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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery or art. I<br>bought a collection, the collectors are no longer with us so I'm having a<br>difficult time with it but I'm sure it's all old. I probably won't list it all<br>at once, but it's all pre Columbian and guaranteed to be so. I won't lie about<br>regions or centuries because I don't know all that and don't have time to become<br>an expert. I'm going to try to pass on what I would pay to a good auction house<br>to you.<br><br>This piece is 8.5" tall with base x 3 3/8" wide without base. It has a no<br>brainer patina and was mounted on the metal base at a later date for display.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. This piece is 7.25" tall x 3 7/8" wide. A few small patinated nicks off right side headdress. Old chip at bottom of hole for smoke. No other damage.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>This piece is 4.5" tall x 5" long. No cracks, chips, or restorations.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 7 pieces, largest piece is 5", there seems to be some ancient chips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 8 pieces, largest piece is 4", there seems to be some ancient chips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 7 pieces, largest piece is 3.5" the whistle works but has an old repair. Seems to be some ancient chips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 6 pieces, largest piece is 4 3/8" pedant is 2" seems to be some ancient chips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>Selling 4 pieces one pipe or whistle looks to have old chips and possibly be<br>missing some feet. One face appears to be a shard, another face effigy, and some<br>sort of funnel or incense cover. Largest piece is 3 7/8"

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>Selling 4 pieces, they're all four very heavy like store, but appear to be made<br>from clay. The larger 5" head appears intact, the other pieces seem to be<br>missing limbs possibly.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 5 pieces, largest piece is 4 3/8", it's been broken and glued, there seems to be some ancient chips. The whistle works very well, missing horn.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>This piece is 6" tall x 7.5" wide. No notable damage other than an old chip on<br>the rim. No cracks or restorations.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>This piece is 3.5" wide x 9" long. No cracks, chips, or restorations. I'm not<br>sure what it is. It doesn't whistle just by blowing in it, probably an art to<br>it.

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Pre-Columbian Aztec Jaguar Warrior figures and head shard. Selling both out of<br>an important collection of world artifacts all purchased through major auction<br>houses/reputable galleries. The receipts I did find showed price was no object.<br>I feel really fortunate to be able own these items even if just for a short time<br>and to be able to offer them at a fraction of what they last sold for. The<br>collector collected for himself and was low key as are his heirs, so as much as<br>I would love to acquire more provenance on each item it's just not possible at<br>this point without being intrusive, then possibly still not possible.<br><br>The head shard is great and all, measures 4.75" wide x 4.25" tall with loss<br>shown, likely broken at the neck and part of a large figure. This Jaguar warrior<br>is absolutely amazing, polychrome decorated, has an amazing "no brainer" to me<br>patina overall. Very realistic figure made by a skilled potter at the time. 6"<br>tall with old restorations to clean break at head, base of sword, and one leg.<br>Even though this is not incredibly large it is incredibly nice and my guess is<br>the previous owner paid thousands of dollars for this figure. Selling both<br>pieces shown. Guaranteed over 500 years old.

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Pre-Columbian Mayan Pottery Head 3.5" tall, no restorations. isshelf

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Pre-Columbian Quimbaya Hanging Incense Bowl. A similar example without the figures on the sides can be found in the Brooklyn Museum, Museum Expedition 1938, Dick S. Ramsay Fund, 38.586. 9" wide x 5.5" tall. Excavated item with professional museum grade restorations. Appears to have been broken into several large pieces and restored, all pieces appear present. Very special piece.This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions.

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Prehistoric Pottery Pots Fresh from an Estate Pair. Selling both Prehistoric pots. Tallest is 8.5" with some repairs and chips on top and 3 small holes in bottom. The ribbed one is 6" tall x 7" wide, some chips on top and a tight stable hairline. They're both in stable condition and likely over 1000 years old. Selling both. TW74

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Great, way above average lap Desk. Annie McKellar must've been much appreciated<br>to have received such a gift 116 years ago. Any help on additional provenance<br>would be greatly appreciated.<br><br>The desk in in great condition with a small chip off the verneer in the top back<br>left corner, and small inlay missing at key hole. There are some cracks in the<br>verneer on the lid. No key included, no other issues. Measures 12" x 9" x 7"<br>tall.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Rose Gold Channel inlay bracelet. Fits up to a 6 3/8" wrist, tapers from 20mm to 30mm wide. One of a kind bracelet, extremely rare example in gold. Preston Monongye did not work in a lot of gold, very few pieces have come to market ever, when they do they are crazy expensive. I personally had this machine tested on a $30,000+ XRF machine and it ranges from 40-43% gold (Averaging about 10k) which actually makes perfect sense. Since P Monongye didn't work with a lot of gold, the times he did were likely somewhat experimental. In this case it is somewhat obvious that he melted up some scrap gold, likely some that was brought to him by a customer or friend to make this which was likely a custom piece. The lowest gold content shot we took showed it at 48.13% copper, 40.08% gold, 8.18% silver, 3.49% zinc, and .12% Nickel.Preston Monongye (1927-1987) was an influential proponent of what he called “the new Indian art.” He wrote, “We may use old techniques, along with old designs taken from potsherds or pictographs, but then we redesign them or add innovations of our own.”Preston had an unconventional and late blossoming path to jewelry making. He served in two wars, worked in law enforcement, and was an employee for the Bureau of Indian Affairs. It was later in life that he decided to dedicate himself full time to jewelry making, which was received numerous awards. He had always experimented with jewelry and craftsmanship, but did not receive acclaim until fully committing to his art. Preston primarily did the metalwork and design for his pieces, letting his friend and acclaimed lapidary artist Lee Yazzie do the inlay, and later allowing his son Jesse Monongye to do his lapidary work. His pieces are exhibited nationwide.Born in East Los Angeles, California, to Mexican and Mission Indian parents, Monongye was adopted by a Hopi family at age seven. He was raised Hopi, speaking the Hopi language and participating in the Katsina Society. At age nine, Monongye began apprenticeship with his uncle, the master silversmith and painter Gene Pooyama. “He taught me how to live the ‘Hopi way,'” Monongye recalled. Throughout his career, Hopi colors and images were prominent in Monongye’s work.But Monongye was adamant that Native jewelry not be bound by the past, explaining, “An old piece of philosophy given to me by my father and other men of the Hopi Mesas is, ‘If you can progress without hurting your tradition or your , you should do so.”Born in 1927, in Los Angeles he was abandoned at Hopi at age seven and adopted by a prominent Hopi family. Monongye attended reservation schools and became a full participant in Hopi and social life. Following his service as a paratrooper in World War II, Monongye became a Kachina painter, working occasionally for trader Roman Hubbell and the Fred Harvey Company. Monongye re-enlisted during the Korean War and later worked in law enforcement for the Bureau of Indian Affairs while continuing to paint and make silver jewelry. After leaving his job in favor of jewelry making in the early 1960s, Monongye quickly became recognized as an innovative designer and technician, immersing himself in “the new Indian art,” using traditional techniques and motifs to create a contemporary new look. He was best known for cast silver set with stones that often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye taught his art at various schools and workshops and lectured widely on contemporary Native design. He won many awards at shows and competitions and his jewelry appears in museum collections such as the Museum of Northern Arizona in Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Turquoise, Coral, shell and Jet<br>freeform bracelet. 45mm or 1.75" wide, fits up to a 6 3/8" (163mm) wrist<br>including the 1 1/8" gap 112.3 grams with no issues. Incredible design, quality,<br>and . A work of art by anyone's standards, one of a kind piece.  <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Multi-stone intarsia<br>inlay/coral corn row bracelet. 1 5/8" (42mm) wide, 1 1/8" (29mm) gap, fits up to<br>a 6.75 " (172mm) wrist. 88.5 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece.<br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver Spiderweb turquoise<br>bracelet. 1 5/16" (33mm) wide, 1 5/8" (42mm) gap, fits up to a 6 7/8" (175mm)<br>wrist. 82.6 grams. Incredible design, quality, and . A work of art by anyone's<br>standards, one of a kind piece. <br><br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise and coral<br>cobblestone inlay bracelet. 1 7/8" (48mm) wide, 1 1/8" (29mm) gap, fits up to a<br>6.25 " (159mm) wrist. 125.2 grams. Incredible design, quality, and . A work of<br>art by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Preston Monongye (Hopi) (1927-1987) Tufa Cast Silver turquoise, coral, and Jet<br>scary monster bracelet. 1 11/16" (44mm) wide, 1 1/8" (29mm) gap, fits up to a 6<br>3/16" (157mm) wrist. 92.5 grams. Incredible design, quality, and . A work of art<br>by anyone's standards, one of a kind piece. <br>Recognized as an innovative designer and technician, immersing himself in “the<br>new Indian art,” using traditional techniques and motifs to create a<br>contemporary new look. He was best known for cast silver set with stones that<br>often were cut by his friend Lee Yazzie, and later by his son Jesse. Monongye<br>taught his art at various schools and workshops and lectured widely on<br>contemporary Native design. He won many awards at shows and competitions and his<br>jewelry appears in museum collections such as the Museum of Northern Arizona in<br>Flagstaff and the Wheelwright Museum in Santa Fe.

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Price Booker San Antonio Texas Sun Colored Amethyst Pickle Bottles Embossed With<br>Rare Original Labels Tooled Lips 9.5" and 11" c.1900. No cracks or chips. Very<br>clean, both are light amethyst. I assume sun colored. They've been packed since<br>the 1970's and belong in a Texas history museum.

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PSA 10 1999 Pokemon #30 Ivysaur Gem Mint. Buying the exact card shown, it's been in a plastic sleeve since it was graded.

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Nice embossed and scalloped border. Measures 17" x 13.5" Fine example of Chinese mid 18th century craftsmanship. No cracks, large chips, or restorations. Some wear to Gilding and several very small flakes on outer run as shown in rim pics.

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Qing c1880 Chinese Famille Rose Man and Woman serving tea Figures. Very nice<br>quality pair from the late 19th century with no cracks, chips, or restorations.<br>Tallest is 8.5".<br>B18

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Qing Chinese Blue underglaze porcelain dish described in detail on 1984 appraisal which will be included and a pic of is included in the attached pictures. Jo Ann Adams was a very well respected, thorough, and knowledgeable appraiser that specialized in Asian antiques. And as you most likely know if you're reading this Chinese porcelain is one of the few areas of Antiques/Collectibles that have proven to be an excellent investment in the last 38 years since these appraisals were done. 2 old chips on rim, no other chips, no cracks, no restorations.

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Qing Chinese Blue/White Slip Decorated bowls. Selling the three bowls, 18/19th<br>century. One with chip and hairline shown to the right side of the first pic. No<br>other cracks, chips, or restorations. A few glaze pops and crazing lines through<br>hand applied white slip decoration. These are really nice bowls. 8.25" wide x 3"<br>deep. Selling all three.

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Qing Chinese Monochrome Turquoise Glazed bottle form vase. 18th/19th century 5" tall with no cracks, chips, or restorations. Small glaze flakes inside and outside of foot rim.

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Qing Chinese Watercolor mother of pearl inlaid enamel fan. Very fine antique<br>chinese 19th century fan with some expected wear, separation on one side and a<br>few small pin holes, some loss to wood/enamel. Very old fragile item that should<br>probably be framed. I didn't want to mess with it much for the pics but did what<br>I felt comfortable doing. 10" long, all hand painted, etc.<br>chinashelf

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Qing Dynasty Antique Chinese Bowl blue/white underglaze. Large bowl 8.5" wide x<br>4.25" tall.<br>described in detail on 1984 appraisal which will be included and a pic of is<br>included in the attached pictures. Jo Ann Adams was a very well respected,<br>thorough, and knowledgeable appraiser that specialized in Asian antiques. And as<br>you most likely know if you're reading this Chinese porcelain is one of the few<br>areas of Antiques/Collectibles that have proven to be an excellent investment in<br>the last 38 years since these appraisals were done.<br><br>No cracks, chips, or restorations.<br>Chineseshelf

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

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Qing Dynasty Chinese Celadon Crackle Glazed Bowl. 5.25" wide x 2" tall. No<br>cracks, chips, or restorations. Natural wear to footrim, guaranteed 19th century<br>or older.<br>b31

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Qing Dynasty Chinese Shiwan Pottery Food Lion Figures Male and Female. Great<br>Mirrored pair of figures from the Mid 19th century, Chinese. 8.5" long x 7.5"<br>tall each. Matching anatomically correct pair male and female. No restorations,<br>no cracks, both have some los to eyelashes, nibs on tail, and the male has a<br>chip to the back right leg as shown. They are wonderful and display very well,<br>interesting and rare pair but not perfect so please examine pics.tw104

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Qing Dynasty Jade mounted Embroidered Silk Antique Chinese Collar. Frame<br>measures 17.5" x 13.5" Guaranteed late 19th century or earlier Qing Dynasty<br>Chinese Collar with Authentic Jade hung on real untested gold chains.

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QT Southwestern sterling hearts bracelet 8" long, 20 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. 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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Qt Southwestern sterling onyx bracelet. No issues. Signed qt sterling on back of concho. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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QT Sterling Navajo Southwesters shop inlaid sterling link bracelet 7" long x .75" wide. No issues.

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Quartz Amethyst Cats Carved Eagle Head paperweight 2.5" wide, natural hand carved stones with glass eyes. No damage. pwdrawer

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R Navajo Sterling pendant with pretty turquoise. No issues, weight and measurements in pics. Last quarter of the 20th century.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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R.A. Guthrie Sterling Overlay 1985 East Texas No Pro Futurity Rodeo Belt Buckle.<br>The front is sterling mounted on a stronger metal so it can actually be used.<br>4.25" x 3 3/8" for up to a 1.5" belt. Nice clean 36 year old buckle with no<br>significant issues, hand engraved.<br>tw106

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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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Ralph Grimm (1889-1935) Arts and Crafts sterling plate made at Walter Reed<br>General Hospital 7 1/8" wide, some expected wear, displays well. 158.6 grams.<br><br>Ralph Grimm was born July 1889 in Santa Barbara, California, and died 23<br>February 1935 in Washington DC. He was blacksmith and coal miner who lost both<br>his legs as private in WWI. Learned silversmithing trough occupational therapy<br>courses at Walter Reed Hospital. Grimm gained notoriety for his ability to go<br>beyond his handicap and open one business in Washington

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Randall Endito Navajo Waterweb Turquoise and Spiny oyster sterling Lariat<br>necklace approx 20" long with a 3.5" drop 50.5 grams.<br><br>Randall Endito grew up in a family of silversmiths and learned his art from his<br>parents. Born in Gallup, January 1, 1980 to the Tangle Water into Bitterwater<br>Clan, Randall continues to live and work in New Mexico. His clean lines and<br>detailed stamp and scrollwork give him a unique style that is delighting patrons<br>in the Southwest.<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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Randy Glover Sterling Engraved Abstract Cowboy Art Silver Copper and Onyx Mixed metals Necklace/pendant. Made of sterling and copper. The larger beads are sterling, the small ones on the back are copper, face is hand engraved sterling and copper with genuine onyx. No issues or damage. Necklace is 16"Randy Glover has been a full time cowboy in the Davis Mountains & Big Bend region of West Texas most of his life. Learning to engrave in the 1990's from master engraver Johnny Weyerts. Thats when Randy started pursuing a sideline business making jewelry and belt buckles.Randy gets his inspiration from nature while on the back of a horse. Working mainly with sterling silver & copper, incorporating natural stones he strives to make unique pieces with a contemporary southwestern flair.

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Randy Strong 1998 Studio Art Glass Heart Dichroic Paperweight. No cracks, chips,<br>scratches, or dings. 3.25" x 2.75"<br>b31

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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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Rare 1908 Austin Texas Centennial of the Birth of Jefferson Davis Medal 2 5/8" tall with some oxidation and loss to enamel.

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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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Rare 1950's Mantequilla Del-KA Cermeria Nacional Venezuela Champ Austrian<br>lighter from South American Dairy. So significant wear, amazing condition, super<br>rare lighter if not the only one in existence.<br>TW253

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Rare 1970's Carol Kee Navajo Multi-stone Inlay Mickey Mouse bolo tie. Bolo slide 3.5" x 1.75" x 45 grams total weight, no issues. Carol Kee was a Navajo Native American Artisan active in the 60's and 70's, the did other work but is most famous for her extremely collectible character pieces. She made a lot less bolo's than she did rings. Some of her character pieces have brought 2-3k at auction and a few even more.<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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Rare Antique Round Rock/Georgetown Texas Souvenir lot. Interesting lot of souvenirs from places that one wouldn't typically expect to be tourist attractions. These are from about 1910, and at that time it was likely the closest thing to tourist attraction in Round Rock/Georgetown which have both really blown up in the past 20 years. The "ladies Annex for Southwestern University" burnt down in 1925, Trinity Lutheran College moved sometime around 1929. Selling the 4 pieces shown with no damage. blkcrateredbag

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Rare Cambridge Rose Point Blown Divided Bowl 9 5/8" wide x 2.75" deep c.1940 No issues at all, no cracks, chips, scratches, cloudiness. Hard to find piece.

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Rare David Lotton Engraved Multi-flora custom gift pendant. Engraved decoration on borders really sets it off and makes it unique. Signed and dated top reverse with gift dedication on reverse base. No issues. 1.75" without bail x 1.55" wide.DAVID LOTTON David Lotton is a second generation American glassblower. He is the oldest son of Charles Lotton and was introduced to the world of glassblowing at a very young age. In 1970, Charles started building a furnace and began blowing pieces of glass from melted down pop bottles in a shed behind their house. David was there in this infancy and he was Charles first assistant at the age of ten. David has vivid memories of his childhood working in the shop with his father. When most children were playing childhood games he was spending time after school and on the weekends helping him at the bench. By the age of 14 he started learning how to do finishing work, polishing the bottom of the glass flat. David eventually followed in his fathers' footsteps and by the age of 15 began making paperweights. That ignited a passion to begin glass blowing.David has been creating his one of a kind vessels since 1978. His unique handcrafted works are designed with precise attention to detail. Developing his own glass formulas, David has created a complex palette of colors, giving him the ability to create his multi-layering and sculpting style. Each year David continues to study and refine the techniques he uses in creating his art.David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed Bouquets Series all reflect his floral patterns which capture his love for detail. He combines color and layering to create depth and beauty. His Organic Sculptures reflect movement and rich hues of a summer sunset. David is inspired by all nature. He has a successful ranch in the hills of Kentucky where he is inspired to evolve, change, and grow continually. He commutes back and forth to fulfill both loves. pwdrawer

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Rare Large 1950's Full Bee Mark Goebel Googly Eye Musician Children. These are<br>fabulous with absolutely no damage or repairs, no crazing. Tallest is 10", they<br>have glass googly eyes one is impressed 73 on the base. Both with underglaze<br>full bee marks.

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Rare Retired James Avery 14k/Sterling Bolo Tie. Very difficult to find item, the tips are sterling and James Avery though unmarked, I'm 100% sure they are James Avery though because while I have never seen or owned this extremely rare Bolo, I have had some bronze Avery bolo's and the tips were the same. Bolo measures 1 3/8", 47.1 grams total weight. anderas

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Rare Retired James Avery Archer Girl in Horseshoe Oversized charm/pendant in<br>sterling, no damage or significant wear. Cut jump ring 1" tall x 7/8" wide.<br>Looks like Raggedy Ann holding a bow and arrows, don't believe there's another<br>out there to find or will be anytime soon.<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.<br><br>anderas

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Rare Retired James Avery fish pendant in sterling. No issues, weight and<br>measurements in pics. I cannot provide any additional measurements, videos, or<br>pictures that aren't provided as my jewelry is stored at a separate secure<br>location until it ships. Thank you so much for taking the time to look and your<br>consideration.<br><br>anderascoll<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>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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Rare Retired James Avery Laugh Now Cry later madonna pendant/oversized charm. 1<br>3/8" x 5/8" x 4.9 grams.<br><br>anderascoll

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