No scratches, dings, cracks, or chips. Dated January 1978 and numbered 887<br><br>Bio<br><br>Randy Strong<br><br>Winner of the juried 2005 and 2008 Niche award for blown glass and finalist for<br>2010 – awarded by Niche magazine for the best of blown glass in the United<br>States – Randy Strong – artist and designer in hot glass for 40 years, has<br>worked continuously throughout his career producing innovative designs in glass<br>that continually influence the ever changing and growing community of studio<br>glass artists.<br><br>Randy is one of a handful of the early pioneering American Glass Artists to help<br>define American Studio Art Glass.  Before he was to enter the world of glass<br>however, he began his broad education in the arts by working in and collecting<br>photography.  In the late 60’s he was working as an events photographer for the<br>Oakland Tribune, and for a brief period, was privileged to work with and learn<br>from photographer Ansel Adams.  His first taste of working in glass came in 1969<br>at the California College of Arts and Crafts in Oakland, Calif. where he began<br>by studying ceramics and was fortunate to have as his mentor, the renowned<br>ceramicist, Peter Voulkos.  Upon graduation in 1970 he received one of the first<br>scholarships to the University of Art in Osaka, Japan as one of the first<br>exchange students between the Universities of Calif., Calif. College of Arts and<br>Crafts, and Osaka, Japan.  That grounding in ceramics led him into the largely<br>unknown (at that time ) frontier of studio art glass.  In 1970, he was with Dale<br>Chihuly when Dale and the Haubergs selected the location for the now renowned<br>Pilchuck Glass School in Seattle, Washington – and the journey into that<br>frontier was well underway.<br><br>Many of today’s successful, working glass artists are either former students, or<br>have worked with or  for him at one time.  His work, ranging from his<br>distinctive crystal and gold goblets and his ground-breaking work with dichroic<br>glass, to his imposing cast sculptures, and now his seemingly gravity defying,<br>color saturated, multi-piece sculptures, have been acquired by collectors<br>internationally and are a part of collections ranging from The Corning Museum in<br>New York, to the Louvre in Paris.<br><br>Randy’s work through the last 4 decades has been characterized by the use of<br>difficult, defining techniques, materials, colors and forms. His newest<br>sculptural work again breaks new ground by challenging the concept of solid form<br>in glass by further expressing its personality in lightness and movement.<br><br>In 1970, he built and established his own studio and gallery in Northern<br>California, where he continues to create, design and teach.  After 45 years of<br>making distinctive work in glass, he is continuing to make a limited number of<br>pieces a year while he compiles his book “The Glassmakers”, spotlighting and<br>detailing<br>the history of the pioneers in glass responsible for creating what now exists as<br>the American Glass Movement.

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Mint with no cracks, chips, crazing, or restorations guaranteed. Clean inside and out, really tough to find in this condition.

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4 are pushups, 2 side pushups, the two miniature ones may have had pushups but none are there. The other pair are marked England therefore made after 1891 but I think they are still turn of the century as they have a nice patina. There's a few dings and bends but overall good condition. I think all the pushups are frozen with wax.

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Measures 12 1/8" x 8.75" with two very tiny flakes on the bottom right rim. No<br>other cracks, chips, or restorations. Guaranteed 19th century or earlier. All<br>hand decorated. Close-up of flakes shown in last pic, they're really nothing.

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Both signed Heubach, they measure 13" tall x 8" wide. The green dress one has a<br>very small chip on her dress at the top right close to her hand and one more on<br>the base left corner, also a factory firing flaw below the mark, no other damage<br>whatsoever. The one with the pink dress has a very small chip below the mark on<br>the base with no other damage whatsoever. They're both guaranteed Victorian<br>c.1890. They were together in the estate so I'd like to keep them together, but<br>if you're only interested in one I'd consider an offer.

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Vintage Chinese 14k Jadeite Pendant 2.5" tall x 1 5/8" wide 26.5 grams, marked<br>and tested 14k gold, tests as Jadeite

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1940's Art deco Mexican Sterling/amethyst brooch 2.5" x 1.5" 20 grams.

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Inside of matting is 27" x 21", frame is 38" x 31.5". There are no issues with the drawing or the frame.Biography   Brenda Polsky Morgan ChildsObituary: "Clients Included Richard Nixon, John Wayne, Bob Hope, Barbara Jordan," by Patrict George, American Statesman, Sunday, November 09, 2008 In 1963, future President Richard Nixon attended a Texas vs. Arkansas football game in Austin. Wanting to give a gift to Nixon, then-U.S. Sen. John Tower of Texas commissioned Austin artist Brenda Polsky Morgan Childs to paint a scene from the game, which he then sent to Nixon. The painting was flown to Washington first class, but she flew coach, Childs' friends recall. It was a perfect example of how Childs' talent at painting — which brought her famous clients like John Wayne, Bob Hope and Barbara Jordan — never overshadowed her humility.

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9" tall x 6" wide. Really special with all hand painted decoration. Circa 1930's to 1940's. No cracks, chips, gold wear, or other damage.

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Vintage Richard Tsosie Navajo Tufa Cast Sterling Peyote Bird Necklace and Pendant<br>with amethyst and Sugilite. Pendant 3.75" tall x 1 5/8" wide, necklace 21.5"<br>long. I believe the necklace was made by Richard Tsosie also. 37.8 grams total<br>weight. Both necklace and pendant tested sterling, both amazing quality.<br><br>Richard is perhaps best known for his distinctive textured silver designs. His trademark techniqie of granulation was discovered by accident when he noticed silver filings were fusing onto a ring he was soldering. He calls the process which produces this granulated surface texture “reticulation,” and he has been perfecting the technique throughout his career.<br><br>Born in 1956, Richard has been a jeweler since the mid 1970s. He learned jewelry making from his brother Boyd and from Kenneth Begay at Navajo Community College in Arizona. He quickly progressed from basic tasks of cutting and polishing stones to the more complex process of inlay.<br><br>Richard’s contemporary silver and hold work features the use of fabrication, overlay, and granulation. He is also known for colorful inlay work with a variety of natural stones and for his fine degree of control and attention to detail. His designs are motivated by images of the natural world, particularly the Wide Ruins area of the reservation where he spent a large part of his youth. Richard says of his work, “I am inspired by the colors of the mountains at sunset, the patterns of shadow and light that emerge at dawn, and the pinpoints of starlight against the black night sky.”<br><br>His pieces typically contain the symbol for lighting and an arrow pattern. The lightning stands for natural causes, while the arrowhead symbolizes man-made elements. Richard says the design represents the ups and downs of life. “Some things we can’t do anything about and you should try to enjoy life to the fullest.”

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3.5" tall x 4.5" tall. Really incredible piece of complex hand made art pottery<br>by the Texas Artist Barbara Woodruff. No damage whatsoever.

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Cups are 3" tall, saucers are 5.75" wide. Great vintage set in a harder to find<br>pattern. No cracks, chips, or stains. Crazing on every piece, I believe it was<br>produced that way on purpose.

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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. 30's-40's Heavy Stamped Native American Silver watch cuff with original working<br>period Benrus watch. Very old and very nice work, likely the oldest watch cuff<br>most of us could hope to find. With period likely original Benrus Windup watch<br>that works. 77.3 grams, 1 1/8" gap, fits a 6 5/8" wrist. Likely originally worn<br>by a smaller wristed man, but todays watches are larger so now it's uni.

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Underplate measures 16 1/8" x 11 5/8", Tureen measures 12.5" x 8.5" x 9.5" tall. No cracks, chips, crazing, paint or gold wear. Very clean vintage condition, discontinued in 1991.

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15.5" tall x 6.5" wide. All hand decorated. Nice fancy embossing, really good<br>quality porcelain, no cracks, chips, or restorations, clean gold on trim and<br>handles. I'm 100% sure these have no restorations, amazing but I guess they were<br>kept out of the way for over 100 years. They're really big.

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The only pieces that don't have damage are the 3 5/8" tall Chelsea Sprig Creamer<br>that's very unusual with the blue background and the handle less cup and saucer.<br>The saucer is 5 5/8" wide. The blue decorated pitcher is 5" tall with repaired<br>handle and a chip on rim. The multicolor painted pitcher is 4.25" tall with 3<br>small chips on the spout. The 3.5" blue striped mug has a repair on handle and<br>restored chip on base. The 4" blue striped cup has 2 chips and 2 small hairlines<br>on rim. The 4.5" pink lustre decorated pitcher has a chip on bottom of handle<br>and 2 small chips on spout.

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Late 19th century Staffordshire English. Minor crazing and utensil marks, very<br>light stains shown on bottom left pic, please look at pics. Still has a really<br>nice shine to the glaze. No cracks, no other chips, no restorations.

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WB Vintage Native American Sterling/turquoise bolo tie. Bolo and tips are sterling, cord is really cool with no issues. Bolo 1.75" tall x 1.5" wide, 38.7 grams total weight.

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Late 19th century Staffordshire English. Very small glaze flake shown in next to last pic. Some Polychrome decoration worn, please look at pics. I haven't owned it the past 130+ years so I'm not sure how it started off. Minor utensil marks, still has a really nice shine to the glaze. No cracks, no other chips, no restorations.

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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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c1940 Lenox Miniature Girl on Ledge Figure 3.75" tall with no cracks, chips, or crazing. b12

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Great set of early candlesticks with a nice patina. Will clean up really well<br>without too much work. Guaranteed 19th century. These are a different style from<br>the many I've owned. They measure 8.25" tall. One is missing the button on the<br>pushup, and both are stuck with wax.

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8" tall x 4.5" wide. All hand decorated. Nice fancy embossing, really good quality porcelain, no cracks, chips, or restorations, minor gold wear on trim and handles.

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Plaque measures 5.75" x 4" frame measures 8" x 6 1/8" no damage of any kind. All<br>hand painted and artist signed. Guaranteed 19th century Hutschenreuther.

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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 Heavy Stamped sterling cuff bracelet. Fits up to a 6.25"<br>wrist, 1" gap, 46 grams 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.

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Some gold wear on rim and flowers closest to the rim. No chips, cracks, or restorations. Unmarked, but guaranteed RS Prussia.

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Guaranteed early to mid 1800's. 10 saucers and 5 cups. One saucer has a crow's foot, but since there's extras that shouldn't be an issue. Very light yellowing to some pieces, no dark noticeable stains. No cracks, chips, or restorations other than the one crow's foot. These are 100% hand decorated, it takes close examination to see the subtle variations of the pattern. 5.75" saucer x 2.5" tall cup.

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8 5/16" wide c.1900 good vintage condition, only minor rough spots on unglazed part of the foot rim, and some gold trim wear on rim. No cracks, scratches, or chips on exterior rim.

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Fantastic rare set that's been together over 100 years. One tumbler has a few<br>tiny flakes on the rim that go down about a millimeter of that, maybe 1/32 of an<br>inch. The rest is perfect with no cracks, chips, or cloudiness. Tumblers are<br>3.75" tall, pitcher is 8.75" tall x 7" wide with handle. Ground pool on pitcher.

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1930's Chinese Gilt Sterling Silver Enamel with Turquoise and coral fan brooch.<br>Chinese from the first half of the 20th century, simply marked silver. 2.75"<br>wide and long with no issues.

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The egg tempera painting is 8" x 10", the frame is 13.75" x 15 3/8". Auckland<br>artist Bruce Harvey is one of New Zealand's best known painters of birds and<br>animals. His paintings are displayed in public and private collections around<br>the world. He exhibits at the Kennedy Galleries in New York and at Country<br>Stores Galleries in Texas. Collectors of his works include: Mrs. Lyndon Johnson,<br>former Secretary of the Treasury, John Connelly, and the Governor of Hawaii, Mr.<br>George Ariyoshi.<br>TW89

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Buying one with multiple available 4 5/8" wide x 1 1/8" tall. No damage or wear, no scratches, scuffs, cracks, chips. Guaranteed circa 1930's, I believe this color was only produced for two years, 1938 & 1939. These are extremely rare and I have more of this pattern available.

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Buying one with multiple available 3 13/16" tall x 3.75" wide at rim. No damage<br>or wear, no scratches, scuffs, cracks, chips. Guaranteed circa 1930's, I believe<br>this color was only produced for two years, 1938 & 1939. These are extremely<br>rare and I have more of this pattern available.

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Creamer is 3.5" tall x 5" from handle to spout. Sugar is the same. Both are<br>cracks, chip, and restoration free. Circa 1920's to 1930's. Firm ceased<br>production at the beginning of World war 2.

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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 Heavy stamped silver Agate cuff bracelet. Nice heavy<br>stamped cuff from the second quarter of the 20th century. No damage or breaks..<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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1941 Bob Crabb Texas Hill country Bluebonnet Landscape Watercolor. Really nice<br>watercolor. This guy did a lot of exhibitions in his time, there's archives of<br>him in the Smithsonian. He was in the Dallas Museum of art in 1940. Frame<br>measures 18.75" x 14 5/8" inside of matting is 12" x 8". His art is in many<br>private collections but rarely comes on the market as he was not very prolific.

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1980's Bronze Delta Kappa Gamma Golden Rule Award from JC Penney. 8" tall x 8.5"<br>wide at base, solid bronze with a marble base, heavy. Press photo shown is just<br>a copy of something someone else sold previously therefore not included.<br><br>A bronze flame is the symbol of the JC Penney Golden Rule Award, presented in<br>recognition of outstanding volunteer service to the community. The Award,<br>accompanied by a $1,000 grant to support the volunteer's work, is given to an<br>individual or organization selected by a distinguished panel of civic leaders in<br>a community-wide competition. The Award reflects a tradition of community<br>service at JC Penney that has persisted since James Cash Penney in 1902 opened<br>his first store, called "The Golden Rule." Sculptor Greg Wyatt represents his<br>bronze flame-of-freedom as the spirit of the volunteer's free choice to help a<br>neighbor.<br><br><br>Greg Wyatt is an American representational sculptor who works primarily in cast<br>bronze,[1] and is the sculptor-in-residence at the Cathedral Church of St. John<br>the Divine in New York City.<br><br>Wyatt was born in Nyack, New York and raised in Grand View-on-Hudson, New York.<br>His father was William Stanley Wyatt, a painter and professor of fine arts at<br>Columbia University, Rockland Community College and the City College of New<br>York.[1] Greg Wyatt graduated from Columbia College of Columbia University in<br>1971 with a Bachelor of Arts degree in Art History.[1] He also attended the<br>National Academy of Design for three years, where he studied figurative<br>sculpture, and received his certificate in sculpture, and earned a master's<br>degree in Ceramic Arts from Columbia Teachers College in 1974. Wyatt has taught<br>at New York University and at Jersey City State College.[3][4] He is currently a<br>member of the Board of Directors at The American College of the Mediterranean in<br>Aix-en-Provence, France. He is also a member of the Board at Brookgreen Gardens.<br><br>Wyatt bases his work on the philosophy of "spiritual realism," merging realistic<br>images and abstract masses of form, space and energy.<br>Professor Sir Stanley Wells, a renowned Shakespearian scholar and emeritus<br>chairman of the Shakespeare Birthplace Trust, says, "I compare Wyatt to Rodin.<br>He's that good."[6] "Wyatt emulates the sculpture of the western world with<br>contemporary vision."[3] His works have been exhibited at the Metropolitan<br>Museum of Art, Harvard University, and Vanderbilt Mansion National Historic<br>Site, among other institutions and collections,[5] and can be seen in more than<br>20 public spaces in cities from New York to Beijing.<br><br>Wyatt has made many corporate commissions, including a bronze statue of J.C.<br>Penney founder James Penney which weighs 3 tons and cost $250,000

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Frame measures 14.5" x 12 3/8" canvas measures 7 3/8" x 9 3/8" really ornate 3"<br>deep frame with no major issues. No issues or restorations to painting. There<br>were two brackets added to the back to hold the painting in as the original<br>nails are missing. There was a modern cover over the back canvas to protect it,<br>that'll be re installed prior to shipping. Estate fresh at the time of this<br>listing this is the first time it's been for sale in a really long time.<br><br>He married his first wife in 1871, maybe this is her? Regardless this is one of<br>his earlier pieces from before he got famous.<br><br>Born  December 9, 1848 (1848-12-09) Lockport, New York<br>Resting place  Glenwood Cemetery, Lockport, New York 43°10′53.73″N 78°42′33.1″W<br>/ 43.1815917°N 78.709194°W / 43.1815917; -78.709194<br>Died  May 12, 1915, Stamford, Connecticut, United States<br><br>Burr H. Nicholls (December 9, 1848 – May 12, 1915) was an American painter who<br>studied art with Carolus-Duran in Paris and first exhibited his work in London<br>at Dudley Gallery. Most of his works were based upon scenes from the seven years<br>that he studied and lived in Europe.<br><br>Nicholls was married three times, but it was his marriage to his second wife,<br>Rhoda Holmes Nicholls, that caused a media sensation across the United States.<br>In 1897 both Burr and Rhoda Nicholls submitted paintings to the Paris Salon;<br>Rhoda's was accepted with honorable mention but Burr's was rejected. This<br>triggered a period of marital discontent followed by separation. Their divorce<br>was finalized in 1906 and was reported in many American newspapers. Journalists<br>warned women of the peril of pursuing vocations that put them in competition<br>with their husbands.<br><br>Early life<br><br>Burr H. Nicholls was born in Lockport, New York to Luman Nicholls and Ann<br>Halliday Nicholls. Painters in his family included his mother and his nephew<br>Henry, son of his brother Mark. Henry made copies of several of Burr's paintings<br>including a Brittany farm scene and The Red Staircase.<br><br>Marriage<br><br>His first of three marriages was to Alice McDonald or Alethea P. McConnell in<br>1871; she died in 1876.<br><br>Nicholls met the English artist Rhoda Holmes during a trip to Venice. They<br>married in 1884 at Lyminster Church in Sus, England, honeymooned in Venice and<br>sailed for the United States in the spring of 1884.<br><br>The couple exhibited their works in some of the same shows, like the Chicago<br>Interstate Industrial Expositions. In 1893 the Nicholls lived in a "cosey" home<br>and both had studios on the top floor. By 1896, Nicholls lived with his wife in<br>a West 50th Street mansion in New York City with their daughter and son, Rhoda<br>Olive and Arundel Holmes Nicholls.<br><br>The couple's marriage became contentious when in 1897 one of Rhoda Holmes<br>Nicholls works was accepted with honorable mention by the Paris Salon, but<br>Burr's work was denied. The couple separated the following year. Their divorce<br>was finalized by September 18, 1906 and "newspapers widely warned women about<br>the dangers of success and its potential influence on marital and domestic<br>bliss."<br><br>His final marriage was to Josephine Lewis of Buffalo, New York. Her brother was<br>Dr. Park Lewis, a "well-known physician".<br><br>Education and career<br><br>Nicholls studied art in Buffalo, New York with Lars (L.G.) Sellstedt and with<br>Carolus-Duran at the Paris Beaux Arts. He studied and worked in England, Paris,<br>Italy and Brittany for seven years which provided inspiration for his paintings<br>for years. Most of Nicholl's paintings were made of European subjects and<br>settings, like A Street Scene in France and A Quiet Corner, Venice, exhibited at<br>the Pan-American Exposition of 1901 held in Buffalo, New York.<br><br>His first exhibition was in 1879 at London's Dudley Gallery. Nicholls exhibited<br>at "every important exhibition in America" and the Paris Salon. His work was<br>favorably received at the 1891 Society for the Promotion of Art exhibition at<br>Eden Musee [New York].<br><br>The Buffalo Fine Arts Academy, now the Albright-Knox Art Gallery, had acquired<br>works by Nicholls by 1882.<br><br>He and his third wife were members of the Buffalo Historical Society.<br><br>Death<br><br>Nicholls died in May, 1915 in Lockport, New York.<br><br>Collections<br><br>Albright–Knox Art Gallery: Hunting up a Quotation and A Group of Fowls<br><br>Peabody Institute: The Vegetable Garden<br><br>Pennsylvania Academy of the Fine Arts: Effect of Sunlight<br><br>Andrew Carnegie and Parisian M. Johannot were collectors of his works.

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Mid Century Venetian Latticino Glass Ewer 10" tall with labels intact, no damage.

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The last picture is the base which you can see from the next to the last pic is hammered on. So I guess this is one hookah base hammered onto another layer of brass to ensure being waterproof. Guaranteed early, maybe 18th century. Guaranteed 100+ yrs old maybe 300, you be the judge.10" tall x 5.5" wide x the inside of the lip is 1.25" wide.

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Malcolm Furlow Cut Steel 3 Dimensional Pop Art Sculpture of Native American Man.<br>Measures 21.5" tall x 17.5"wide x 8" deep with , weighs 20 pounds. Fresh from a<br>local estate along with a painting on canvas by the same artist. Guaranteed<br>authentic. This had to be extremely labor intensive and would stand out<br>anywhere, he did do much of this type of work. Malcolm Attended University of<br>Texas here in Austin and Studied art. This piece came from Austin, I believe it<br>is one of his earlier pieces when he was still trying to figure out what<br>direction to take his career, obciously it is super cool.<br><br>The comes out and will be removed for shipping. The paint is very sturdy, I<br>believe it is a special metal paint similar to auto paint but it will be well<br>wrapped to prevent abrasion or wear during transportation.<br><br>Taos resident, Malcolm Furlow, an award winning painter, hasn't always been an<br>artist. As a young man he received a track scholarship to the University of<br>Texas and decided to choose art as his major. Unfortunately, his art professor<br>disapproved of his style of painting and a disappointed Furlow left college to<br>become a rock and roll musician. For 18 years he played the sax, bass and<br>sometimes the guitar, playing back up for such notable groups and soloists as<br>the Beach Boys and Lou Rawls.<br><br>Leaving his music career behind, Furlow used his artistic talent to construct<br>models for movie sets at Walt Disney Studios. He also delved into photography,<br>writing a book for Kodak, called Close-Up Photography, that explained the best<br>way to photograph miniatures, especially models. But, in 1987 after hearing<br>scholar Joseph Campbell's words "Follow Your Bliss," Furlow decided to go back<br>to his first love, painting.<br><br>Furlow began drawing American Indians at the age of six, when his father had<br>Malcolm accompany him on business trips throughout New Mexico. Beginning with<br>watercolors, Furlow realized the medium was ill suited for large canvases and<br>switched to brightly colored acrylic images of Native Americans. In all his<br>works, Furlow strives to show his deep admiration and respect for his Choctaw<br>heritage.<br><br>About his subject matter and painting style, Furlow has said, "I knew I wanted<br>to say it with color because that's the emotion of it. I've got to make the<br>viewer feel what I feel . All I'm trying to do is paint them as they are - paint<br>their culture, their dignity and their stature . I didn't want to do portraits<br>of Indians, I wanted to say something about the human condition." He paints two<br>worlds: the Native American and their place in the Anglo World. In addition,<br>Furlow rides and decorates motorcycles.<br><br>A recently filmed documentary entitled the "Life and Art of Malcolm Furlow,<br>"refers to him as a "Renaissance Man": the quintessential cowboy, musician, and<br>intellectual artist. He is an award-winning painter, whose accolades include the<br>Silver award from the Sorbonne, and the highly coveted Gold Award from the<br>world-renown Luxembourg Museum, Paris. PBS featured him in a documentary called<br>"The Life and Art of Malcolm Furlow", he was also awarded the Gold Award from<br>the Luxembourg in Paris (an honor shared with Pablo Picasso)<br><br>As of spring 2007, Furlow has "sold-out" over fifty solo shows. Malcolm Furlow's<br>paintings command principal placement in exhibitions, philanthropist campaigns,<br>and private collections around the world, including the U.S. Embassies of<br>Morocco, Belgium and Beijing; the White House; CEO Magazine; The Smithsonian;<br>Mobil Oil; Arnold Schwarzenegger; Samuel Goldwyn; Richard Pryor; Presidents<br>George H.W. Bush, Bill Clinton, and George W. Bush; Senator Hillary Clinton;<br>Bernadette Peters; Wes Studi; Phyllis Diller; William DeVane; B.J. Thomas; Jane<br>Goodall Institute; Darryl Hannah; Eiteljorg Museum; Jon Bon Jovi; National<br>Wildlife Museum; Koshare Museum; Santa Fe Fine Arts Museum; Paul Clarkson; Coca<br>Cola Olympic Pavilion; Make a Wish Foundation; NBC's Today Show; Raymond James<br>Financial Art Collection; Columbia University; and many others Malcolm is<br>equally celebrated in the industry of Model Railroading. He has written several<br>"How-To" books for Kodak photograghy, worked as a photogragher for Italian Vouge<br>. Malcolm has also written several "How-To" books for Model Railroading. His<br>published articles about photograghy and model railroading are inumerable.

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Retro Mexican Modernist Sterling and onyx necklace 20" long 84 grams Solid 95%<br>silver and genuine Onyx stones a few of the large stones with small nicks on the<br>corners, no other issues.

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Really nice early 1800's to 1860's compote set. I believe the Brown leaves on the rim are transfer printed, but am positive the flowers in the centers are hand painted. Every piece has slight variations some even have different colored roses in the same spots. The plates were made on a potters wheel. The Compote and plates are 9" wide x 2.5" tall, no cracks, chips, or restorations on any of the 5 pieces there is minor gold wear on the compote, very minor utensil marks here and there on all pieces, extremely light stains on the front and back of one plate. This is a really clean set and very early.

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c1890 French Surfine P. Bardinet Limoges Mary Gregory Style Advertising ewer.<br>6.5" tall with no damage, hand painted.<br><br>isshelf

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Frame measures 23.25" x 19 3/8" Great vintage watercolor. It was framed in 1984 and marked so on the back. Watercolor is in perfect condition, there are some nicks on outside edge of frame that could be easily touched up with a marker.

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This is an incredibly interesting one of a kind item. It's definitely old,<br>guaranteed 1920's to 1970's, I'm guessing 50's or 60's from the hairstyle and<br>patina of both the wood and the copper. It's in its original homemade frame with<br>an old plywood back. Really interesting, definitely not mass produced. Measures<br>12 5/8" x 9 3/4". I can't find any indication of it's artist. Since I haven't<br>owned it since it's conception, it's hard to tell if it's in original condition<br>or has some dents.

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Frame measures 29" x 41", Painting measures 24" x 36" painted on 1979 by Calvin<br>Canepa who can be read about below. The painting is undamaged and has not been<br>restored, canvas is tight, frame is also in great condition.<br><br>Not many people are “discovered” in kindergarten, but Calvin Canepa’s artistic<br>talents were apparent at the age of 5.<br><br>“The superintendent of the Lake Tahoe school district saw a painting I did and<br>was impressed,” Canepa said.<br><br>“He contacted my mother and told her that she should expose me to as many<br>outdoor scenes as possible so I could further develop my artistic abilities.<br><br>“I had the first exhibition of my work when I was in the first grade.”<br><br> Canepa is a self-taught fine artist. He concentrates on outdoor scenes and<br>still lifes. The area around Lake Tahoe and the Sierra Nevada foothills serves<br>as the subject for most of his paintings.<br><br>When Canepa isn’t painting or exhibiting his art, he works as a clerk at the<br>Bel-Air market in Cameron Park. “When my daughter came to live with me,<br>following the death of her mother, I needed a job with health benefits that<br>would cover both of us,” he recalled. “I also wanted to work less than 40 hours<br>a week so I could have more time to concentrate on my painting. “That’s why I<br>applied to work at Bel Air. It was a Union job and I could work less than<br>full-time and still be eligible for benefits.<br><br>‘The only way to go’<br><br>“I also had an uncle and two cousins who were Union members and worked for<br>Lucky. I saw how they lived a solid middle-class lifestyle, so I knew Union was<br>the only way to go.”<br><br>Canepa works the overnight shift because it lets him paint and market his art<br>during the day.<br><br>“Selling paintings is an up-and-down business,” Canepa said. “Having a secure<br>Union job with benefits has been a lifesaver for me.”<br><br>His union-negotiated health benefits were especially useful when he had to have<br>back surgery seven years ago.<br><br>“I was out of work for six months,” Canepa said. ”Everything was taken care of.<br><br>I didn’t have to worry about how I was going to pay for the surgery and could<br>concentrate on getting better.”<br><br>Canepa’s goal is to get his art into more galleries and eventually into museums.<br>“Having your work hang in a museum would be very prestigious,” he said.<br><br> “But showing my work in as many galleries as possible is also important,<br>because I can sell more of my paintings.”<br><br>One of Canepa’s paintings sold for $14,000 to Bank of America and still hangs in<br>the bank’s corporate offices.<br><br>Although he is nowhere near retirement age, Canepa plans to keep working as long<br>as he can.<br><br>“Work sharpens my artistic abilities,” Canepa said. “Having less free time is<br>good, because you need a sense of urgency to paint. If you have too much time on<br>your hands, you can get lazy.<br><br>More information about Canepa’s artwork can be found at his<br>website, www.calvincanepafineart.com.

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1920's Missouri and Kansas Telephone Company Blue Bell Paperweight. No cracks or chips, A few very very tiny mold seam chigger bates on base rim. Right after the turn of the century the blue bell paperweights made their debut within the Bell System appearing on employee's desk. It is believed Fenton Glass Co. manufactured these paperweight starting around 1910 until 1930. The individual companies within the bell system ordered these paperweights with their names in white stencling on the front and Local & Long Distance Telephone on the back side. However there several exceptions to this, two of them being Mountain States Telephone and Western Electric Company. The blue paperweights were manufactured in ice blue, peacock blue, and colbalt blue. isshelf

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I really don't try to talk things up very often, but this is a really nice<br>piece. This piece has a really nice patina all over front and back. It's never<br>been to an auction house or online ever. I really don't know whether it's from<br>the thirties or the sixties. I don't think it's 19th century. It's good quality<br>with a nice patina. It's the kind of piece that would stand out in any<br>environment and match at the same time. It's made out of no telling how many<br>thousands of wooden matches. You have to examine really closely to see any<br>traces of glue, I'm talking like 6". At that distance you can definitely tell<br>the wood and the glue are at least 50 years old. Everything about the back says<br>it's old. Old rope, old nails, slight old patinated rust. It'd be way more<br>trouble to fake this than it's worth. That's probably enough matches to give<br>three people cancer. It's extremely intricate, I've seen other matchstick stuff<br>that was like jailhouse stuff from the 70,'s. Nothing even close to this. All<br>the work that went into this, this guy would've had to have a life sentence. The<br>woods are really nice, the back board looks like balsa wood, I don't know if<br>this is African or American. I assume it would be one of the two, but really<br>know nothing about it other than it's old and has the name Damala on it and of<br>course that it's in Austin and freshly exposed. It measures 33.75" x 25 15/16 to<br>outside of frame. No damage to report, it's old and there's some minor wear on<br>the frame, but it's clean. I don't know if DAMALA is the artist or the person<br>being depicted.

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French Baccarat Marcel Franck Escale Silver Overlay Atomizer perfume bottle. Extremely high quality bottle with a complex atomizer mechanism that appears functional. No tube, short stable crack in top of jar that stops before the shoulder of the jar. Still will hold liquid. Bottom Acid stamped Marcel Franck Made in France in circular logo. There is no Baccarat mark but it's obviously Baccarat. perfumedrawer.

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Original watercolors by listed artist Hans Kleiss. Frames measure 17.25" x 14", watercolors measure 11.5" x 9.5". Pictures are in great condition but the woman appears slightly off center in frame, an easy fix but I figured they're liable to shift in shipping so I'd leave as is.

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Frame measures 30.5" x 26.5" board measures 24" x 20" Frame and painting are in incredible condition. A couple tiny 1mm dings at the bottom left of her chair as shown in the third pic. There is a line across the top of the painting maybe 3/4" down, maybe where they made the board taller to fit this expensive frame, I'm not sure. It can only be seen with very cloud examination. I can find little info on the artist other than she was born in 1901.

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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. 6.5" Vintage Navajo Heavy Stamped silver ribbed bracelet. Very high quality<br>work, unsure of exact age, no markings. 5.5" plus 1" gap, 20mm wide, 61 grams. I<br>really feel like it could likely be from the second 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. 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 Chinese Export silver Teapot with amazing repousse work. Built in<br>strainer in teapot, I was only allowed 10 pics. No dents, bends, scratches or<br>other issues. Late 19th century, Chinese, solid 90%+ silver. 10.5" handle to<br>spout x 6.5" tall with finial. 618 grams.

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Sz8.5 Large Vintage Native American Sterling/turquoise men's ring. Nice old<br>unmarked sterling ring 34.6 grams, big heavy ring. 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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c1867 Heavy Armorial Sterling spoon set in presentation box.  They have the<br>crest of Hardcastle of Bury St. Edmunds.  Amazing set that most likely<br>originally belonged to someone of extreme importance.  Total silver weight 416.2<br>grams without box, British hallmarks dating it to 1867. Gilt bowls and accents,<br>some wear to gold gilding on accents. Large spoons 6 7/8" long with 1 7/8" wide<br>bowls.<br>silverdrawer

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Antique Japanese Black-Lacquer Suzuribako (Writing Box) and Cover, late Meiji or early Taisho Period. Amazing item in original box. Some wear to lacquer but overall clean in good condition. Outer box measures 8.75" x 6". Suzuri-bako (硯箱; "inkstone box") are a type of Japanese writing box. The boxes are traditionally made of lacquered wood and are used to hold writing implements. Historically, the boxes were associated with calligraphy, and as such they were made using high-quality materials designed to safeguard porcelain inkstones (suzuri) from damage. History The first suzuri-bako were developed in 9th-century Japan. At the time, calligraphy was an integral part of Japanese society. In order for a writer to produce a high-quality calligraphy script, a set of precise tools was needed. The most important of these tools was the inkstone, which was required to hold and transfer ink onto a writer's brush. Ink sticks, water droppers, and a small knife were also part of a calligrapher's set. Suzuri-bako were designed to ensure that the various tools a calligrapher needed were properly organized and protected. Due to the insoluble nature of resin-based lacquer, the contents of the writing box were relatively safe from moisture.[3] Inside of the square or rectangular boxes rested a number of different trays and holders, the layout of which differed from period to period.[2] Early boxes were large enough to accommodate both the writer's implements and papers, while later boxes only housed tools. A second type of box, the ryōshibako, were used in later periods to house completed papers. Suzuri-bako became more elaborate as over time. While early period boxes are often decorated with solid red lacquer, more modern boxes are decorated in any number of ways. From the Muromachi period onward, many writing boxes have been decorated with images from Japan's great works of literature. Kōdaiji Temple in Kyoto became associated with a style of Suzuri-bako decoration that featured asymmetrical patterns and autumn grasses. In terms of lacquerware, black, brown, and gold are the most common colors seen in more modern suzuri-bako. During the Edo period many dowries included a suzuri-bako. Advancements in technology and manufacturing processes during the Meiji period resulted in a development of a number of new box shapes and sizes. The craft declined after the wide scale replacement of calligraphy, though the boxes are still produced in small numbers.

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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 Sandcast Sterling/turquoise cuff bracelet. Very thick<br>solid old cuff bracelet with a stable fracture in the center of one of the bars,<br>it's strong and not going anywhere, won't get bigger or come apart as it's a<br>really tough 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.

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NEW Reed and Barton Francis 1 Sterling Silverware 8 7/8" Modern Hollow Knife<br>(Stainless blade) with sterling handle, 4 7/8" long blade. I have a small set of<br>this in "New old Stock" condition. They have never been out of the sleeve, never<br>used, this pattern was discontinued in 2019 so they have been in a drawer for<br>awhile and will be some wear to plastic sleeves but the pieces inside are<br>absolutely new and unused, not machine polished with a worn down pattern like<br>some of the big replacement patterns offer but new and not available anywhere at<br>any price in this condition. I'm still pricing them at way less than they cost<br>new and about what the big companies charge for a refinished piece that<br>typically has lost the original crispness of the pattern.<br><br>Selling (1) NEW Reed and Barton Francis 1 Sterling Silverware 8 7/8" Modern<br>Hollow Knife (Stainless blade) sealed in the pack, unused with more available.<br>You can change the qty to purchase more than one.<br><br>An American Classic, Francis 1st by Reed & Barton continues to be as popular<br>today as it was when it was introduced in 1907. The grandeur of this unique<br>sterling silver pattern, designed by Ernest Meyers, is enhanced by its fifteen<br>different fruit-and-flower clusters. Each handle bears one of these exquisitely<br>detailed vignettes. After 112 years this pattern was retired in 2019.

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19th Century Japanese Carved wood puppy netsuke 1 3/8" wide x 1" tall with no<br>damage apparently unmarked.<br><br>A netsuke (根付, [netsɯ̥ke]) is a miniature sculpture, originating in 17th century<br>Japan. Initially a simply-carved button fastener on the cords of an inrō box,<br>netsuke later developed into ornately sculpted objects of craftsmanship.

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Retro Sterling/Turquoise pendant. Unmarked, tested sterling. An amazing<br>statement pendant 4" tall x 7/8" wide. 102.1 grams, very thick and heavy solid<br>sterling.

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19th Century Japanese Carved Boxwood Toad Netsuke. 2 1/8" long x 1 1/8" wide,<br>very well carved with no damage, natural cracks in wood. Signed as shown.<br><br><br><br>A netsuke (根付, [netsɯ̥ke]) is a miniature sculpture, originating in 17th century<br>Japan. Initially a simply-carved button fastener on the cords of an inrō box,<br>netsuke later developed into ornately sculpted objects of craftsmanship.<br>Traditionally, Japanese clothing – first the kosode and its later evolution, the<br>kimono – did not have pockets. Though the sleeves of the kimono could be used to<br>store small items, the men who wore kimono needed a larger and stronger<br>container in which to store personal belongings, such as s, , money and seals,<br>resulting in the development of containers known as sagemono, which were hung by<br>cords from the robes' sashes (obi). These containers may have been pouches or<br>small woven baskets, but the most popular were crafted boxes (inrō) held shut by<br>ojime, sliding beads on cords. Whatever the form of the container, the fastener<br>which secured the cord at the top of the sash was a carved, button-like toggle<br>called a netsuke. Netsuke, like inrō and ojime, evolved over time from being<br>strictly utilitarian into objects of great artistic merit and an expression of<br>extraordinary craftsmanship. Netsuke production was most popular during the Edo<br>period (1603–1867). Netsuke and inrō declined as Japanese clothes were gradually<br>westernized from the Meiji period (1868–1912). Because of their popularity<br>amongst Western collectors at the time, some of the greatest collections are now<br>found outside of Japan

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19th Century Japanese Hirado School Porcelain Netsuke 1 7/8" tall x 1.5" wide<br>with no damage, 150ish years old.<br><br>A netsuke (根付, [netsɯ̥ke]) is a miniature sculpture, originating in 17th century<br>Japan. Initially a simply-carved button fastener on the cords of an inrō box,<br>netsuke later developed into ornately sculpted objects of craftsmanship.<br><br>History<br><br>An "Off White" netsuke with an eagle design and an inrō with a deer design. The<br>combination of netsuke and inrō creates a story of an eagle preying on deer. Edo<br>period, 18th century<br>Traditionally, Japanese clothing – first the kosode and its later evolution, the<br>kimono – did not have pockets. Though the sleeves of the kimono could be used to<br>store small items, the men who wore kimono needed a larger and stronger<br>container in which to store personal belongings, such as s, , money and seals,<br>resulting in the development of containers known as sagemono, which were hung by<br>cords from the robes' sashes (obi).<br><br>These containers may have been pouches or small woven baskets, but the most<br>popular were crafted boxes (inrō) held shut by ojime, sliding beads on cords.<br>Whatever the form of the container, the fastener which secured the cord at the<br>top of the sash was a carved, button-like toggle called a netsuke. Netsuke, like<br>inrō and ojime, evolved over time from being strictly utilitarian into objects<br>of great artistic merit and an expression of extraordinary craftsmanship.<br>Netsuke production was most popular during the Edo period (1603–1867).<br><br>Netsuke and inrō declined as Japanese clothes were gradually westernized from<br>the Meiji period (1868–1912). Because of their popularity amongst Western<br>collectors at the time, some of the greatest collections are now found outside<br>of Japan

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sz7 Large High Grade Nevada Turquoise Native American Sterling ring. Very<br>substantial ring. This is not Robert Lee Morris, it's a Native American Artisan<br>just not sure who. 23.5 grams with no issues. I believe this to me Red Mountain<br>or Pilot Mountain Nevada Turquoise. 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 7 Ring.

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Antique Chinese Export silver pin cushion. Late 19th to very early 20th century.<br>2.75" wide x 1.5" tall. No damage, some expected wear to pin cushion which is<br>removable. High content pure silver.

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18th/19th century Japanese Jakushi school gold/silver/copper inlaid Iron Tsuba. With later custom fitted box. Tsuba 3 3/16" wide.

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Mid Century Modernist Los Ballesteros Sterling and Onyx bracelet. Very cool<br>bracelet from the third quarter of the 20th century with almost no issues or<br>detectable wear. One very small "chigger bite" on the outside rim of one of the<br>stones, not noticeable whatsoever.<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.

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4 c1900 Meiji Japanese Hikite Door Handles . Selling the 4 shown, 2 pairs. One<br>with some holes from rust as shown, other enameled bronze. Enameled bronze pair<br>are 3" wide.

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Mid Century Modernist Los Ballesteros Sterling and Cat's Eye bracelet. Very cool<br>bracelet from the third quarter of the 20th century with no issues or detectable<br>wear.<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.

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Ancient Near Eastern bronze bracelet. 4 1/8" outside width, 2.75" inside width.<br>Very old, unsure of exact age. It has Elephants, Cicada's, Scorpions, Oxen,<br>Fish, lots going on. This is part of a large collection of artifacts I'm helping<br>liquidate, all purchased from reputable sources over the last quarter of the<br>20th century, money was no object. I'm pricing everything at a small fraction of<br>what it cost from the galleries/auctions. Just the displays alone must've cost a<br>small fortune. They come in a very fancy Steel/acrylic display case, case<br>measuring 6.5" cube, some wear/adhesive residue to case, figures 5 3/8" tall,<br>some wear to figures but no major breaks or repairs. The figures are over 3000<br>years old and guaranteed authentic.<br><br>isshelf

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c700bc Luristan bronze animal figures. Largest approx 3" tall and wide, selling<br>all three, guaranteed authentic with no questions asked returns. The two headed<br>figure appears to have once had a base. These were used as pendants/saddle<br>ornaments. This is part of a large collection of artifacts I'm helping<br>liquidate, all purchased from reputable sources over the last quarter of the<br>20th century, money was no object. I'm pricing everything at a small fraction of<br>what it cost from the galleries/auctions. Just the displays alone must've cost a<br>small fortune. They come in a very fancy Steel/acrylic display case, case<br>measuring 6.5" cube, some wear/adhesive residue to case, figures 5 3/8" tall,<br>some wear to figures but no major breaks or repairs. The figures are over 3000<br>years old and guaranteed authentic.<br><br>isshelf

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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. David Reeves navajo Sterling Spiderweb turquoise/lapis cuff bracelet. Fits up to<br>a 6.25" wrist with a 1 1/8" gap, no issues.<br><br>David Reeves<br>(1949 - no longer with us)<br>“Navajo silversmith David Reeves was the older brother of Gary Reeves (now no<br>longer with us) and Daniel "Sunshine" Reeves. He taught them both the craft of<br>silversmithing, along with half-brothers Andy and Darrell Cadman.<br>David had an affinity for complex engraved and hand stamped geometric designs.<br>He was a part of recreating and popularizing the old Navajo designs of the early<br>20th century.”

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Antique Chinese silver Trumpet vases on wood stands. Selling the pair 8.5" tall<br>x 3" wide at rim x 260 grams total weight. Stands are original to the vases,<br>both circa last quarter of 19th century, no damage to stands or vases, no bends,<br>dents, no monograms. Amazing pair, each marked under the bases covered by the<br>wood stands.<br><br>I'll follow with more pictures later, this is the best I can do without changing<br>setups.

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Meiji Japanese Silver Enamel Tea Ceremony Set. Cchashaku with maker's mark, all<br>pieces with jungin (pure silver) hallmark, including: (1) cup, approx 3.75"h,<br>(1) narrow spoon with enamel-accented handle, approx 6.5"l, (1) chashaku with<br>enamel-accented handle, approx 6.5"l, (1) approx 5.25"l No damage or significant<br>wear. Nice antique set over 100 years old.<br><br>353.3 grams total weight.<br><br>tw163

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Early Korean Buncheong inlaid dish. 4.75" wide, small chips and glaze wear on rim, glaze wear to bottom of bowl, no cracks or restorations. tw147

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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 Old Pawn Childs Native American Silver/coral row cuff. Nice old cuff<br>from the 40's or 50's unmarked. 15.8 grams, fits up to a 4 7/8" wrist, 7/8" gap.<br><br>The inside circumference and gap are shown in the pics. All precious metals are<br>tested and guaranteed, any Native American jewelry referred to as Silver or<br>Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher<br>content.

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WW2 Era Japanese Pathology Surgical blade. The top of the blade inscribed<br>Nothung... Nacht, the case inscribed Keijo Imperial University School of<br>Medicine Department of Pathology, Common Pathology. So possibly German made<br>blade. A few small chips in blade, otherwise sharp, not sure what type of handle<br>it had but it's not present. Box is 12 1/8" long, some wear and lose joinery to<br>box.

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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 Nice old cuff from the<br>40's or 50's, I believe the stone was added later possibly in the 60's or 70's..<br>Unmarked.<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.

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c1979 Shoraku Sasaki Raku Set: Shimadai Chawan Tea bowls. In original wood box approx 6" x 8", largest bowl 7" x 2.5", smallest bowl 6 1/8" x 3 1/8"...Gold and silver appears to be intentionally worn on both pieces but I'm not sure as I have not had these for 44 years, you be the judge. No cracks, chips, or restorations. These are from a very famous potter.

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c1900 French Haviland Limoges oyster plate. 9" wide with no cracks, chips, or restorations, some wear to gilding on rim. isshelf

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Autographed President Bill Clinton Photo with/to Andrew Sharp Peacock. Authentic<br>White house photo from the Living Estate of Australian Ambassador Penne Korth<br>Peacock, Wife of Andrew Sharp Peacock. I cannot explain why the signature is<br>faded, maybe an accident, maybe sun, maybe a change in political views? Not<br>sure, but This is an official White House Photo of the president and an<br>Australian Politician/diplomat given to him while in office and signed by the<br>President. It's in a simple frame behind glass and I will keep it that way to<br>preserve it. The photo is 8" x 10".<br><br>Andrew Sharp Peacock AC GCL (13 February 1939 – 16 April 2021) was an Australian<br>politician and diplomat. He served as a cabinet minister and went on to become<br>leader of the Liberal Party on two occasions (1983–1985 and 1989–1990), leading<br>the party to defeat at the 1984 and 1990 elections.<br><br>Peacock was born in Melbourne and attended Elsternwick Primary School and Scotch<br>College before studying law at the University of Melbourne. A former president<br>of the Young Liberals, he was elected to Parliament at the age of 27, filling<br>the blue-ribbon seat of Kooyong, vacated by Sir Robert Menzies. Peacock was<br>appointed to cabinet in 1969 by John Gorton and later served under William<br>McMahon and Malcolm Fraser. He held a variety of portfolios, most notably<br>serving as Minister for Foreign Affairs from 1975 to 1980. He unsuccessfully<br>challenged Fraser for the Liberal leadership in 1982, but was then elected as<br>Fraser's successor following the party's defeat at the 1983 election.<br><br>At the 1984 election, the Peacock-led Coalition slightly reduced the Labor<br>Party's majority. He resigned the Liberal leadership the following year after<br>failing to have his deputy John Howard removed; he was duly replaced by Howard.<br>He remained a member of the shadow cabinet, and in 1987 unsuccessfully<br>challenged Howard for the leadership; he was instead elected deputy leader.<br>Peacock returned as leader in 1989. However, his second term lasted less than a<br>year, as he resigned after another electoral defeat in 1990; he had won the<br>popular vote but failed to win enough seats. Peacock left politics in 1994 and<br>was later appointed Ambassador to the United States, serving from 1997 to 1999.<br><br>b1

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1950's German Schuco Clockwork Dancing Monkey Drummer. Feet embossed Schuco Patent Made in Germany. Box present with one end/flaps detached but present, Working condition with no key but I tested it using a clock key. He drums and dances. And yes he stands up, my pictures are taken with the camera pointing down at the toy on it's back and I like to get as close as possible. 5.5" tall. isshelf

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1950's German Schuco Clockwork Dancing Beer Drinking boy. This is as good as they get, super clean. Feet embossed Schuco Patent Made in Germany. No Box, Working condition with no key but I tested it using a clock key. He not only drinks beer from a stein but also he dances around in a circle. And yes he stands up, my pictures are taken with the camera pointing down at the toy on it's back and I like to get as close as possible. 5.5" tall. isshelf

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Extensive Antique Burmese Bronze opium weight set. Largest 2.5" tall 244.4<br>grams. Smallest 5/8" tall 4.5 grams, very extensive set collected in the mid<br>20th century.

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Extensive Antique Burmese Bronze opium weight set. Largest 2.5" tall 240.7 grams. Smallest 3/8" tall 1.4 grams, very extensive set collected in the mid 20th century.

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Vintage Native American Sterling turquoise ring size 4.75, great stone looks<br>like Royston, unmarked.<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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Antique Bronze Buddha Opium weight set. Southeast Asian, likely Burmese, 19th<br>century. Amazing to find a set, I've seen them sell indiviually in the $100<br>range, never seen a set. From an estate collection of Mostly Japanese antiques<br>with several sets of Opium weights collected in the mid 20th century. Heaviest<br>33.1 grams.

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Vintage Native American Sterling and turquoise freeform boulder ring. Very cool<br>ring, unmarked. size 7<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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1940's Japanese Hand Engraved 950 Silver compact. Large compact 4" 127.5 grams, hand engraved, no dents or bends, snaps shut well, some wear to gold gilding, no mirror but pice that would hold it in is intact and present.

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c1980's British Roadace Replica 1955 Mercedes Benz 300 SLR in Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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Antique Japanese Lacquer on wood Kushi comb. No issues, has what appears to be a<br>natural curve, I believe it was carved that way. 4.75" x 3".

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c1980's British Roadace Replica Porsche 904 G.T.S Carrera In Box. Average Wood<br>base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car<br>shown, car is perfect, some wear and or adhesive residue to box.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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sz4.5 Navajo Irvin Kee 14k Gem Grade Mediterranean red coral ring. Unmarked,<br>tested solid 14k gold. Most likely from the last quarter of the 20th century<br>though having next to no signs of wear. 4.9 grams. This is a really high quality<br>ring. I could not find much info on the artist but he did some really nice work<br>as evident here, but everything he did was really nice with the highest quality<br>stones and major attention to detail. He just wasn't very prolific, quality over<br>quantity it seems.<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 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 4 Ring.

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Vintage Koshida Japanese Satsuma bowl 5" wide x 2" deep with no damage, overall<br>expected crazing, no major stains. Hand painted.

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Vintage Koshida Japanese Satsuma bowl 5" wide x 2" deep with no damage, overall expected crazing, no major stains. Hand painted.

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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. Native American Sterling Carved Turquoise and row cuff bracelet. Nice solid cuff<br>in great condition from the third quarter of the 20th century. No detectable<br>markings.<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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