c1940 Capitol Chevrolet Austin Texas Keychain. As shown vintage used condition with broken snap. Possibly from the 30's, you be the judge. tw208

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c1900 EAPG Monkey on stump toothpick holder in blue. 2 5/8" tall, in perfect condition with no chips, flakes, cracks, or mold roughness. These typically have some issues due to all the sharp edges and being over 100 years old, this one doesn't. toothpickdrawer

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Mid Century Burmese art glass miniatures/toothpicks. Both the highest quality,<br>hand blown. Either Murano or Pairpoint. Tallest 2.5", both glow under<br>blacklight. These are both mid 20th century or older with no damage whatsoever,<br>no flaws.<br>toothpickdrawer

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Rare 1950's American Hull Art Pottery Lamps Pair. Selling the pair of working<br>lamps, two lamps for the listed price. The exact lamps shown. 1950's Hull<br>pottery with no cracks, chips, restorations, or other issues. I took the<br>original felt off the bases because it got wet when cleaning. The ceramic<br>sections are 8.5" tall x 6" wide without the brass fitting. 11.5" tall with<br>brass bulb socket. I have personally seen one of these lamps bring $600 within<br>the past year, and typically a pair is worth three times a single so I feel my<br>price on these is fair.<br><br>isshelf

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2 Rare c1910 Japanese Blue/Green Phoenix bird toothpick holders. From the first<br>quarter of the 20th century, Tallest 2 5/16". These came from an amazing<br>toothpick holder collection put together in the third quarter of the 20th<br>century. These are both rare, but the green one is likely undocumented. Selling<br>both with no damage or repairs.<br>toothpickdrawer

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2 c1870 British Copper Lustre Match holders with rough exteriors for striking. Selling the pair from the last half of the 19th century with no cracks, chips, or restorations. 2" tall x 1.75" wide at rim. toothpickdrawer

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3 American Art Pottery Weller/Niloak/desert sands minature vases/match/toothpick<br>holders. Selling the three with no cracks, chips, or restorations. Crazing on<br>the desert sands and Weller. tallest 2.25", The Niloak appears unmarked but the<br>quality and age are guaranteed, I believe I've seen this shape marked or with a<br>paper label.<br>toothpickdrawer

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3 Contemporary art glass shot glasses/toothpick holders. One signed Joel Bloomberg, two Astral glass dated 2017. Tallest 2 3/8", all with no damage or wear. Selling all three. toothpickdrawer

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c1930 Steuben Gold Aurene Candle holders with Sterling Silver Bobeches. 5 3/8"<br>tall x 3 1/8" wide at rim x 4.75" wide base. They will take up to 1.75" wide<br>votive or flameless candles or taper candlesticks. These are unsigned, I'm<br>attributing them to Steuben. I'm 100% sure they are American art glass from<br>c1910's to 1930's. I had a pair of these identical with the same sterling<br>bobeches heavily tarnished as these were about 25 years ago and they were<br>signed, I think it was Steuben but that was long ago. It's not a common shape.<br>Selling the pair with no cracks, chips, or restorations. My asking price on<br>these is slightly less than half what I seem to remember selling the other pair<br>for 25 years ago.<br><br>B15

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3 Vintage Frankoma pottery toothpick holders. Selling all three with no cracks, chips, crazing, or scratches. 2.25" tall. toothpickdrawer

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c1920 American Imperial Lead Luster Cobalt Iridescent Swirled vase. 6.75" tall x 3 1/8" rim. Nice antique 95-100 year old American art glass vase. isshelf

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sz 9 c40's-50's Navajo sterling and turquoise ring. 9.2 grams, unmarked with no<br>issues. 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. Size 9 Ring.

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c1910 Art Nouveau Sterling Silver Mounted Intaglio Cut Decanter. 13.5" tall x 7"<br>wide with handle. Very thick solid sterling mount with cut glass insert. The<br>insert has some cloudiness inside the glass that could likely be tumbled out or<br>won't be visible when filled with liquid. No damage to glass or mount.<br>tw102

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c1940's Native American Sterling turquoise/coral channel inlay screw back<br>earrings 1" tall x .5" wide with no issues, old silver polish residues I should<br>have removed before pics, can easily be removed. 7.2 grams.<br><br>All precious metals are tested and guaranteed. All native american silver<br>referred to as silver or sterling is tested and guaranteed to be 90% (coin)<br>silver or better.

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The Best 1960's Recycled Beer Bottle Art Glass Biomorphic Decanter/Tumbler set. Most likely Mexican, guaranteed 1970's at the latest, period MCM set of the best quality and design. Made from recycled beer/soda bottles likely out of necessity. The Artisan that made this didn't have the resources of Italian/Danish Artisans of the Era, but he overcame and did an amazing job on this one of a kind set. 8 tumblers 6.25" tall x 2.75" wide, 15" tall decanter with stopper that forms a tight seal. Selling the set shown, the only one you'll find like it. isshelf

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1950's Fenton Cranberry Coin Dot Opalescent Basket. No damage or wear whatsoever. 7" tall x 7.25" x 5.75".<br>isshelf

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Large 1940's Hummel Crown Mark Tmk1 To Market. 6.5" tall with no cracks, chips, or restorations, tiniest amount of crazing on rim of base. humshelf

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c1910 Blue/Green Chrysolite Swirl Graniteware coffee Pot. Great old over 100 year old American made rare color Graniteware piece fresh from an old Texas farmhouse. I'll remove the cobweb from the lid before shipping. 10 5/8" tall x 8.5" handle to spout. some chips to enamel as shown, no restorations or overpainting, holds water. isshelf

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1920's Pittsburgh Paints Pressed Glass advertising coin bank. 3.25" wide x 2.75" tall with no cracks, chips, or restorations. isshelf

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Mackenzie Childs Platter shakers and bone dish. Selling the lot shown all in perfect condition with no scratches, crazing, cracks, or chips. Platter is 10.75" wide, shakers are 5.25" tall, bone dish is 6.75" wide. blkcrates

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Fred Peters Navajo Sterling Multi-stone channel inlay pendant. Including the<br>Italian Sterling necklace shown. Necklace 24", pendant 2.25" x 1 3/8" 43.9 grams<br>total.<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.

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c1880 French Bronze Mounted Green Marble candelabra. 10 1/8" tall x 8.75" wide, a nice antique diminutive candelabra with no issues. isshelf

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1951 Field Dog Trials Bird Dog Ribbons/Medals from New Jerser/ Pennsylvania Keystone Setter and Pointer club. Fantastic and rare collection of medals and ribbons in a very nice period shadowbox. Red Ribbon is over 12" long and I managed to flip the Blue medal and the back says "L.V.P. & S.C. Spring 1951 First Puppy.

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c1920 Tiffany Favrille Pitchers. Selling both Tiffany American art glass<br>pitchers from the first quarter of the 20th century. Tallest 5 3/8" unmarked,<br>slight roughness to ground pontil, no cracks, chips, or restorations. Smallest<br>Signed 1194 L.C. Tiffany Favrille and still retaining original label. Selling<br>both pitchers. Both Tiffany but only one signed. Both documented Tiffany shapes<br>with unmistakable quality from the same estate collection.<br><br>Louis Comfort Tiffany (1848 - 1933): The Founder of Tiffany Studios was a master<br>artist in the style of Art Nouveau and the design director at Tiffany & Co.<br>Whether it be with glass, jewelry or painting supplies, everything Tiffany<br>crafted was done with the utmost perfection. Often his paintings were of<br>brilliant landscapes inspired by his travels to Europe. However, he painted all<br>over the world from Africa to Asia, North America and Europe. Along the way he<br>gain access to many memberships including the National Academy of Design in 1887<br>and Chevalier of the Legion of Honor of France. He also won several awards and<br>had his art exhibited at: The Museum of Modern Art, Metropolitan Museum of Art,<br>the Chicago Institute of Art and many others. While he is most well know for his<br>jewelry company and beautiful favrile glass, Tiffany's talents as an artist have<br>not been forgotten<br>B48

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c1920 Bohemian Art Deco Iridescent art glass biscuit jar 6.5" tall without<br>handle x 5.25" wide with no cracks, chips, or restorations. Great piece from the<br>first quarter of the 20th century.<br>B48

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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 Modernist sterling earrings 1 5/8" tall x 1.25" wide x 6<br>grams with no damage or significant wear.<br><br><br>James Avery founded his company in 1954, initially crafting jewelry in a two-car<br>garage in Kerrville, Texas, with just $250 and a desire to create lasting value<br>for others. Mr. Avery believed that meaning is what makes life more beautiful<br>and this concept continues to drive how we design jewelry to this day. In 2007,<br>53 years after he first founded the company, James Avery officially stepped down<br>as CEO and passed the reins on to his sons, Chris and Paul.<br><br>Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself<br>and others. With a focus on creating straightforward designs and a core belief<br>of integrity in all things, his jewelry became more than precious metals and<br>gemstones. Guests came to him with their stories—their special moments—so he<br>could craft them into pieces they would wear with pride for a lifetime. From<br>writing letters to greeting Customers, Mr. Avery prioritized developing lasting<br>relationships with each person who connected with his designs.

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Antique Figural Polychrome Bronze Tea/Table bell. Very nice solid bronze figural bell with possible brass bell section, bronze top. 6" tall, excellent sound, 19th to very early 20th century. tw206

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1998 Zellique Intaglio Cat Perfume bottle. No cracks, chips, scratches, or<br>dings. 3.75" tall x 3.25" wide.<br>b48

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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 14k/sterling clip on earrings. No issues 7/8" x 5/8" x 9.4<br>grams.

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Antique Figural Bronze Tea/Table bell. Very nicely cast antique bronze top on brass base. I'm not 100% sure but I suspect the antique top was put on a later brass base at one point. Perhaps I'm wrong though and they just polished the brass and left the bronze to develop a nice natural patina. Sounds great. 6" tall. isshelf

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Retro Modernist Freeform Sterling necklace. Illegible signature, high quality<br>with no issues. 20" long 99.5 grams.<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 Japanese Bronze Oni Figural Table Bell. High quality cast bronze,<br>signature on bell. Likely Edo period, first half of 19th centuy. 6.25" tall,<br>nice sounding bell, hand engraved base.<br><br>TW154

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c1900 Art Nouveau Sterling Silver Overlay Art glass Vases. Selling both vases<br>shown, Loetz Iridescent 4.25" tall, The other pink cased Opaline 5 1/8" tall<br>with Sterling fish mark. Both tested sterling but I could find no markings on<br>the Loetz piece which is typical.. Neither with any cracks, chips, or<br>restorations.<br>tw134

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c1910 Bohemian Loetz Phaenomen Art glass shade. No cracks, chips, or<br>restorations, 3.75" tall x 4.5" wide at rim with no identifying marks. 2 3/16"<br>wide at fitter base.<br>TW134

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3 Antique Bronze Napoleonic Table Bells. Selling the three bells, with three<br>distinct sounds. Great for the person that needs a Napoleonic bell in each room,<br>or different sounds for different needs. Tallest 4.5", selling all three.<br>tw206

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c1880 Moser Decanter with Applied Enamel Hawk. 12 7/8" tall with no cracks,<br>chips, or restorations, minor cloudiness in interior that could possibly be<br>removed or will disappear when filled with liquid.<br>tw217

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Limoges Hand Painted Egg Form trinket box. No damage, strong hinge, snaps shut and stays shut. 2.75" wide. Tboxdrawer

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Antique Japanese Bronze Censer. Last half of 19th century, unmarked, 4.5" tall x<br>5" handle to handle, loss to tail on beast.

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c1900 Pink Satin glass Hand enameled vase. 9" tall, great piece from late 19th to early 20th century. No damage or repairs. TW161

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c1890 Cut Glass Double Castor in Silverplate holder. 10" tall x 8" wide with 5.75" jars with 2" openings. Great practical set ready to use. One jar has a shallow chip that could easily be polished out without effecting the jars beauty or usefulness. No other chips, cracks, or restorations. I ddin't polish it but looks as though brass may be showing through on the sharp edges. Sighed R Bros with Acorn Mark. tw161

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3 Waterford Lismore Brandy Glasses 12 oz. Selling the three shown with no damage or wear. 5 1/8" tall with 2.75" rim. I have multiple lots of three available by changing the qty, so if you change the qty to 3 you will get 9 glasses.

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Vintage Sterling ring chrysocolla in quartz. Fantastic one of a kind ring from<br>the third quarter of the 20th century, unmarked but tested sterling. 11.3 grams.

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c1910 American Blue & White Stoneware Soap Dish with embossed Rose. Over 100 year old very tough and attractive soap dish with no damage. 4.75" wide tw206

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Herend Queen Victoria Woven Reticulated bowl. 7.25" square, hand painted with<br>handmade border. No cracks, chips, or restorations.<br>TW5

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Eugene Laforet(1884-1955) American Horse Coach and Market Scene American Oil on Canvas. 9" x 12" in a 13.5" x 16.5" frame with no significant issues.Here is an article written about him in New Yorker Magazine on 10/28/1944: THE TALK OF THE TOWN ART FOR EVERYBODY BY EDITH HAMBURGER AND PHILIP HAMBURGER Talk story about Eugene La Foret, the only artist in town who paints in full view of the public in his own store, in which he sells his creations, usually hot off the easel. He owns and runs the Studio Store, on the west side of Lexington Avenue, just below 57th. At the time of our interview he was painting a country lane with a barn in the background, which, he said a man had ordered for Saturday. "One dollar down and nine on delivery," he said. A woman came in and asked if her still life was ready. It was and she paid two fifty for it. His oils range in price from two dollars for miniature still lifes to five hundred for more ambitious canvases. Mr. La Foret received his training in Europe: Berlin, Paris and Munich. Thanks

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c1920 Austin Texas Miniature Sample Tin Mexene Chili Powder. In the condition shown 1 5/16" tall. isshelf

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American Steuben MCM art glass Centerpiece. 10" wide x 4 5/8" wide with no<br>cracks, chips, or restorations. A few tiny non distractive scratches under close<br>examination and of course the expected shelf wear on base as this is an<br>old/heavy piece of glass.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is<br>in Steuben County, from which the company name was derived. Hawkes was the owner<br>of the largest cut glass firm then operating in Corning. Carder was an<br>Englishman (born September 18, 1863) who had many years' experience designing<br>glass for Stevens & Williams in England. Hawkes purchased the glass blanks for<br>his cutting shop from many sources and eventually wanted to start a factory to<br>make the blanks himself. Hawkes convinced Carder to come to Corning and manage<br>such a factory. Carder, who had been passed over for promotion at Stevens and<br>Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass<br>Works and became the Steuben Division. In July 2008, Steuben was sold by Corning<br>Incorporated for an undisclosed price to Schottenstein Stores,[2] which also<br>owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and<br>formerly Value City Department Stores; Value City Furniture, which changed its<br>name to American Signature Furniture; 15% of American Eagle Outfitters, retail<br>liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing<br>its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced<br>it was shutting down Steuben's Corning factory and Manhattan store, ending the<br>company's 108-year history. Soon after, Corning Incorporated repurchased the<br>Steuben brand. In early 2014, The Corning Museum of Glass announced that it<br>would work with independent contractors to reproduce Steuben using a new,<br>lead-free formula and their classic leaded crystal. Carder period<br>(1903-1932)[edit] Steuben Glass Works started operation in October 1903. Carder<br>produced blanks for Hawkes and also began producing cut glass himself. Carder's<br>great love was colored glass and had been instrumental in the reintroduction of<br>colored glass while at Stevens and Williams. When Steuben's success at producing<br>blanks for Hawkes became assured, Carder began to experiment with colored glass<br>and continued experiments that were started in England. He soon perfected Gold<br>Aurene which was similar to iridescent art glass that was being produced<br>by Tiffany and others. Gold Aurene was followed by a wide range of colored art<br>glass that eventually was produced in more than 7,000 shapes and 140 colors.<br>These are a pair of handblown Steuben gold Aurene glass candlesticks designed by<br>Frederick Carder for the Steuben Glass Works, ca. 1913. (From a private<br>collection in Manhattan, New York.)Steuben Glass Works continued to produce<br>glass of all sorts until World War I. At that time war time restrictions made it<br>impossible for Steuben to acquire the materials needed to continue manufacture.<br>The company was subsequently sold to Corning Glass Works and became the Steuben<br>Division. Carder continued as Division manager without any real change in the<br>company's operation except that he now had reporting responsibilities to Corning<br>Glass Works' management. Corning's management tried, mostly unsuccessfully, to<br>limit the articles that Steuben made to only the most popular. Production<br>continued until about 1932. In 1932, there was a major change in Steuben<br>management. The nationwide depression had limited the sale of Steuben and there<br>was a lessening of public interest in colored glass. In February 1932, John<br>MacKay was appointed to Carder's position. Carder became Art Director for<br>Corning Glass Works. Steuben then produced primarily colorless art glass.<br>Steuben still produced colored art glass, but mostly to fill special orders. A<br>few new colors were added after Carder transitioned into his new role with<br>Corning Glass Works, but the last known sale for colored art glass by Steuben<br>was in 1943. Houghton period (1933–2012) An example of Steuben Glass design<br>during the Houghton era is the Balustrade Candlestick set, which mimics a<br>classical balustrade. Of special note is the hallmark of the perfectly formed<br>tear drop air bubble suspended in the design.Corning Glass Works<br>appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership<br>Steuben changed artistic direction toward more modern forms. Using a newly<br>formulated clear glass developed by Corning (referred to as 10M) which had a<br>very high refraction index, Steuben designers developed beautiful, fluid<br>designs. Pieces such as Gazelle Bowl, designed by Sidney Waugh incorporated Art<br>Deco and modernist themes into glass. The themes during this period included<br>"balustrade" designs for water goblets and candlesticks, footed bowls and<br>serving pieces. Decorative forms included wildlife pieces representing owls,<br>penguins and other birds in smooth stylistic forms. Some pieces, such as the<br>Ram's Head Candy Dish, playfully included clean lines crowned by an ornate<br>design (a ram's head, complete with a ruff) on the lid as an homage to its<br>classic earlier pieces. The company also entered into the field of larger show<br>and presentation pieces celebrating various scenes (such as its cut-away design<br>featuring an Eskimo ice fisherman above the ice, and the fish below, or the<br>Cathedral Window design) and elements that incorporated etchings. In some cases<br>sterling silver or gold plating were used on metal finish elements such as the<br>golden "fly" atop the nose of a rainbow trout. Each piece is signed simply with<br>"Steuben" on the underside of the object. Toward the 1990s, the company also<br>began production of small objects—"hand coolers"—in various animal shapes. Items<br>from this period were also noted for their careful and elegant packaging. Before<br>boxing, each Steuben piece was placed in a silver-gray flannel bag (stitched<br>with the Steuben name), and then placed in a presentation box.<br><br>tw5

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Chinese Republic Period Peking Glass Mirrored Pair Bud Vases. Great pair of hand<br>cut Chinese Peking glass vases from the first quarter of the 20th century. 9<br>5/8" tall x 3 7/8" wide. One with very small flake to decoration shown in the<br>last pic. Not noticeable, the only way I found it was with my hand.<br>isshelf

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c1930 Art Deco German Porcelain Half Doll Powder dish. Very unusual item, half doll powder puff with original powder dish. No identifying marks I could locate but obviously German porcelain from the second quarter of the 20th century. 4" wide x 3.75" tall with no cracks, chips, or restorations. isshelf

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Antique Chinese silver dragon necklace. Late 19th to early 20th century, tested<br>silver (unknown content) approx 17" long 44.2 grams with no issues. Illegible<br>Chinese markings on both ends.

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c1930 Karl Schiedig German Porcelain Scottie Dog Perfume Lamp with glass eyes 9"<br>tall with no cracks, chips, or restorations. The old cord was totally<br>deteriorated, I tried to save it but lost it before I got a chance to list this.<br>I put this new one on it, it's safe as I'm a former electrician and the switch<br>works. But I would put an led bulb in the socket as the current bulb does get<br>hot which I believe these were originally meant to do but led just makes more<br>sense these days.<br>TW5

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c1890 Currier and Ives Cats Hand Colored Lithograph "Kitties among the Roses". Original Over 100 year old print displays wonderfully well but does have some foxing/discoloration. 12.5" x 16" with frame. NATHANIEL CURRIER (1813-1888, American) and JAMES MERRITT IVES (1824-1895, American) Nathaniel Currier and James Merritt Ives founded the American printmaking firm Currier and Ives. Known for their famous and inexpensive hand painted lithographs by well-known artists, their prints became extremely popular. Currier and Ives lithographs were especially popular amongst the Victorians and their new found love of nature. Animals, and especially cats, became subjects of their prints and decorated many American homes. After the deaths of both Currier and Ives, their grandsons continued the business until 1907 when the firm closed due to the public’s lack of interest in lithographs due to improvements in photoengraving and offset printing.

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Antique French Enamel Plaques Jesus and Virgin Mary. Late 19th to early 20th century. Each measuring 7" x 8" with 2" x 2.75" sight on the plaques. One with chip on frame, no damage to the plaques. b63

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c1940's Gerber Baby Spoons longest 6", selling the two spoons shown with no<br>issues.<br><br>kitshelf

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c1820 Blue and White Chinese Tankard. 4 chips to rim that look to have been previously restored. No cracks, no restorations. 4.5" tall x 5.25" wide with handle. isshelf

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c1890 Nakara Art glass dresser box. No cracks, chips, or restorations. Tight strong hinge. 3.75" wide x 2.5" tall. dresserdrawer

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168ct Boulder Opal drilled pendant/bead. Selling the exact stone shown. Has a<br>clean 2mm hole drilled through it. I have several of these I will be offering<br>them separately. They were on a 24k gold necklace with large 24k beads between<br>each stone. The gold has already been recycled and I'm hoping to repurpose these<br>as they are expensive stones that were worthy of putting on a necklace that had<br>thousands of dollars worth of gold on it. The possibilities are endless, one of<br>them or a few would be great in or out of a setting. Buying the exact stone<br>shown 58mm x36mm, weighs 168ct.

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1930's Lindstrom Dancing Lassie Scottish Windup Toy. Wind her up and she vibrates and dances all over the place. Working condition with good paint as shown. isshelf

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Vintage Modernist Jadeite abstract sterling silver pendant/necklace. Extremely<br>well made retro/vintage piece likely from the third quarter of the 20th century,<br>solid sterling silver, unmarked but tested. 24" necklace, 2.75" x 2 3/8"<br>pendant. 59 grams.<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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1940's Walt Disney Donald Duck Ceramic Bank USA. 7.5" tall with no cracks, chips, or restorations. isshelf

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Baby Bud Googleye German Porcelain Doll in original box. Great doll from the first quarter of the 20th century. Two fingers have been carefully reglued, no other damage, I only have the bottom of the box and the box has some expected wear. Box is 7.25" tall, doll is 6 5/8" tall. Eyes open and close when it stands up/lays down. b60

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Chinese Proc period Porcelain Vases. Very high quality pair from the third<br>quarter of the 20th century, all hand painted. 8" tall x 5.5" wide. No cracks,<br>chips, or restorations.<br>TW152

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Texas US Representative Brady Preston Gentry (1896-1966) Owned Carved wood and<br>Sterling silver star gavel. I acquired this from a direct descendant of Brady<br>Preston Gentry, it belonged to him. It's the nicest gavel I've ever seen. The<br>carving is amazing, sterling silver stars in gavel and plate, the bag appears to<br>be moleskin, it has carved wood pieces on each side one shaped like Nevada, one<br>Texas, there's even a separate pouch inside the bag for the block. The gavel is<br>8 7/8" long, block 3 1/8" long. My guess is this would have been a gift to him<br>upon his appointment as County Judge in 1930, but it could be from when he was<br>elected to congress in 1952. It looked to have 90 years of tarnish on the silver<br>when it came into my posession, I hand polished it to not remove any patina.<br><br>GENTRY, BRADY PRESTON (1895–1966).Brady Preston Gentry, legislator and lawyer,<br>was born on a farm near Colfax, Texas, on March 25, 1895, the son of Benjamin<br>Whitfield and Virginia Caroline (McPhail) Gentry. He attended Cumberland<br>University and Tyler Commercial College. He was admitted to the bar at the age<br>of twenty-one. During World War I he served as an infantryman in France and rose<br>to captain. He entered public service as a clerk in the office of the Van Zandt<br>County tax collector. After moving to Tyler he served as assistant city tax<br>collector. He was elected county attorney, and in 1930 he became county judge of<br>Smith County, an office he held for four successive terms. During this period he<br>was instrumental in developing the county's road system. In 1939 he was<br>appointed chairman of the Texas Highway Commission by Governor W. Lee O'Daniel.<br>He was the first man to serve as chairman of the commission for a full six-year<br>term.<br><br>During Gentry's tenure on the highway commission, first steps were taken in the<br>development of the state's extensive farm-road program. His work attracted<br>national attention. In 1943 he was elected president of the American Association<br>of State Highway Officials. He also served as a director of the Texas Good Roads<br>Association. When his highway commission term ended in 1945, Gentry turned his<br>full-time efforts to his Tyler law practice. In 1952 he was elected to the first<br>of two terms in the United States Congress from the Third Texas District. As a<br>member of the House committee on highways and roads, he was instrumental in<br>shaping the legislation that launched the development of the national system of<br>interstate and defense highways. In 1957 after his retirement from Congress, he<br>was tendered another appointment as chairman of the Texas Highway Commission. He<br>declined the appointment, however, because of business and personal commitments.<br><br>Throughout his life Gentry was a staunch supporter of Southern Methodist<br>University; he also was a benefactor of Tyler Junior College. Shortly after<br>World War II, he helped form the Tyler Junior College District, and the old<br>college gymnasium was named Gentry Gym in his honor. He died in Houston on<br>November 9, 1966, after a lengthy illness.<br>isshelf

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30's-40's Navajo Stamped sterling/turquoise cufflinks. Great, 1" x 7/8" face 11<br>grams. These are extremely special, bordering on as good as they get which is of<br>course subjective.

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c1890 Wood Glass Magic Lantern Slides Surrender of Cornwallis and Battle of<br>Bennington each 4" x 7" total with 3" x 3.5" sight. No damage or issues. Selling<br>both slides shown<br>isdrawer

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1970's Peter Deneen Studio Pottery Ashtray. Really nice ashtray to use for whatever you want from the 70's or 80's. 5" wide x 2 1/8" tall. Peter Deneen began his lifelong journey with ceramics while studying pottery at Luther College in Decorah, Iowa. During this period he also began attending Marguerite Wildenhain’s Pond Farm School (located in northern California) in 1968. Peter went on to earn his M.A. from the University of Iowa in 1971. Inspired By Art & History During this time, Peter caught the inspirational fire of the Bauhaus movement of Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was to create an environment which would nurture the bond between art, industry and trade through education; to insure the cooperation of industry and artists in the field of mass production.” ESTABLISHING DENEEN POTTERY In 1972, Peter and Mary Deneen established their first studio and showroom at Park Square Court in the Lowertown neighborhood of St. Paul. Here they began producing hand thrown functional and decorative pottery and dinnerware. “Form follows function,” was embedded within their work through the teachings from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from Gerhard Marcks. It was during this time that Mary started to produce more commemorative items and ceramic figures, while launching a “Bear Essentials” line. White Picture corner top leftWhite Picture corner top rightWhite Picture corner bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery 1974 PARK SQUARE COURT IN LOWERTOWN • “The Spin of a potter’s wheel brings prosperity, unfettered life-style.” This was the title of the article that ran in a local St. Paul publication around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall, corked canisters and small spice bottles.” At this time, the Deneens wanted to open retail outlets similar to Pottery Barn, but make all of the products at their Lowertown studio. A favorite quote (of the current office) staff has Peter saying. “We’ll never be more than a handful of people. I’d never get larger than three stores,” says Peter.” “Don’t say ‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made in 1974! tw129

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c1890 Wood Glass Magic Lantern Slides Revolutionary war "Battle of Lexington"<br>and "Battle of Saratoga"each 4" x 7" total with 3" x 3.5" sight. No damage or<br>issues. Selling both slides shown<br>isdrawer

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c1880's 6" Antique Kugel Christmas ornament Mercury glass ball. Very thick<br>antique glass guaranteed authentic. Good condition with no chips, cracks, or<br>dings, very clean 140 or so year old mirroring.<br><br>Holiday trees in 1840 were adorned with apples, gilded and natural fruits and<br>nuts, cookies, popcorn and cranberries, as well as homemade paper items,<br>candles, cornucopias, and presents. It was during this decade that the first<br>commercially produced Christmas decorations appeared. In 1848, the first glass<br>ornament, a kugel, appeared in Germany. The kugel was a large hollow ball<br>ranging in size from 1 inch to 18 inches. Smaller ones were used for tree<br>decorations. The blown, molded, figural glass ornaments that we are familiar<br>with today evolved from the tradition of blowing kugels. These ornaments were<br>not sold in America until 1880.<br><br>Kugel is a German word that means "ball" and can be used to describe any type of<br>ball-like object. Collectors used this term to describe any early thick glass<br>ornament with a decorative cap. Early Kugels were too heavy to hang on tree<br>branches; instead they were suspended from the ceiling. Soon after their<br>invention, the Germans decided small Kugels should adorn tree boughs in shapes<br>such as grapes, berry clusters, apples and pears. F. W. Woolworth is given<br>credit for bringing Kugels to America in the 1880s. His initial investment of<br>$25 turned into sales of at least $25 million worth of Kugels over the next<br>several years.<br>isshelf

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Vintage French Lalique Dresser Box. 5.5" x 2", nice large powder dish or box with no cracks, chips, or detectable wear. TW58

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Sterling Mounted Cambridge Chantilly Water pitcher. 8.75" tall with no cracks, chips, or restorations. b60

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Formia Sommerso Murano Vases Pair. Selling the pair of vases 10.25" tall with no damage or wear, one dated 2007, both with original labels. b13

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1920's Steuben Carder Era Fan Vase Pair, One green with castle etching, one<br>amber. Green with Steuben Acid stamp in pontil, amber apparently unmarked. No<br>cracks, chips, restorations, or significant wear. Both approximately 8.5" tall x<br>7" wide at rim.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in<br>Steuben County, from which the company name was derived. Hawkes was the owner of<br>the largest cut glass firm then operating in Corning. Carder was an Englishman<br>(born September 18, 1863) who had many years' experience designing glass for<br>Stevens and Williams in England. Hawkes purchased the glass blanks for his<br>cutting shop from many sources and eventually wanted to start a factory to make<br>the blanks himself. Hawkes convinced Carder to come to Corning and manage such a<br>factory. Carder, who had been passed over for promotion at Stevens and Williams,<br>consented to do so.<br>isshelf

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c1870 French Sevres Style Hand Painted Porcelain cabinet plate. Nicely painted plate with no cracks, chips, restorations, or significant wear. 9.25" tw198

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c1850 French Gilt Bronze Inkwell Putto on Fish, over the top. Super heavy solid bronze with gold dore finish from the mid 19th century sculptural inkwell. Still has original gilt bronze removable insert, no damage or issues. Previous owner that likely paid several thousand dollars for this had their DL# engraved on the base, which people seemed to do quite often with precious relics in the last half of the 20th century. Very special inkwell with two compartments for all kinds of stuff. 9.5" long x 6.5" wide. isshelf

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Republic Period Chinese Famille Rose Medallion Punch Bowl. No cracks, chips, or<br>restorations. High quality hand painted piece in exceptional condition about 90<br>years old.<br>15.5" wide x 6" deep.

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Antique Chinese Blue underglaze Painted porcelain Tea caddy. Nice underglaze hand painted decoration. 7 5/8" tall x 3 1/16" wide avery shallow flake on top rim, otherwise no cracks, chips, or restorations tw134

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Herend Porcelain Madonna and Baby Jesus. No cracks, chips, or restorations, hand painted 7 3/8" tall. isshelf

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C1900 Hutschenreuther Porcelain Plaque "Gute Nacht" (Good Night) after Georg<br>Hom. Fantastic Hand painted porcelain plaque from the turn of the last century.<br>French Retailers label on reverse. The 107 impression in the porcelain found on<br>the reverse side was used by Hutschenreuther for this sized plaque. Old<br>calligraphy on reverse side indicating it was given as a gift in 1908. The frame<br>and I believe the plaque are late 19th century and I believe it was an<br>extravagant 2nd hand gift at the time in 1908 as a plaque like this with this<br>quality of painting was never not a luxury item. 9" x 11" framed, 4" x 5.75"<br>plaque.<br>isshelf

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c1910 Chinese Canton Enamel Cachepot Bonsai Planter Great piece from the first quarter of the 20th century Chinese 6 3/8" wide at rim x 3.25" deep with no significant damage or wear. Some cracks to the enamel on the bottom of the bowl as shown and rust stains in the interior. TW134

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Boehm Porcelain Pink American Express Rose Made in USA. No cracks, chips, or restorations. 7.25" long, not even the tiniest flake anywhere and it will be packed with the most care imaginable.Biography of Edward Boehm: In 1950, Edward and Helen Boehm started a basement studio in Trenton, New Jersey, and Ed created sculptures in realistic style that were admired enough that in 1951, two of them entered the collection of the Metropolitan Museum of Art. By the end of the decade, Boehm was represented in 11 other museums including the Buckingham Palace, Elysee Palace and the Vatican. Today the porcelains are in 134 museums and institutions throughout the world isshelf

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Shelley miniature Cup and Saucer. 3" saucer 1 5/8" tall cup. Mint condition with no damage or wear. B32

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15th Century Thai Sawankhalok Kiln Condiment Jar with Lid. Very early piece of<br>Thai pottery 15th century collected in the mid 20th century by a woman that is<br>now 96. I'll be selling more of her items shortly. 3 3/8" tall x 5" wide with no<br>cracks or restorations, 4 small chip on rim of base.<br>asianshelf

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Ming Chinese Porcelain Bowl with blue underglaze decoration. 5.5" wide x 2.75" tall with no cracks, chips, or restorations. Some crazing all of which doesn't go through to other side, the bowl rings well, it's not cracked just over 300 years old. I believe this is a Wanli shipwreck piece. tw158

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80ct Boulder Opal drilled pendant/bead. Selling the exact stone shown. Has a<br>clean 2mm hole drilled through it. I have several of these I will be offering<br>them separately. They were on a 24k gold necklace with large 24k beads between<br>each stone. The gold has already been recycled and I'm hoping to repurpose these<br>as they are expensive stones that were worthy of putting on a necklace that had<br>thousands of dollars worth of gold on it. The possibilities are endless, one of<br>them or a few would be great in or out of a setting. Buying the exact stone<br>shown 42mm x 25mm, weighs 80ct.

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Antique Japanese Bronze Hand Mirror. Great piece from the 19th century. 11.25" long x 7.25" wide with expected oxidation.<br>TW158

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Antique Chinese Blanc de Chine porcelain Guanyin Boddhisattva with Foo Lion.<br>Nice, large, high quality hand sculpted figure from Late Qing to Early republic<br>period. 12" tall x 8" wide, amazing detail and workmanship. This piece did not<br>come out of a mold. Tiniest amount of loss to very tip of crown, no other damage<br>loss or restorations anywhere. Amazingly the fingers and ruyi scepter are<br>intact. It will obviously be packed with care to insure it's arrival anywhere in<br>the world in the exact condtion shown and decribed here as this is what I do<br>every day, ship important delicate items mostly internationally.<br>isshelf

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2 Antique American Ice fishing decoy Carved wood Painted Tin fins. One with worn<br>paint, the other with nice old, likely original paint and very cool cut out tin<br>eyes that could likely be used to identify the maker. Longest 7.75" Selling both<br>for one price.<br>tw233

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Antique American Ice fishing decoy Carved wood Painted Tin fins. 8.25" long with original paint, The fins were made from a Liggett and Myers  tin as I can read part of it under the old original red paint. tw233

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c1880's 7.5" Antique Kugel Christmas ornament Mercury glass ball. Very thick antique glass guaranteed authentic. Good condition with no chips, cracks, or dings, slight loss to 140 or so year old mirroring.Holiday trees in 1840 were adorned with apples, gilded and natural fruits and nuts, cookies, popcorn and cranberries, as well as homemade paper items, candles, cornucopias, and presents. It was during this decade that the first commercially produced Christmas decorations appeared. In 1848, the first glass ornament, a kugel, appeared in Germany. The kugel was a large hollow ball ranging in size from 1 inch to 18 inches. Smaller ones were used for tree decorations. The blown, molded, figural glass ornaments that we are familiar with today evolved from the tradition of blowing kugels. These ornaments were not sold in America until 1880.Kugel is a German word that means "ball" and can be used to describe any type of ball-like object. Collectors used this term to describe any early thick glass ornament with a decorative cap. Early Kugels were too heavy to hang on tree branches; instead they were suspended from the ceiling. Soon after their invention, the Germans decided small Kugels should adorn tree boughs in shapes such as grapes, berry clusters, apples and pears. F. W. Woolworth is given credit for bringing Kugels to America in the 1880s. His initial investment of $25 turned into sales of at least $25 million worth of Kugels over the next several years. tw198

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c1880's 7" Antique Kugel Christmas ornament Mercury glass ball. Very thick antique glass guaranteed authentic. Good condition with no chips, cracks, or dings, slight loss to 140 or so year old mirroring.Holiday trees in 1840 were adorned with apples, gilded and natural fruits and nuts, cookies, popcorn and cranberries, as well as homemade paper items, candles, cornucopias, and presents. It was during this decade that the first commercially produced Christmas decorations appeared. In 1848, the first glass ornament, a kugel, appeared in Germany. The kugel was a large hollow ball ranging in size from 1 inch to 18 inches. Smaller ones were used for tree decorations. The blown, molded, figural glass ornaments that we are familiar with today evolved from the tradition of blowing kugels. These ornaments were not sold in America until 1880.Kugel is a German word that means "ball" and can be used to describe any type of ball-like object. Collectors used this term to describe any early thick glass ornament with a decorative cap. Early Kugels were too heavy to hang on tree branches; instead they were suspended from the ceiling. Soon after their invention, the Germans decided small Kugels should adorn tree boughs in shapes such as grapes, berry clusters, apples and pears. F. W. Woolworth is given credit for bringing Kugels to America in the 1880s. His initial investment of $25 turned into sales of at least $25 million worth of Kugels over the next several years. tw198

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Alice Scott (1924-2005) original unframed signed and matted watercolor of Charleston Gullah Lady. 10" x 14" ; 6 1/8" x 8 5/8" sight, good condition as shown. A collection of her paintings toured the United States and Europe with the Opera Porgy an Bess. Alice Scott was born in Columbia, South Carolina but grew up in Charleston, South Carolina where she was active in both the theater and painting. She taught painting to both children and adults from her studio on Queen Street next to the historic Dock Street Theater. Her career in art included study with Robert Brackman of the Art Students League in New York City and Hainz Warneke, Don Turano and Richard Lahey of the Corcoran Gallery in Washington, DC. Some of the galleries which have exhibited her works include: High Museum of Art, Atlanta, GA Twentieth Century Gallery, Williamsburg, VA Gibbes Art Gallery, Charleston, SC, Columbia Museum of Art, Columbia, SC Robert Carlen Gallery, Philadelphia, PA Pensacola Art Center, Pensacola ,FLVZTOP Gallery ,Pensacola, FL Charlestown Gallery, Charleston, SC Lemoyne Art Foundation, Tallahassee, FL Gallery of Art, Panama City, FL plus others Galleries!

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1840's Akerly & Briggs New York Coin Silver Sugar Tongs. Rare pair of American Handmade coin silver sugar tongs with a Pseudo British hallmark which I find interesting. 6 5/8" long 43 grams. tw255

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Alice Scott (1924-2005) original unframed signed and matted watercolor of Charleston Gullah Lady. 10" x 14" ; 6 1/8" x 8 5/8" sight, good condition as shown. A collection of her paintings toured the United States and Europe with the Opera Porgy an Bess. Alice Scott was born in Columbia, South Carolina but grew up in Charleston, South Carolina where she was active in both the theater and painting. She taught painting to both children and adults from her studio on Queen Street next to the historic Dock Street Theater. Her career in art included study with Robert Brackman of the Art Students League in New York City and Hainz Warneke, Don Turano and Richard Lahey of the Corcoran Gallery in Washington, DC. Some of the galleries which have exhibited her works include: High Museum of Art, Atlanta, GA Twentieth Century Gallery, Williamsburg, VA Gibbes Art Gallery, Charleston, SC, Columbia Museum of Art, Columbia, SC Robert Carlen Gallery, Philadelphia, PA Pensacola Art Center, Pensacola ,FLVZTOP Gallery ,Pensacola, FL Charlestown Gallery, Charleston, SC Lemoyne Art Foundation, Tallahassee, FL Gallery of Art, Panama City, FL plus others Galleries!

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sz 8.75 Vintage Navajo Silver and turquoise ring 16 grams with no issues All precious metals are tested and guaranteed,

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sz 6 Vintage Navajo Silver and turquoise ring 12.8 grams with no issues<br><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. 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 6 Ring.

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c1870's Stevengraph Pure Silk Woven Picture of Steam Locomotive "The first train ran on Sept 27th 1825 from Stockton to Darlington" Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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