Directors Club voted Milt Art Director of the Year in 1972.<br>Books were his passion. He couldn't seem to get them out of his system and<br>didn't try to. For many years he produced and self-published a series of<br>Artists' Books using several print-on-demand platforms. Milt was always a<br>student and appreciator of quirky, eccentric and irrational human behavior.<br>These Artists' Books were very much influenced by his observations and<br>obsessions.<br>Among many others too numerous to mention, he wrote "Windmill Weights" which was<br>self-published and "Folk a" published by HarperCollins.

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Antique American Folk art puppet carved wood artists doll Milt Simpson Estate.<br>Amazing item on high quality museum grade stand. This is from the Estate of<br>Milton Simpson, author of several books and publications of Folk a. He was the<br>graphic designer who discovered the Woodbridge figures collection in New Jersey.<br>Not the construction worker that found them but the person who purchased them<br>all from a local pawn shop and recognized their importance. There is a very high<br>probability this piece is published in one or more of his books/publications.<br>It's a great hand carved, one of a kind piece. It's 9" tall and happens to be<br>painted black, if it were painted white, green, yellow, purple it would be<br>equally important in my eyes, really just a strange and wonderful thing with<br>these orange breasts, etc.<br><br>Milton Simpson (1911-2023)<br>Milton – also known by his friends and acquaintances as Milt - was born and<br>raised in Brooklyn, New York City and raised his family in Millburn, New Jersey.<br>He attended the New York School of Industrial Art (SIA), now the School of Art<br>and Design. He then worked for Incorporated Ideas Advertising Agency in New<br>Jersey before joining the United States Army, serving in Korea.<br>After his discharge from the Army, Milt attended The Workshop School of<br>Advertising & Editorial Art. Upon completion of his studies there, he became the<br>Art Director of The American Baby Magazine in New York, Assistant Art Director<br>at Lewin, Williams & Saylor in New Jersey, and then Art Director of Kenyon-Baker<br>Advertising & Baker Printing Company, (both of which were under one roof) in New<br>Jersey. (He left there because the promised air conditioner was never<br>installed!)<br>He then worked as a freelance graphic designer and illustrator for several<br>years.<br>In 1964, he and business partner Don Johnson founded the firm of Johnson &<br>Simpson Graphic Designers with Milt as president. They were based in a townhouse<br>in beautiful downtown Newark, New Jersey and specialized in corporate<br>communications. The design projects they took in included annual reports,<br>corporate magazines, capability brochures, posters, museum catalogs, trademarks<br>and books. Their clients included Conoco, Johnson & Johnson, New Jersey Bell,<br>Hoffmann-La Roche, The Newark Museum and Singer Corporation.<br>The firm was featured in every major design publication, was recognized by over<br>350 graphic design awards and he and Don were inducted into the New Jersey Ad<br>Club's Advertising Hall of Fame in 1991.<br>Milt also served on the Advisory Board of The Greater Newark Chamber of Commerce<br>and was an Adjunct Professor (Publication Design) at Montclair State College.<br>The New Jersey Art Directors Club voted Milt Art Director of the Year in 1972.<br>Books were his passion. He couldn't seem to get them out of his system and<br>didn't try to. For many years he produced and self-published a series of<br>Artists' Books using several print-on-demand platforms. Milt was always a<br>student and appreciator of quirky, eccentric and irrational human behavior.<br>These Artists' Books were very much influenced by his observations and<br>obsessions.<br>Among many others too numerous to mention, he wrote "Windmill Weights" which was<br>self-published and "Folk a" published by HarperCollins.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American Sterling/turquoise cuff bracelet. Vintage unmarked (tested sterling) cuff from the third quarter of the 20th century, no breaks. Big bad cuff with lots of character.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American Sterling/turquoise cuff bracelet. Vintage unmarked (tested sterling) cuff from the third quarter of the 20th century, no breaks. Big bad cuff with lots of character.

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Early Chinese Jade/Carnelian Button collection. All antique pieces ranging from<br>Ming-Qing Dynasty. Selling the lot very nicely framed in heavy frame on what<br>appears to be suede leather. Frame measures 21.5" x 14.5". These would make some<br>incredible jewelry pieces but I personally hate to bust apart such a nice<br>framing job. I will do it upon request though as shipping would be way easier.

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Qing Dynasty Antique Chinese Silk Embroidery Panel. Nicely framed in Acrylic. Chinese Qing framed embroidery panel.From the Estate of Ms. Louise Moorrees (maiden name). Her great grand uncle, Mr. Guus Moorrees (having a Chinese name "Guo Ye") had traveled to China during the beginning of the 20th C. 23"H x 16.5"W,

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Chinese Republic period carved turquoise figure 2.5" x 1.5" including fitted<br>stand. Very intricately hand carved natural turquoise from the first half of the<br>20th century. No damage or restorations, natural fissures/matrix.

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Samuel Benham Sterling/18k Citrine Double necklace 18.5" long with no damage or detectable wear, this is much larger and heavier than most Benham necklaces. Limited production retired design. 129 grams.

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1930's Popeye Pipe Toss Game. Box 11" x 5", some damage to box shown, displays well.

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Hand Painted Chinese Famille rose vase. 14" tall x 6" wide with no cracks,<br>chips, or restorations. Likely apocryphal mark, unsure of exact age but I know<br>it's not new. High quality vase.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Large Los Ballesteros Modernist Sterling Cuff Bracelet. Great cuff with no damage or significant wear.Los Ballesteros Jewelry - History This business was established in 1937 by Jalil Majul Ballesteros in Iguala, Mexico. He had been apprenticed in the art of silversmithing by his grandfather and father, and early on, he made jewelry with a filigree look. In 1941 he moved his workshop to Taxco and adopted styles that were more in line with the tourist pieces produced there.During the 1950s, piecework was farmed out to smaller family workshops in the Taxco area, and the pieces were marked Talleres de los Ballesteros. These pieces were sold in shops throughout the country, including Mexico City and Acapulco. The company also began exporting jewelry in 1952.A modernized corporate version of Los Ballesteros continues to sell its products, both jewelry, and decorative giftware, through stores in Mexico as well as through other vendors worldwide. The company’s commitment to quality in honor of their heritage is strong, and they are still using the traditional Talleres de los Ballesteros stylized B logo in their branding.

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Tim Yazzie Navajo Sterling/turquoise ring. No damage or detectable wear.Tim Yazzie is a Navajo / San Felipe / Santo Domingo silversmith. Tim Yazzie’s mother is from the San Felipe Pueblo and his Father is Navajo. Tim Yazzie was raised in New Mexico in the San Felipe Pueblo. His maternal Grandmother was Santo Domingo and made beautiful pueblo pottery, and his paternal grandfather was a rug maker and silversmith.He draws all of designs free-hand on the silver, and allows the silver and the other materials that he is using to guide his creative process and develop the ideas that he sees in his mind. Using the finest materials, he is now creating new designs, each unique and beautiful, pushing his native pueblo art to new horizons.His work is considered “pueblo style” and features intricate silver overlay work with Southwestern motifs. Tim worked with well-known native artists like Chalmers Day and Jimmy Harrison The metal Tim Yazzie uses is sterling silver, which is 92.5% pure silver and 7.5% alloy. To see a video of Tim at work, please check the Tim Yazzie Video page on this website. Through purchasing Tim Yazzie’s jewelry, you are helping support a local Tucson Native American Indian silversmith.Last but not least, Tim has been honored to participate in Indian Market in Santa Fe, New Mexico. This is a highly respected show and artists are juried and selected to participate in this prestigious show!

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Antique Chinese carved Hubei Turquoise Boy harvesting fruit figure on silver<br>wire inlaid wood stand. Late Qing to early republic, Late 19th to early 20th<br>century. With stand 2 7/8" tall x 2.25" wide. No damage or restorations, natural<br>turquoise.

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17th Century Persian Hand written/colored Manuscript page. Very old description taped to reverse outside of frame, this is framed between two pieces of glass, so glass on both sides, both sides visible. Frame is 13.5" x 9.75"

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Ernest Begay Navajo Oversized turquoise cluster ring. Biggest and best ring ever<br>with top quality natural Nevada turquoise. Typically a huge ring is in the 30<br>gram range, this is 110.5 grams size 8, contemporary ring by a well known and<br>respected artisan with no damage or detectable wear. 3" x 4" face.<br><br>Navajo artist Ernest R. Begay Sr. was born and raised in Kayenta - Chilchinbeto,<br>AZ. In 1975-76, Ernest took a silversmithing class at Monument Valley High<br>School. “We used copper in the class, but that’s where I got my start. I took<br>the class because it looked like something fun and easy to do. I used to watch<br>my brother-in-law, and his father make jewelry, they used to give me scrap<br>silver to work with,” recalls Ernest.<br><br>Ernest’s career in jewelry making didn’t really take off until he entered some<br>rather distinguished pieces into the Navajo Nation Fair and the Gallup<br>Intertribal Indian Ceremonial. Here, he received many awards and ribbons, which<br>helped him begin his career as jewelry artist.<br><br>Over the years, Ernest has slowly built a reputation for coral and turquoise<br>cluster work on heavy gauge silver with deep custom-designed stamp work. Ernest<br>gets much inspiration from traditional and old jewelry styles. “Concho belts,<br>squash blossoms, bracelets, necklaces, rings, earrings, and belt buckles, I do<br>them all in my own signature old style series. This old style jewelry always<br>caught my eye. I used to go to the Trading Posts just to look at some of the old<br>pawn on display. The ones that caught my attention were always the pieces that<br>used the thick silver, and the stamp work on them,” says Ernest. Ernest now<br>lives in New Mexico with his wife, Readda, and twins Ernest Jr. and Faith Begay. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 8 Ring.

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Navajo Sterling/Malachite necklace and earrings set. Selling the vintage set<br>shown with no issues. Tested sterling with no purity markings. 1" tall earrings<br>Necklace has an extender so it can be worn at 22" or 28". 113 grams total

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Large Tim Vandever Navajo Sonoran Gold Turquoise sterling silver necklace with<br>no damage or detectable wear. Adjustable up to 28" long x 5/8" x 2.25" center<br>pendant, amazing necklace. 184.9 grams.

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Antique Dresden Hand painted bowl. Super fancy shape with little to no wear. 7" x 7 5/8" one tiny teeny chigger bite on footrim that I attempted to show in top center of last pic. It's nothing, would never be noticed anywhere, only mentioning because it's an online sale, no other chips, cracks, restorations, or significant wear. isshelf

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Collection Antique Scandinavian knives - Hellberg, Dahlgren. Longest 8.25" total<br>with sheath. All with wear, etc, in the condition shown. None with loose blades.<br>3 are branded with sheaths of the same brand, I believe all are in correct<br>sheaths.

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6 3/8" Antique Navajo Ingot Silver Bracelet. Nice early bracelet from the first<br>quarter of the 20th century.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Native American Santo Domingo Pueblo Shell and turquoise necklace. Vintage necklace with sterling fittings and natural stones/shells. Clasp marked 925 possibly a replacement.

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Antique Japanese Bizen Pottery Soldier Figure. 7 5/8" tall with no cracks,<br>chips, or restorations. Signed on bottom of reverse side as shown.

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A beautiful Pirkenhammer porcelain cabinet plate of a hand painted central<br>portrait depicting Elisabeth Vigee Le Brun, a prolific painter associated with<br>Marie Antoinette.<br>9 5/8" wide, very high quality professional restoration at the 10:00 position<br>(upper left), very difficult to spot from the front but has yellowed with age on<br>back as it's likely about a 30 year old restoration and that's what happens.. No<br>other cracks, chips, or restorations, 100% hand painted and great.

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Antique Chinese carved Hubei Turquoise fisherman figure on silver wire inlaid<br>wood stand. Late Qing to early republic, Late 19th to early 20th century. With<br>stand 3" tall x 2.75" wide. No damage or restorations, natural turquoise.

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Large Matl style Sterling Turquoise Amethyst repousse birds pendant/pin,MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art.Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces.Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work.In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal.

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Antique NON-XLL Joseph Allen & Son Sheffield long blade knife. Nice solid knife<br>from the last half of the 19th century. 6" blade, 10.25" total length, Solid<br>knife with no play and excellent patina. Old initials on stag handle, Blade with<br>a few nicks, rounded tip, and some pitting. Knife still plenty sharp with a few<br>hundred years of use left in it.<br><br>knifedrawer

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7.5" Charlie Bowie Navajo Channel inlay Sterling silver overlay style bracelet.<br>Great bracelet with no issues.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American Sterling/turquoise heavy stamped cuff bracelet. Nice cuff from the second quarter of the 20th century, great with no issues.

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1890's Haviland Hand painted Raised Gold Cabinet plate Floreal by Soustre 9.25"<br>wide with no cracks, chips, restorations, or significant wear.

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Retro Aztec/Incan warrior sterling chip inlay Pendant/pin 1 3/8" round.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Mid Century Frigast Gilt Sterling Guilloche enamel demitasse/sugar spoon set. Selling the boxed set shown, possibly unused with no detectable wear or damage. (6) 3.75" demitasse spoons and one large 5.75" long sugar spoon. silverdrawer

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20" Eutrope Bouret(1833-1906) French Bronze Blacksmith Sculpture "Le Travail"<br>20" tall with no damage and great patina, fine French bronze from the late 19th<br>century.

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Antique Royal Vienna/KPM Style hand painted Cabinet Portrait vase of beauty. Guaranteed late 19th to early 20th century, 100% hand painted, artist signed Dietrich, likely the same one that did several KPM plaques. This piece being dark and shiny is extremely difficult to photograph and way better in person. 6 7/8" tall x 3.5" wide with no cracks, chips, or restorations. Beautiful complex scene painted on all sides. isshelf

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Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Men's Size 10 Ring.

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1839 Writ of Republic of Texas signed Stephen William Blount. Stephen William Blount (1808-1890), signer of the Texas Declaration of Independence, soldier, and county official. This was part of the Elton M Hyder collection and once on display at the University of Texas law library hance the label identiying it as what it is framed in behind the glass. Rare document with an important signature. 12.5" x 15 framed, 9.5" x 7.5" document size.

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Antique Devil Pastoral Mexican Dance mask. Amazing mask with old leather repairs<br>still holding strong, Very old mask likely from the first quarter of the 20th<br>century. 17" tall x 9.5" deep x 16" horn tip to tip. . I will be offering a very<br>large collection of these that was assembled in the 60's-80's, a large<br>percentage are from the first quarter of the 20th century, some perhaps a bit<br>older. The ones that are more recent are of exceptional quality. Some have tags<br>identifying them, some of the tags are missing or have been degraded over time.<br><br>I won't have time to discuss the character of each mask, but I'll make sure to<br>take good, accurate photos, and as stated you'll get the mask shown in the<br>condition shown, with approximate age stated. They will be safely stored until<br>sold so I won't really be able answer any specific questions, I'll give the<br>measurements of each one when listing. And I apologize in advance for my lack of<br>cultural awareness if I happen to call a central/south American mask a Mexican<br>mask.<br>It's just there are a lot of masks and very little time, and while I think each<br>and every one of them is absolutely fabulous or I wouldn't waste my time<br>photographing them....I would rather spend the time I could spend learning the<br>history of each character making sure they are packaged well enough to fall off<br>the truck, get ran over a few times...and still make it to you intact.<br>isshelf

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Sterling/Art Glass Barbie Koncher California Artist belt buckle 3.75" x 2.5", takes a 1.5" belt. 141.8 grams, no damage, minor wear to silver could easily be polished out.

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Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Men's Size 10 Ring.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Sandcast native american sterling/turquoise cuff bracelet. Fits a 6.75"<br>wrist, 1.75" gap, 1 1/8" wide in center, unmarked but tested and guaranteed to<br>be at least coin silver (90%). 44.4 grams.

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Vintage E.M. White Native American Silver/turquoise shadowbox necklace 16" long, tested sterling, no damage. 57.7 grams.

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2004 Swarovski Porsche Typ 356 1:43 Crystal scale model. Available originally<br>through Porsche dealerships, this retired 1:43 scale clear Swarovski crystal 356<br>was introduced in 2004 as is a numbered limited edition which closed in 2005.<br>The car comes with separate mirrored base and is 3 ½” (87mm) long. Mint<br>condition with grey box shown, no wear or damage to model or box. tw216

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1926 1927 Silver sixpence cufflinks with gilt sterling mounts. Extremely high quality cufflinks with no issues, possibly never worn.

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Vintage Gumps Jade/Sterling cufflinks. No damage, ready to use. Gumps always used high quality jade.

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Retro Tiffany 18k ropes on Sterling Cufflinks. Nice pair of authentic Tiffany<br>cufflinks, very well made with little to no wear. Strong springs on back make<br>audible click when the lever is moved. No issues.

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Vintage Navajo Tufa cast silver and turquoise pendant/pin 2.5" x 1 5/8" with no issues. All precious metals are tested and guaranteed,

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5 3/8" Navajo stamped silver - turquoise and mother of pearl bracelet. For a<br>very small wrist, no issues.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Nice Vintage Sterling/turquoise cuff bracelet. Great cuff from the second quarter of the 20th century with no issues.

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Vintage Mexican Green Face Devil dance mask. Circa second quarter of 20th<br>century 9" tall x 8.5" wide. Nice old mask, I will be offering a very large<br>collection of these that was assembled in the 60's-80's, a large percentage are<br>from the first quarter of the 20th century, some perhaps a bit older. The ones<br>that are more recent are of exceptional quality. Some have tags identifying<br>them, some of the tags are missing or have been degraded over time.<br><br>I won't have time to discuss the character of each mask, but I'll make sure to<br>take good, accurate photos, and as stated you'll get the mask shown in the<br>condition shown, with approximate age stated. They will be safely stored until<br>sold so I won't really be able answer any specific questions, I'll give the<br>measurements of each one when listing. And I apologize in advance for my lack of<br>cultural awareness if I happen to call a central/south American mask a Mexican<br>mask.<br>It's just there are a lot of masks and very little time, and while I think each<br>and every one of them is absolutely fabulous or I wouldn't waste my time<br>photographing them....I would rather spend the time I could spend learning the<br>history of each character making sure they are packaged well enough to fall off<br>the truck, get ran over a few times...and still make it to you intact.<br>tw208

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Spode Enzo Plazzotta Antoinette Sibley and Anthony Dowell in 'Friday's Child' ballet dancers sculpture. Limited Edition Sculpture on very heavy marble base, The base will be removed for shipping and they will be protected so the arms don't come into contact with anything. I will most likely ship the base separately as it's really heavy, some with threaded screw for easy removal and reassembly. 14.5" tall.

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c1790 Shagreen Travelling perfume Necessaire. French Shagreen Scent Case with Miniature Scent Bottles, 18th Century, with Parke-Bernet paper label, with some areas of the shagreen glued, occasional losses, and areas lifting, one bottle broken at mouth and lacking cover 3 3/8 by 1 3/4 by 1 3/8 inches. I couldn't remove the broken bottle but didn't want to force it.Parke-Bernet Galleries was an American auction house, active from 1937 to 1964, when Sotheby's purchased it. The company was founded by a group of employees of the American Art Association, including Otto Bernet, Hiram H. Parke, Leslie A. Hyam, Lewis Marion and Mary Vandergrift.

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Retro Ben Shiley Navajo stamped silver and onyx earrings. No backs, no other issues. 2.75" x 1 5/8" x 19..6 grams. All precious metals are tested and guaranteed,

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Retired James Avery sterling earrings 11/16" tall x 3/8" wide both with mixmatch backs that work, no other issues. 7.7 grams anderascoll James Avery founded his company in 1954, initially crafting jewelry in a two-car garage in Kerrville, Texas, with just $250 and a desire to create lasting value for others. Mr. Avery believed that meaning is what makes life more beautiful and this concept continues to drive how we design jewelry to this day. In 2007, 53 years after he first founded the company, James Avery officially stepped down as CEO and passed the reins on to his sons, Chris and Paul. Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself and others. With a focus on creating straightforward designs and a core belief of integrity in all things, his jewelry became more than precious metals and gemstones. Guests came to him with their stories—their special moments—so he could craft them into pieces they would wear with pride for a lifetime. From writing letters to greeting Customers, Mr. Avery prioritized developing lasting relationships with each person who connected with his designs.

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Antique Tibetan Chenrezig Buddha Coral/glass inlaid metal shrine. 11.75" tall x 6.5" wide in the condition shown with a few cracked beads. I believe some of the beads are coral, most are glass, I believe this to be over 100 years old but I'm not really sure how old.

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1950's Bulova 23 Jewel Automatic Wristwatch with 70's native american Sterling Chip inlay bracelet. Very nice working watch. Keeps on ticking, seems to keep good time. The old stretchy band is old and could likely use either replacement or some TLC, the Native American sterling tips are great, each marked sterling with a small picto hallmark.

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18K yellow gold and sterling silver David Yurman Figaro chain necklace featuring<br>black onyx faceted beads with toggle closure. Very fine pre-owned condition with<br>no damage or detectable wear. 39.7 grams 7mm wide.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 6 3/8" 40's-50's Zuni Silver and carved turquoise bracelet<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Men's Size 10 Ring.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. 7 5/8" Thistle and Bee Classic Weave Cuff in Sterling Silver. Clean with no issues. Thistle & Bee is a jewelry brand that specializes in sterling silver jewelry. Their jewelry is known for being elegant, unique, and luxurious. They offer a variety of styles, including traditional and modern. Thistle & Bee was established in 1998. Their sterling silver jewelry allows for creativity in terms of texture, shape, and dimension. They offer their jewelry plain or with gemstones. anderas

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Vintage Native American sterling/turquoise pendant. 2" tall x 1.25" wide x 11.7 grams with no issues.

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c1820 Antique Chinese Blue underglaze decorated Fitzhugh porcelain large oval<br>serving dish. Nice old piece from the first quarter of the 19th century, perhaps a bit older, Chinese. 14 7/8" x 11.25" x 2.25" with no cracks, or large chips...some glaze wear on both the outer and inside rims with a few small spots of associated inpainting.

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c1800 Chinese Export for American Market Patriotic plate with Great seal and<br>Chinese/American flags. Rare plate from the late 18th-mid 19th century. 10 5/8"<br>one tiny nick on back side shown in last pic. No other damage or restorations.

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Antique Chinese Blue underglaze decorated Fitzhugh porcelain platter. Nice old<br>platter from the first quarter of the 19th century, perhaps a bit older,<br>Chinese. 15 5/8" x 12.75" with no cracks, chips, or restorations.

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6.5" Christin Wolf Native American 14k gold and sterling bracelet<br><br>Christin Wolf is a nationally recognized jewelry designer known for blending<br>timeless lines and contemporary style with a vibrant southwest color pallette.<br>For the past 30 years Christin Wolf has been recognized as a leader in Southwest<br>jewelry design.<br><br>Christin Wolf Jewelry is handcrafted by Native Americans in the Christin Wolf<br>Studio in Albuquerque’s Old Town.<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Fred Harvey Era Native American Sterling/Turquoise Cuff Bracelet. Very nice old<br>cuff with no damage. Maisel's Indian Trading Post in Albuquerque, New Mexico.<br>Maisel's, located on Route 66, employed hundreds of Native American artisans in<br>the late 1940s and 1950s. . Tested and guaranteed to be at least coin silver<br>(90%) Marked sterling.

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Large Emil Brenk Sterling World Map Cigar box. Emil Brenk made the highest<br>quality humidors that were marketed by Dunhill, they also made the cases for<br>early 20th century Automaton singing bird music boxes that sell for thousands of<br>dollars. In other words this vintage box from the third quarter of the 20th<br>century is of the highest quality as hopefully evident from my pictures. Appears<br>unused, hallmarked as shown, original Willem Van Pampus Jeweler's presentation<br>box in like new condition. The silver box appears like new inside and out with<br>no dents, detectable wear, or other issues. Outside measurements are 10 3/16"<br>(25.75cm) wide x 7 5/16 (18.5cm) deep x 2" (5cm) tall. Inside dimensions are<br>17.5cm x 24.75cm wide (wide adjustable spacer) as shown. 1.3 kg on my shipping<br>scale, metals scale isn't handy. Very high quality box, doesn't smell like<br>tobacco, as previously stately likely unused and ready to suit your purposes.<br><br>Pampus , Willem van – Willem van Pampus, jewelry company, formerly Kalverstraat<br>117. In 1876 Herman van Pampus opened a small business on the Wittenburgergracht<br>on the Oostelijke Eilanden . He was a good neighbor of the Vroom family, the<br>founders of the current V&D group. Relocation to the center of the city was<br>necessary. In 1897 we moved to the Nieuwendijk and in 1905 we expanded with a<br>second business in the building Leidsestraat 106.<br><br>The business was transferred to sons Carel and Willem in 1909, with Carel<br>getting the business on Nieuwendijk and Willem in Leidsestraat. During the new<br>construction of buildings nos. 106-108 in Leidsestraat in 1919, which<br>temporarily involved a temporary wooden building on Leidseplein, a riot arose in<br>the municipal council. Councilor Loopuit submitted a motion not to have any<br>buildings placed on public roads in the future, without first obtaining the<br>council's opinion. The speaker pointed out the temporary goldsmith's shop on<br>Leidseplein, popularly called “the fortress of Pampus”. He said: “This goldsmith<br>is also cheap, because he only pays twenty cents per square meter per week and<br>has had a better place than he had in Leidsestraat for quite some time.” In 1927<br>it was moved to Kalverstraat, an even better shopping street. In 1952 there was<br>an expansion with a branch in The Hague and then in 1971 a total new<br>construction over four buildings: Kalverstraat 117-119 and subsequently Taksteeg<br>8-10. All shop buildings were rebuilt in 19th century style under the<br>supervision of the Monumentenzorg. From then on, the business was officially<br>called Willem van Pampus Amsterdam BV. The Kalverstraat and Nieuwendijk branches<br>were closed on December 31. 1981 discontinued. The Kalverstraat and Nieuwendijk<br>branches were closed on December 31. 1981 discontinued. The Kalverstraat and<br>Nieuwendijk branches were closed on December 31. 1981 discontinued.<br><br><br>anderas

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c1930 Bohemian art glass Buddha liqueur set. Ultra rare and cool, most likely<br>Czech made from the 20's or 30's. No damage to buddha, shot glasses and small<br>decanter are super clean with only the tiniest roughness to ground rims and tip<br>of stopper. No large chips, slight wear to gilding. Buddha is 14.25" tall x 9.5<br>" wide. This set is fully functional, hinge is good, snaps shut and stays<br>shut...but it is pushing 100 years old and if I personally were to actually use<br>this which I think would be great as it's extremely fun.. Still I would put<br>something behind it for Buddha's head to rest on while it's open or put it close<br>to a wall as I had it for the pics just to not put too much stress on the 90 or<br>so year old hinge as the top is rather heavy.<br><br>These were also made in pink in green, this is the most rare and desirable<br>color.

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Huge 14.75" Antique Japanese Meiji Period Imari centerpiece bowl 14.75" wide x<br>4.25" deep, a very significant piece of approximately 130-160 year old Japanese<br>Imari hand painted porcelain with no damage or restorations. Expected wear to<br>gilding on rim, other gold clean. Signed as shown, top notch piece. From a very<br>fine estate collection. Some of the pieces in this collection were previously in<br>Museum collections hence the acquisition number on base. That is over glaze and<br>will easily come off with alcohol, I can remove before shipping if requested.

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Wilbert Verhelst (1923 - 2012) American Bronze freeform figure.<br><br>Measurements<br>height 7 3/4 inches<br>width: 10 1/2 inches<br>depth 2 5/8 inches<br><br>WILBERT VERHELST OBITUARY<br>Verhelst, Wilbert (Bill) Dallas Texas artist established the sculpture program<br>for the Art Department at SMU and headed that program until his retirement,<br>after 20 years of teaching, in 1986 becoming an Emeritus Professor. He was<br>warmly known to his students as "Ver". He is the author of the textbook<br>"Sculpture Tools, Materials and Techniques". He initiated in 1978 the first<br>Texas Sculpture Symposium which was held every two years for many years. His<br>commissioned large scale sculptures can be seen around the country and he has<br>shown many other sculptures in countless exhibitions. He is survived by his<br>wife, artist Susan Lecky, stepdaughter Peggy Savage, stepson John Savage,<br>daughter Bobbi Jo Miller and his sister Wilma Potter.

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c1790 Chinese Export for American Market 13 Star flag Plates. 8.5" wide with no<br>cracks, chips, or restorations. Selling both plates.

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7.25" Large Navajo Sterling and turquoise bracelet. Unmarked, nice old 60's-70's<br>bracelet.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Antique French Sevres Style Tea For two Tête-à-Tête tea set. Amazing set from<br>the 19th century with no cracks, chips, or restorations, no significant wear of<br>any kind. Entire set is hand painted with precision, every piece marked as shown<br>except the tray. Height: teapot 4 1/2 inches; cup 2 inches<br>Tray 8 1/2 by 12 3/4 inches

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High Quality Signed Edo Period Japanese Imari Charger 15 3/8" wide with no cracks, chips, or restorations. Interesting what I assume to be artists signature on reverse side. I believe this to Edo 18th/early 19th century Edo period piece.

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