c1920's Boy Scouts of America Troop 29 Wilmington DE. Rare one of a kind Boy scout sign from the first half of the 20th century. 11.5" tall x 8.25" wide without hanger. The hanger has a 29 stamped in the copper and 29 is scratched twice on the back. It has two holes in the bottom of the sign where another sign likely hung below it probably saying "troop 29" This was found by me in Austin, Texas fresh from an Estate but the clues lead me to believe it's from Troop 29 Wilmington DE which was founded in 1919 but closed in 1920 then later opened in 1928. The patina and a lifetime in this business lead me to believe it's either from right at 1919 or 1928, I'm not going to guess which one but I'm 100% sure it's a very old item 80+ years old. Natural expected wear. TW68

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c1920's Chinese Republic Period Wood Plaque with Soapstone inlay 14" x 8", minor loss on each side of the green mountain inlay second from the bottom, no other issues. Guaranteed from the first half of the 20th century. TW140

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c1920's Chinese Soapstone Bookends. Nice pair of early 20th century Chinese hand carved soapstone bookends, minor wear as shown but overall condition with no major breaks. Both marked China as shown in the second pic. b49

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c1920's Dresden Ballerina figures with lace dresses. Very good condition with minor expected loss to dresses, no significant loss or chips elsewhere, no cracks. Tallest 5", selling both. isshelf

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c1920's Elgin Guilloche Nickel Silver Compact. 2.5" x 5/8" with no apparent damage, stong hinge and clasp. Locks shut and you push button and pull to open. tw208

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c1920's FBBL Boxing Medal by Huguenin. Rare medal appears to be silverplated<br>bronze. I'm assuming FBBL is something something Boxing league. This medal is<br>from the 20's or 30's. It was framed when I got it but appears to have some wear<br>to silverplating over bronze but overall in good condition. Frame is 5 1/8" x<br>4.5", sight on the medal is 2 1/16" x 1 5/8".<br>TW57

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c1920's French André Delattte Cameo Glass Footed Center Bowl. Great piece of<br>Authentic French cameo glass from the 20's or 30's. 9" tall x 7.5" wide with no<br>cracks, chips, or restorations. The yellow looks like uranium glass to me but I<br>can't find any of my UV lights at the moment.<br><br><br>André Delattte himself was born in Châtenois, France, in 1887. He first founded<br>his glass producing company in 1921, close to Nancy. He fabricated engraved<br>glass objects of the kind which was also sold by Daum and Muller Frères.<br>Delatte’s cameo vases and bowls were much more interesting: the objects only<br>incorporated two to three layers of glass, with motives made visible through<br>acid and only little polishing was done afterwards. The designs were common to<br>be solid and clean. Although the motives themselves were not innovative and<br>mostly depicted landscapes and florals, they were attractive to the eye. The<br>company was shut down in 1938, because of the financial crisis at the time.<br><br>tw22

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c1920's French Hand Painted Porcelain Jewelry Casket Dresser Box. Nice piece<br>from the first half of the 20th century. Nice strong hinge with no issues, no<br>cracks, chips, or restorations. 7 3/8" x 5" x 2" tall.<br>boxdrawer

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c1920's Haviland Art Deco Woman Cabinet Plate. 8 5/8" wide with no cracks, chips, restorations, or significant wear. Very unusual one of a kind plate. tw146

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c1920's Herend Persil Art Deco Hand Painted Soup Tureen. Extremely rare and in perfect condition. No cracks, chips, restorations, or other issues. 14" wide x 9" deep x 12" tall. B44

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c1920's Japonesque Maling English Majolica Tubelined Wall plate. No cracks, chips, or restorations, overall crazing and stains, not really detectable from the front. 11 3/8" isshelf

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c1920's Mexican Sterling Silver Repousse Belt 31". Solid sterling silver<br>(tested) unmarked, likely made for the local market, very unusual belt. Where<br>the belt hooks it comes out to about 31.25" 32.25" total length. 389 grams<br>Buckle 2 7/8" x 3 1/8", belt approximately 2.25" wide on widest conchos. Lots of<br>very nice repousse work.

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c1920's Steuben Cranberry Swirled Wine Stem. 5 5/8" tall x 3" wide at rim. No<br>cracks, chips, restorations, or cloudiness. Ground pontil, unmarked.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in<br>Steuben County, from which the company name was derived. Hawkes was the owner of<br>the largest cut glass firm then operating in Corning. Carder was an Englishman<br>(born September 18, 1863) who had many years' experience designing glass for<br>Stevens and Williams in England. Hawkes purchased the glass blanks for his<br>cutting shop from many sources and eventually wanted to start a factory to make<br>the blanks himself. Hawkes convinced Carder to come to Corning and manage such a<br>factory. Carder, who had been passed over for promotion at Stevens and Williams,<br>consented to do so.<br>tw123

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

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Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips, restorations or crazing. 3 7/8" long x 2.5" tall. tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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c1920's WWI Imperial German Navy Lion's Head Sword candle holders. Pair of<br>Imperial German Navy Lion's Head Sword candle holders from WWI. Two standard<br>Imperial German naval sword hilts converted to candle holders by attaching them<br>to cast brass bases and candle holders. The sword hilts were converted from left<br>over stocks of unissued swords. Jewels in all 4 eyes 10 7/8" tall with 5 1/8"<br>base.<br>TW253

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c1920's-30's Large Navajo Silver and turquoise Thunderbird watch fob/pendant 2.5" tall x 2" wide, 18.2 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>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. Bracelets are photographed on a 6" women's wrist.

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c1924 Roseville Imperial II Bulbous Vase no cracks, chips, restorations,<br>crazing, scratches, or detectable flaws. 7" tall x 6.5" wide. Above average<br>glaze with crisp molding.<br>isshelf

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c1924 Staffordshire Majolica Brownhills Pottery Teapot Set Aesthetic Movement. Sugar bowl has no damage just slight paint wear on rim, teapot with rear handle has tiny flake on spout with no other damage. Teapot with handle on top has a broken and glued spout, tiny flake on spout, and some small chips inside the rim where the lid goes. All three lids are damage free. Sugar is 6" wide with handles x 5.75" tall.

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c1926 Othmar Kober Viennese Silver enamel Pauli Ebner, Kissing Children/Cat box. High quality box with hand painted enamel decoration depicting "Kissing Children in bedroom with cat" by Pauli Ebner. Whimsical subject matter, no damage to enamel, a few minor scratches as it‘s pushing 100 years old. The interior is gilt, lid has a strong spring on the hinge that keeps it shut. 3 1/8" x 2" x 3/8" deep. 104.9 grams.

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c1926 Roseville Carnelian II Art deco vase. Wonderful blue/green matte glaze with no cracks, chips, restorations, crazing, scratches, or detectable flaws. 8.25" tall.

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c1928 Fostoria Grape Orchid Brocade footed rolled edge bowl 11" wide x 3.75" tall. In my opinion Brocade which was produced by fostoria for just a few years in the late 1920's is the highest quality glass they produced from that period on. It's made like came glass, each piece was labor intensive. No damage whatsoever on this piece. isshelf

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c1929 Crown staffordshire Miniature Tea Cup and saucer, bowl and pitcher and other. Selling the lot shown with no cracks, chips, or restorations. Saucers 2.25" wide for reference, some expected crazing with no stains. Selling everything shown. b1

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c1930 Art Deco German Porcelain Bathing Beauty Dresser box. Impressed crown over S mark. German porcelain from first half of the 20th century with no cracks, chips, or restorations. 3.5" wide x 4" tall, Rub to enamel to left of woman on top of jar. isshelf

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

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c1930 Art Deco Lenox Devilbiss Atomizer perfume bottle. All original, I'm sure<br>the bulb is dryrotted, didn't attempt to use it. No damage to porcelain. 2.75"<br>wide x 2.5" tall, rare especially with this gold base.<br>TW218

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c1930 Chinese Cloisonne set. Very intricate design on this one. All in one<br>holder, ashtray, match holder. Could obviously be repurposed. NO damage to<br>exterior crazing in interior of ashtray. 6.25" x 3.25" x 2" deep.

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c1930 Chinese Republic Period Cloisonne 2 sided box. Great piece of Chinese<br>Cloisonne with no damage or detectable wear. Circa 1920's-30's. 2 Compartments<br>each measuring 3" x 2.5".<br><br>tw196

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c1930 Fulper Pelican Flower Frog.. 7" tall with no cracks, chips, or<br>restorations, crazing in a few places.<br><br>tw163<br><br>The Fulper Pottery Company was founded in Flemington, New Jersey in 1899 by<br>Charles Fulper and his sons. However, the pottery had existed since 1815 when<br>the first pottery was created by Samuel Hill. The pottery initially produced a<br>wide variety of utilitarian ware, and drain tiles and storage crocks and jars<br>from Flemington’s red earthenware clay. In 1847 Dutchman Abraham Fulper, an<br>employee since the 1820s became Hill’s partner. He later took over the company.<br><br>It was not until the early 1900s when William Hill Fulper II (1870-1953) started<br>to experiment with colored glazes and the company started to create some of the<br>art pottery it is famed for. Fulper is credited with inventing the dry-body slip<br>glaze, which was used to create colorful designs on his pottery. He also<br>developed a method of using electric kilns to fire his glazes, which resulted in<br>brighter and more consistent colors.<br><br>Fulper Pottery’s Vasekraft line was inspired by the work of German potter John<br>Martin Strangl. The line includes a wide variety of vases, bowls, and other<br>vessels, all with Strangl’s signature clean lines and simple forms.<br><br>The company is especially known for the Fulper lamps-with glazed pottery shades<br>inset with colored glass-were truly innovative forms. The firm’s most<br>spectacular and innovative accomplishments are the table lamps made with glazed<br>pottery bases and shades, which were inset with pieces of colored opalescent<br>glass. These were produced from about 1910-1915 and are very rare, especially in<br>perfect order.<br><br>William Hill Fulper II was also an excellent advertiser and marketeer and<br>Fulper’s Vasekraft products were sold throughout the United States in the most<br>prestigious department stores and gift shops. Fulper’s pottery was exhibited at<br>the 1915 Panama-Pacific International Exposition in San Francisco, where it<br>received a gold medal. His work is also included in the collections of the<br>Metropolitan Museum of Art, the Smithsonian Institution, and the Philadelphia<br>Museum of Art.<br><br>During its first twenty-five years, Fulper Pottery was particularly known for<br>its flambé glazes, which were heavily influenced by Chinese and Japanese ceramic<br>traditions. These glazes, which resulted in vibrant and often unexpected colors,<br>helped to establish Fulper Pottery’s reputation for innovative and high-quality<br>art pottery.<br><br>After World War I, Fulper Pottery began to shift away from its Germanic roots<br>and move towards more Oriental-inspired forms. The company’s designers began to<br>experiment with new shapes and glazes, inspired by the Art Deco movement that<br>was sweeping Europe at the time. The Vasekraft name was changed to Fulper<br>Pottery Artware. These new pieces were softer and more graceful than the<br>functional stoneware that Fulper had been producing up until that point, and<br>they proved to be very popular with the public.<br><br>In the 1920s, Fulper Pottery was one of the leading producers of Art Deco<br>ceramics in the United States. The company’s designers created a wide range of<br>vases, lamps, and other objects that were both beautiful and stylish. Fulper’s<br>pieces were featured in some of the most prestigious design magazines of the<br>day, and they were popular with both collectors and everyday consumers.<br><br>In 1925, Charles Fulper died, and his sons took over the operation of the<br>pottery. Under their leadership, Fulper Pottery continued to experiment with new<br>glazes and firing techniques. They also began to produce a line of dinnerware,<br>which was very popular during the Depression-era.<br><br>The Great Depression hit Fulper Pottery hard, as it did many other businesses.<br>The company was forced to lay off a large number of employees and cut back on<br>production. However, Fulper’s designers continued to experiment with new ideas,<br>and the company managed to survive the difficult economic times.<br><br><br>William Hill Fulper II died suddenly in 1928. The company continued to be run<br>with Martin Stangl as President. In 1935, Fulper Pottery Artware production was<br>ceased at the small remaining Flemington location, and that building was<br>utilized solely as a retail showroom for the company’s ceramic products. After<br>1935, the company continued to be Fulper Pottery, but produced only Stangl<br>Pottery brand dinnerware and artware.

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c1930 Hopi Pottery Collection. Fresh from the Estate who's family owned Herring<br>Bros Curio Shop in San Angelo Texas that shut down in the 30's, it was a Native<br>American trading post from what I know. Selling the lot shown from the 1930's or<br>before. Largest pot is 5.5" wide x 3.25" tall. The mug has a hairline shown in<br>center of one pic, no other cracks, no chips, minor wear shown.<br>TW110

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c1930 Hubley Cast Iron Red Motorcycle Electric Headlight 6.25" x 4.25" tall.<br>Front tire appears to be a replacement, back tire is a little rough. No breaks<br>or repairs. I'm selling a very large collection of antique mostly iron toys that<br>was assembled 50 years ago. They come with what's shown in the pics if I know<br>something is missing I'll describe it. They're all antique, I can't spend much<br>time on each item so I may not know manufacturer of every piece, but they're all<br>American and late 19th to early 20th century. No reproductions, and nothing<br>rigged up.

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c1930 Huge Art Deco Signed Frosted Cut Glass Vase signed Helbert?. Strange and<br>wonderful piece of quality period art deco glass. I'm confdent this is 80-100<br>years old but I don't recognize the signature which is weird. It's a very large<br>piece 9.75" tall and wide. The decoration is hand cut, the flower centers are<br>applied glass, the signature appears to be hand engraved. This is a handmade<br>skillful work or art so I'm finding it very strange that I don't recognize the<br>signature or maker. No chips on the top, no cracks, minor wear to frosting on<br>base rim possibly during the making. It is high quality high lead crystal glass,<br>rings like a bell.<br>twshlf

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

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c1930 Kienzle Germany Alarm Clock Gold Dore Bronze with Blue Enamel. Nice art deco alarm clock from the first half of the 20th century. Good working order with working alarm. Very small chip on right side of crystal, no other significant issues. 3 1/8" wide. TW10

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c1930 Noritake Azalea Demitasse Cups and Saucers 4) 4 9/16" saucers and 3) 2 3/16" tall cups. Selling Everything shown all in super clean condition with no cracks, chips, or restorations, and very minimal if any gold wear I've look them over closely and they are near mint all pieces. The Azalea pattern was produced for only the Larkin Company. They gave the Azalea pattern away as premiums to the club members and their home agents. Azalea was made between 1916 and 1930. Azalea was fine china and decorated with pink azaleas on a white background with gold around the edges and on the handles. All together they have made 70 different pieces. Some of the pieces are rare such as the bulbous vase, pancake jug, china and the 15 piece child’s set. The earliest mark was a ‘M’ in a wreath. Later they marked it ‘Noritake, Azalea, Hand Painted Japan. The Larkin Company was in Buffalo, New York. The company’s name was changed to Noritake Company Limited in 1981. TW164

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c1930 Pairpoint Sterling Silver Mounted Etched controlled bubbles covered candy dish in the Wickham etching. Rare if not one of a kind piece 11.5" tall x 5.25" wide. No cracks, chips, restorations, scratches to sterling or other issues. H monogram with what looks to be a P and B on either side. Very special piece in a beautiful honey amber. tw164

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Heinrich Gold Encrusted Service Plate set 10 7/8" (5) Selling the set of 5 shown<br>all like new with no utensil marks, wear to gold, chips, cracks, etc. They look<br>new but are from the first half of the 20th century, top quality large plates. I<br>have shown each plate at a different angle as they were difficult to photograph,<br>it was difficult to make the gold pop and still show the beauty of the Hand<br>painted center motif's. The centers are hand painted, three have a similar but<br>slightly different center as they are hand painted, the other two are different<br>completely.<br>isshelf

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c1930 Rosenthal Elite Lustre decorated Art deco bowl with heavy gold. Near mint with no cracks, chips, restorations, crazing, or detectable wear. 11.5" x 7.75" Looks to have been designed by a Rosenthal family member according to mark on base. tw146

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c1930 Rosenthal Elite Lustre decorated Art deco Charger Octagonal Platter with heavy gold Butterfly and Fruit. Near mint with no cracks, chips, restorations, crazing, or detectable wear. 12.75" Looks to have been designed by a Rosenthal family member according to mark on base of another piece I have inthe same pattern. tw150

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

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c1930 Steuben Gold Aurene Electric lamp with Ornate brass fittings. Fantastic<br>Steuben lamp from the 1920's or 30's with very high quality original fittings,<br>Handel made many of Steuben's lamps but I see no markings. Please excuse<br>pathetic pics I don't have room to photograph the whole thing at once. 25.5"<br>tall, fresh from an amazing Steuben collection last acquired in 2008. No damage<br>whatsoever, the finial is amazing also with a cut Amber glass prism. Buying what<br>you see here with no damage and it will be packed by a pro.

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c1930 Zsonlay Hungary Eosin Iridescent vase Art deco period and style. 6 1/8" tall with no cracks, chips, or restorations, no crazing, no scuffs. Nice piece of early to mid 20th century functional decorative art. TW219

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6.75" Vintage Navajo sterling turquoise and coral bracelet, 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. 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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c1930's Art Deco Rose Repousse Gorham 323 Sterling Butter pat/trinket dish<br>(multiple available). Selling one of these with multiple available by changing<br>qty or contacting me. They measure 3 3/8" square and weight 30 grams each. No<br>dings, dents, bends or other issues. If you purchase multiples, they will all be<br>in basically the same condition.<br>b3

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c1930's Jesus Salmon Art Deco Mexican Marquetry wood plaque. 6.75" x 10" great<br>subject matter and skillful work, good condition. Signed lower left.<br>b60

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c1930's Karl Ens Voklstedt Girl with goose. 7.75" long. Loss to one pink petal, no other cracks, chips, or restorations. Just marked Germany but I've seen this figure with the rest of the mark and the quality makes the maker obvious in my opinion. Figshelf

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c1930's Miniature Czechoslovakia Gilt Metal/Rhinestone mounted perfume dauber.<br>2.25" tall x 1.75" wide One tiny nick to red rhinestone over the large pink<br>ones. Didn't notice it in person, only in the Macro photrograph. No other<br>issues, Tag on top "Czechoslovakia" shown in 4th pic. Possible mineral deposits<br>inside bottle as I didn't attempt to clean it.<br>tw254

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c1930's Native American silver turquoise cluster ring pin. Pin made from an old ring, ring likely 20's-30's, likely converted to a pin in the 50's or 60's. Sturdy with one silver piece separated from the back of the pin/ring.

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c1930's Navajo Hand Stamped silver and turquoise bracelet.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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c1930's Navajo ingot silver turquoise row cuff braceletMarked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is<br>stored in a secure location and cannot be accessed for more pictures, videos, or<br>measurements until sold. If you look at pictures/description your question<br>should be answered. Thank you so much for your time and consideration

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c1930's Navajo ingot silver/turquoise heavy stamped cuff bracelet 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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c1930's Navajo Petrified wood heavy stamped Silver cuff bracelet, fits up to a 6<br>5/8" wrist, nice solid cuff 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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c1930's Navajo silver pin with turquoise. No issues, measurements in pics.

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c1930's Thrall Texas Alamo Iron works bottle openers Cotton Gin. The Thrall opener is very complex and has has a 1923 patent date on it, it's advertising the original Thrall Cotton Gin company that burned down in 1959. Th Alamo Iron works is likely closer to mid 20th century and is self explanatory. Both are amazing pieces of Texana, selling both for one price. isshelf

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c1930's Vintage Native American Heavy Stamped silver/turquoise cuff bracelet. Great cuff with intricate stampwork and natural turquoise. 35.2 grams, feels like ingot. 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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c1930‘s William Spratling tin milk pitcher/creamer. No holes or breaks, a few small dents shown. 4 7/8" tall to top of handle, 5 3/8" wide handle to spout. LRshelf William Spratling was born in 1900 in Sonyea, New York. His father was well respected and widely known for his study and writings concerning epilepsy. After the death of both Spratling‘s mother and sister, Wilhelmina, in 1910, Spratling‘s father moved temporarily to his father‘s Alabama home (known as Roamer‘s Roost) with sons William and David as well as older daughter, Lucile. At that time, the three Spratling children became wards of their grandfather. By the end of 1912, the family had moved once more and the children were separated; each went to live with with various aunts and uncles. In 1917 William Spratling attended Auburn University and a year or two later, during his stay at Auburn served as an instructor in architecture. Spratling moved to New Orleans in 1921 where he was an Associate Professor of Architecture at Tulane University. During the following nine years, Spratling published articles in Scribners Magazine, Journal of the A.I.A., Architecture Record, and many other architecture and travel publications. He became an active part of the New Orleans literary colony during those years, and his frequent companions were Natalie Scott, Sherwood Anderson, Oliver La Farge, Frans Blom, John Dos Passos and William Faulkner. Faulkner lived with Spratling for a time, and together they wrote and published Sherwood Anderson and Other Famous Creoles in 1926. 1926 was also when Spratling visited Mexico for the first time. He returned for summers over the next several years, and in 1929, moved to Mexico. Spratling quickly was introduced to and became a welcome participant in the artistic circles of Mexico. His activities in promoting the art of Diego Rivera among New York galleries led to his participation in the first exhibition of Mexican arts held in the United States. The exhibit was funded by the Carnegie Institute and opened at the Metropolitan Museum of Art in New York. Spratling assisted in assembling the exhibit and also lent a number of his own pieces. During this same period, Spratling was working on drawings for the expanding Morrow home in Cuernavaca. Many of these drawings were included in the book written by Elizabeth Morrow, Casa Mañana. Dwight Morrow, the US Ambassador to Mexico, suggested to Spratling in 1931 that Taxco had been the site of silver mines for centuries, but Taxco had never been considered a location where jewelry and objects of silver were designed and made. Subsequently, Spratling hired an experienced goldsmith from Iguala who moved to Taxco and created silver jewelry of Spratlings design. Other craftsmen joined Spratling‘s shop and produced tin ware, copper items, textiles and furniture - all designed by Spratling. These earliest designs were based on pre-Columbian motifs as well as simple themes utilizing rope borders, strap designs and other such basic ideas. The enterprise grew far beyond Spratlings expectations! Because he had created an apprentice system of training young silversmiths many new talented artisans had an opportunity to develop their craft. Over time many of these artisans opened shops of their own all with Spratlings support. During the Second World War, U.S. department stores were unable to import merchandise from Europe, and many retail stores purchased luxury goods in Mexico. In order to meet this dramatic increase in demand, Spratling opened his company to private investors, and by the end of 1944 had lost control of his company. Early in 1946, Spratling y Artesanos was out of business. By this time, Spratling had moved to a ranch he had earlier purchased south of Taxco at Taxco-el-Viejo. He never again lived within the town of Taxco. In 1946, he was asked by the U.S. Department of the Interior to develop a plan for development of native crafts in Alaska, and in 1949, a group of 7 young men from Alaska arrived at Spratling‘s ranch at Taxco-el-Viejo and began their training. Spratling had designed and produced 200 models for that effort, but after the men completed their training and returned to Alaska, the program languished primarily due to lack of government funding. The actual benefits of the program (both for Alaskans and for Spratling) were never realized. The time, however, that Spratling spent studying Alaskan native cultures and visiting all parts of Alaska created great impact as seen in Spratling‘s later silver designs. His design ethic in 1949 was dramatically different from those designs of the 1930s until mid 1940. He also used new materials in combination with silver for many of these later designs. Spratling continued to rebuild his business and had silversmiths fabricating his jewelry and object designs at his ranch. His designs were also produced by the Conquistador Company in Mexico City for a couple of years. Spratling published More Human Than Divine in 1960 and his archaeological interests not only continued but by the early 1960s seemed to take precedence over the creation of new silver designs. He donated collections of his pre-Columbian materials to the National University of Mexico and the National Museum of Anthropology in Mexico City. Spratling has been called by many "a Renaissance Man." Throughout Mexico he is acknowledged as "The Father of Mexican Silver." Certainly the town of Taxco and its economy would be vastly different without the initiative and creativity of this man. He complemented its valuable historic past with a new vitality and spirit which recognized the importance of the indigenous culture. The artistic and economic foundation he established continues to flourish today.

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c1930's-40's Navajo Heavy stamped silver bracelet. The stone is possibly some<br>sort of agate with some quartz. Fits up to a 6 5/8" wrist, 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. 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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Vintage Native American Heavy Stamped silver/turquoise row cuff bracelet. Great cuff with intricate stampwork and natural turquoise. Unidentified by me hallmark, possibly Hopi. 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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c1940 Lenox Miniature Girl on Ledge Figure 3.75" tall with no cracks, chips, or crazing. b12

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c1940 6 3/8" Navao Stamped silver and agate bracelet 35mm wide in center. Nice<br>old bracelet from the second quarter of the 20th century, unmarked. Stable<br>fracture/fissure goes through half of the stone.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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