Produk

1970's Japanese Studio Pottery Bizen Vessel by Takeshi Inoue. Purchased in the late 70's by my client from the artist in Japan. Vessel itself if 7" tall without box. Comes with original box, a few small dents in lid of box. No cracks, chips, or restorations. Some firing flaws, etc as shown and expected with this type of pottery. isshelf

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1970‘s Jim Wilson Navajo sterling turquoise shadowbox butterfly concho belt 466 grams total weight. 38" total length, will fit up to a 35" waist. . Other measurements in pics. 1 Buckle and 5 of each type of conchos for a total of 11 solid sterling pieces with nice turquoise. 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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1970's Judy Wallace Zuni Sterling Multistone Inlay Large Concho Belt with hummingbirds. Rare, unusual likely one of a kind Zuni sterling concho belt. Each concho signed JW, no sterling mark but tests sterling. Very good quality work all handmade, circa 1970's. 9 Conchos including the buckle 2 3/8" wide with an average weight of 45 grams, total weight of belt is 526 grams 39" total length Existing holes at 31"-34". Leather is just a hair under 1.5" tw208

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1970's Jugtown Pitcher Blue Decorated Salt Glazed stoneware pitcher. 7.5" tall<br>without damage or wear, dated 1978.<br>isshelf

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1970's Justin Morris Navajo Sterling Turquoise and coral pendant/necklace. 24"<br>necklace, 3" x 2.25" pendant all with no issues. 74.8 grams total.<br><br>Silversmiths Justin and Irene Morris began making jewelry over 50 years ago. At<br>that particular time in American History many Native Americans were turning to<br>art to bring in extra income to support their families (particularly those<br>without college educations); he got the idea from his Grandpa Bitchittti. Not<br>surprisingly, Grandpa proved to be right. In the mid sixties, Southwestern<br>Indian jewelry started to make its way into mainstream America, finding its way<br>across Sacs of Fifth Avenue Catalogs to featured articles in Arizona Highways.<br>Before Justin decided to take up silver, he was a instructional aide for the<br>Government at Dilcon Boarding School. Morris recalls Grandpa looking out for the<br>livelihood of the family and notes, "the idea (for me to become a silversmith)<br>was all Grandpa's...the learning (however) was all self-taught."<br><br>Over the next few years, Morris began to learn and refine the skilled trait of<br>not only fabricating jewelry from sheets of silver and turquoise but also<br>learned the art of marketing. He managed to establish--over the course of 50<br>years--a clientele that spanned from as close as Sedona, Arizona to as far away<br>as Frankfort, Germany. Also over the next few years would come Justin and<br>Irene's children, Charles, Luskey, Calamity, and Keturah who would also take up<br>silversmithing. Today, the business is a family affair and Justin accredits his<br>success to his children's participation in the business and the support of his<br>wife Irene, "(Everyone) They all helped out in the shop, (the children) ever<br>since they were small...working together has brought us closer together." And<br>from the looks of it has kept them together as well.<br><br>Being in the business for over 50 years hasn't however been without its hard<br>times. The Morrises, for business proposes, decided rather than continue to<br>wholesale to retailers to take the business directly to his customers through a<br>market place venue. In the early 90's Justin and his family decided to start to<br>explore these markets. The bonus of exploring markets provided the Morrises with<br>the opportunity that they very rarely had--to meet collectors of his jewelry.<br>These markets also allowed the Morris name to take their business to a wider<br>range of customers, enabling them to hone business according to their customer's<br>needs.<br><br>Over the past years Morris has been able to instinctively, wield his business<br>according to seasons and market places which at times--the family unanimously<br>have admitted--have been a hard study. Surprisingly, the heard times, the<br>Morrises admit, are what measure the high points, which for them were building<br>the family business name. And even in the dreariest of times, which Morrises<br>have confessed their share, they comment, "you keep your mind on the Creator,<br>and keep laughter close." The both of which have propelled his business forward<br>in to the unknown. Today they, the Morrises, together, continue to forge into<br>unknowable.

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1970's Lalique Nina Ricci Bath salts box. These bath salts were bought fifty years ago and never used. A half century old bath crystals ready for current use and a magnificent Lalique frosted crystal vanity box as a premium -what a premium! Rene Lalique frosted glass box with molded relief decoration of a pair of love doves on l the lid. 5.5" wide x 3.5" tall. Near microscopic chigger bite on the very inside rim on the lid shown top center of the 5th picture. No other damage or wear. isshelf

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1970‘s LD Native American sterling quartz included turquoise pendant. Weight and measurements in pics, no issues. 24" necklace. 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, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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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1970's Licio Zanetti Murano Art Glass Ducks. Nice large almost life sized ducks<br>extremely heavy. I'm sure they are both signed but one had this label on the<br>base as most items in the estate did stating where they bough them and what they<br>paid for them. It has likely protected the base from scratches all these years.<br>I removed the corners just to show it wasn't chipped under the label. I felt<br>leaving it to help establish provenance was appropriate. They both measure 12.5"<br>x 13" long varying slightly as they were handmade about 50 years ago. Selling<br>both with no chips, cracks, or restorations, no scratches on top, some expected<br>shelf wear on base.<br><br>Founded in 1956, the Zanetti Vetreria Artistica by glassmaster Oscar Zanetti and<br>his son Licio. In 1989 master Licio Zanetti stepped down in favor of his son<br>Oscar (named after his grandfather), who had been working by his side since his<br>youth. Licio's work shows a predilection for naturalistic subjects is reflected<br>in a lively collection inspired by the flora and fauna of his beloved Venetian<br>Lagoon.<br><br>isshlf

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1970's Linda Genet Texas Studio Pottery vase Mid Century Modern. Great piece by Retired professional potter Linda Genet, a former student of Ishmael Soto that made a name for herself locally and this piece shows you why. 6.75" tall x 5.5" wide with no damage. tw227

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1970's Marcus Coochwykvia Hopi Overlay sterling necklace. 16" total length<br>including the 2.75" center pendants length. 15.9 grams total.<br><br>Marcus Coochwykvia<br><br>(Born circa 1952) A member of the Bear clan, this jeweler marks his jewelry with<br>both his initials and with a bear paw. Marcus Coochiwikvia's Hopi heritage is<br>easily revealed by this dedication to creating extraordinarily well designed<br>overlay work in both gold and silver.<br><br>Trained to make jewelry first by Glen Lucas, then Roy Talahaftewa and through<br>his association with Hopicrafts, Marcus has routinely won Indian market<br>competitions. Rightly, this metal artist is included in all books covering<br>American Indian jewelry.<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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1970's Matilde Poulat Style Mexican Silver pendant and necklace 16" necklace 2.5" long pendant. 19.9 grams total marked and tested sterling.

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1970's Mayan Style Castlecliff Larry Vrba Blue Red Enamel Large Pendant. 3" tall with bail x 2.25" wide with no issues. Great piece of vintage costume jewelry.

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1970's MCM Copper enamel plaque. Very cool with no apparent signature, frame is plastic 7" total width. tw271

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1970's Merikay Mackenna Guilt Free Animal Trophy Lion Head Taxidermy 18" Listed<br>San Francisco Artist. The last picture shows what her 2005 version of the lion<br>head looked like. As you can see there was great care put into the older<br>version, her older pieces rarely come to the open market.<br><br>MacKenna has published several books, won numerous awards and her work is<br>represented in many public and private collections throughout America. She has<br>shown her work in several gallery exhibitions.

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1970's Mexican Sterling Chip inlay Aztec style necklace 26" total length with no issues.

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1970's Modernist Navajo Jackie Singer coral cuff. No issues. 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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1970's Modernist Sterling/Rosewood Mexican Cross. Really great Marked 925 Mex and some other stuff. 5" tall, no damage.<br>isshelf

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1970's Murano Art Glass Bear. Purchased in Murano Italy in the late 1970's, I'm not sure if it was new us vintage at the time. 8" long x 5" tall with no cracks, chips, dings, or restorations. tw187

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1970's Nakai Navajo sterling chip inlay belt buckle with belt. High quality buckle and belt, both Navajo made. Belt fits from 37" to 42" waist with existing holes. 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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1970's Native American Sterling high grade turquoise bolo tie 34" long with no issues.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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1970's Native American sterling silver beaded lariat necklace with turquoise. Hallmarked as shown 18" long, other measurements in pics.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, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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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1970‘s Navajo Chip inlay sterling peyotebird teepee belt buckle. No issues, weight and measurements in pics. Unmarked as typical of this era (mid 20th century), solid sterling with M or W hallmark unresearched by me. Marked or unmarked as shown in pics, weight and other measurements in pics. Older Native American jewelry is typically unmarked. If I call it Silver or Ingot I‘m guaranteeing it to be 90% or more silver. This isn‘t something I get confused about. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration.

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1970's Navajo Rosco Scott Overlay bolo tie. Bolo slide 2", 32 grams total<br>weight.<br><br>Roscoe Scott is a Diné artisan from the Navajo Nation who has been active since<br>the 1970s fashioning Southwest Indian Jewelry. He worked as a bench smith early<br>in his career for the Atkinson Trading Company. He is known for his fine overlay<br>work.

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1970‘s Navajo sterling chip inlay peyotebird belt buckle. No issues. Weight and Measurements in pics. Marked or unmarked as shown in pics, weight and other measurements in pics. Older Native American jewelry is typically unmarked. If I call it Silver or Ingot I‘m guaranteeing it to be 90% or more silver. This isn‘t something I get confused about. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration.

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1970's OCF Native American sterling, turquoise, and coral patriotic bolo tie. 38" long with no issues. 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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1970's Orville Tsinnie Bisbee Turquoise Navajo Sterling belt buckle. Signed on back by Orville or Darlene "Bisbee Blue". Very nice large Bisbee Stone 35mm x 18mm.Tsinnie, Orville and Darlene Orville and Darlene made beautiful jewelry from their studio near Shiprock, New Mexico. Orville first learned the silversmithing trade from his brother-in-law, who was a silversmith. He became a master silversmith and earned many awards over 40+ years of jewelry-making, including a Lifetime Achievement award from the Indian Arts and Crafts Association. Orville passed away in 2017. His extraordinary talent and big heart made him a favorite in the industry. Orville is known for his meticulously stamped silverwork, often set with beautiful stones or bones.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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1970's Peter Deneen Studio Pottery Ashtray. Really nice ashtray to use for whatever you want from the 70's or 80's. 5" wide x 2 1/8" tall. Peter Deneen began his lifelong journey with ceramics while studying pottery at Luther College in Decorah, Iowa. During this period he also began attending Marguerite Wildenhain’s Pond Farm School (located in northern California) in 1968. Peter went on to earn his M.A. from the University of Iowa in 1971. Inspired By Art & History During this time, Peter caught the inspirational fire of the Bauhaus movement of Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was to create an environment which would nurture the bond between art, industry and trade through education; to insure the cooperation of industry and artists in the field of mass production.” ESTABLISHING DENEEN POTTERY In 1972, Peter and Mary Deneen established their first studio and showroom at Park Square Court in the Lowertown neighborhood of St. Paul. Here they began producing hand thrown functional and decorative pottery and dinnerware. “Form follows function,” was embedded within their work through the teachings from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from Gerhard Marcks. It was during this time that Mary started to produce more commemorative items and ceramic figures, while launching a “Bear Essentials” line. White Picture corner top leftWhite Picture corner top rightWhite Picture corner bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery 1974 PARK SQUARE COURT IN LOWERTOWN • “The Spin of a potter’s wheel brings prosperity, unfettered life-style.” This was the title of the article that ran in a local St. Paul publication around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall, corked canisters and small spice bottles.” At this time, the Deneens wanted to open retail outlets similar to Pottery Barn, but make all of the products at their Lowertown studio. A favorite quote (of the current office) staff has Peter saying. “We’ll never be more than a handful of people. I’d never get larger than three stores,” says Peter.” “Don’t say ‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made in 1974! tw129

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1970's Peter Deneen Studio Pottery Vase. 7.75" x 5.25" with no damage or wear of<br>any kind.<br><br>Peter Deneen began his lifelong journey with ceramics while studying pottery at<br>Luther College in Decorah, Iowa. During this period he also began attending<br>Marguerite Wildenhain’s Pond Farm School (located in northern California) in<br>1968. Peter went on to earn his M.A. from the University of Iowa in 1971.<br><br>Inspired By Art & History<br>During this time, Peter caught the inspirational fire of the Bauhaus movement of<br>Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was<br>to create an environment which would nurture the bond between art, industry and<br>trade through education; to insure the cooperation of industry and artists in<br>the field of mass production.”<br><br>ESTABLISHING DENEEN POTTERY<br><br>In 1972, Peter and Mary Deneen established their first studio and showroom at<br>Park Square Court in the Lowertown neighborhood of St. Paul. Here they began<br>producing hand thrown functional and decorative pottery and dinnerware.<br><br>“Form follows function,” was embedded within their work through the teachings<br>from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from<br>Gerhard Marcks. It was during this time that Mary started to produce more<br>commemorative items and ceramic figures, while launching a “Bear Essentials”<br>line.<br><br>White Picture corner top leftWhite Picture corner top rightWhite Picture corner<br>bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery<br>1974<br>PARK SQUARE COURT IN LOWERTOWN<br>•<br>“The Spin of a potter’s wheel brings prosperity, unfettered life-style.”<br>This was the title of the article that ran in a local St. Paul publication<br>around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning<br>burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall,<br>corked canisters and small spice bottles.”<br><br>At this time, the Deneens wanted to open retail outlets similar to Pottery Barn,<br>but make all of the products at their Lowertown studio. A favorite quote (of the<br>current office) staff has Peter saying. “We’ll never be more than a handful of<br>people. I’d never get larger than three stores,” says Peter.” “Don’t say<br>‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made<br>in 1974!<br>isshelf

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1970‘s Santo Domingo Sterling/shell necklace w/ brass inlaid pendant. 20" long, other measurements and weight in pics. All solid sterling 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, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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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1970‘s Santo Domingo Sterling/shell necklace w/chip inlay walnut pendant. 20" long, other measurements and weight in pics. All solid sterling 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, rings<br>photographed on the appropriate sized finger when possible. With bracelets if 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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Featuring a Grizzly Bear, this beautiful high relief, antique finish, sterling<br>silver medal was produced in the early 1970's by The Wittnauer Precious Metals<br>Guild for the America's Natural Legacy series sold by the Longines Symphonette<br>Society . The medallion measures approximately 40mm and contains 525 grains<br>(approximately 1.09 troy ounces) of sterling silver. Edge marking reads:<br>LONGINES SYMPHONETTE STERLING.<br><br>silverdrawer

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1970's Teagues North Carolina Pottery Jar. 2.5" tall without damage or wear. isshelf

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1970 Texas Gauche Painting of Raccoons. Very nice painting with illegible signature. Very high quality painting, behind anti reflective glass and double matting, it's easy to see the pigments and stokes behind the glass. 12.5" x 11.5" framed. 8.5" x 7.25" sight.

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1970's Texas Safe Hunter and National Rifle Association patches/pin/license. Selling the lot shown, framed behind glass where it's likely been for the past 44 years. tw125

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Vintage Conoco Oil Workers McDonald CAP-Standard Mine Safety Appliance Co Hand Tool Aluminum Hard Hat For Gene. Regular sized hard hat with functional adjustable interior from a Conoco Lifer's estate that worked all over the world for Conoco, spent a lot of time in the Middle east and Southeast Asia, I believe this was decorated in Indonesia. Very cool, one of a kind item. isshelf

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1971 Rumph Laurel and Hardy mug. Nice large mug with no damage or wear. 5" tall x 5.75" wide with handle.

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1971 Matchbox Superfast 5 Lotus Europa mint on card. One fold in card, mint toy sealed.

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1972 E Rice Bauknight Watercolor Quail Texas Landscape Wildlife Artist. Very nicely done watercolor by a listed artist that was very good at painting quail. 20.5" x 25" framed x 15" x 20" sight. Minor wear to frame, bottom left corner of matting has lightened, no issues with artwork.

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1972 Edna Mathes Enamel on copper Bowl. Very cool example with textured design 9" wide with no damage or restorations. isshelf

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1972 Press Club of Dallas "Katie Award" Best Spot Newspaper Coverage Sam Kinch<br>Jr Dallas Morning News Modernist Sculpture 15" tall and very heavy, solid bronze<br>on a wood base.<br><br>Sam Kinch Jr., was the founding editor of Texas Weekly and a former political<br>and government correspondent for The Dallas Morning News.<br><br>Kinch started Texas Weekly in 1984 with two friends, George Phenix and John<br>Rogers. He sold his share in 1998 (the political newsletter is now part of The<br>Texas Tribune) and retired to write, travel and enjoy his family.<br><br>He was a terrific reporter and mentor to other journalists, irreverent, smart as<br>hell, a great lover of dirty jokes, full of history, an incurable reader, a<br>Presbyterian elder and a surprisingly soft touch for people who needed some<br>help.<br><br>He wrote books, including Texas Under a Cloud, with Ben Proctor, about the<br>Sharpstown stock scandal that rocked the Capitol and resulted in the biggest<br>turnover in legislators in modern history, and Too Much is Not Enough, with Anne<br>Marie Kilday, a book on campaign finance in Texas.<br><br>Kinch was a University of Texas grad, with bachelor's and master's degrees in<br>journalism, a former editor of The Daily Texan.<br><br>The Press Club of Dallas originated in the late 1940s, when<br>employees of the Dallas Morning News and the Dallas TimesHerald gathered to<br>socialize after work. The organization was<br>formally founded in 1948 and chartered by the State of Texas in<br>1951. Its members were some of the first responders on the scene<br>when President Kennedy was assassinated, and the new reporting<br>standards established nationwide afterward bolstered the club’s<br>appeal to professionals. The Press Club of Dallas moved locations<br>frequently over the years, residing most recently at the Women’s<br>Museum in Fair Park. The organization currently maintains a board<br>of directors but has no physical location.1<br>The organization’s most notable activities are its annual<br>Gridiron show, Katie Awards, and roasts. The Gridiron show<br>began in 1951 and was modelled on the national one staged in<br>Washington, D.C. Originally consisting of “biting satire,” the<br>performance shifted towards a Broadway-esque style during the<br>late 1970s, but continued to lampoon events in Dallas. The<br>Griddle, a satirical newspaper, was produced and sold at the shows<br>to generate additional revenue. The Katie Awards ceremony began<br>in 1958. It honored “excellence in journalism” and attracted large<br>numbers of members of the press due to the prestige associated<br>with winning one. The Press Club of Dallas also annually roasted<br>prominent local citizens. These events serve as fundraisers for<br>journalism scholarships offered by the organization.2

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1973 Elton John's Rocket Records Promotion Gebr. Hildner Miniature Aluminum train. Given out at the launch party for Elton John's Rocket Records 9.25" long with no damage or wear. This launch Party took place on a train and everyone who attended on April 26th, 1973, received one of these trains. Tw187

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1974 CR Sousea Native American Sterling turtle pin 1 3/8" x 7/8" x 5.6 grams, no issues. 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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1975 Irving J Slotchiver Tennessee Studio Art Glass Vase. No cracks, chips, or scratches. 6.5" tall x 4" wide Tw47

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Large Russian Fedoskino Lacquer Box. Good condition with two small dings on the back corner of the box top rim above the hinge and slight wear in interior and on base. 9.5" x 7" x 2 3/8" tall. isshelf

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1975 Modernist Sterling bloodstone pendant choker necklace 17". Signed as shown. 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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1975 Texas Dealer License plate. Clean as they come, 12" x 6", good original paint. Original dealer plate from 1975. tw270

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1976 CIA File Room brass Key Chain with 1921 Silver Dollar and Sturdy Pen knife with gold strip. Real silver dollar with sterling silver mount, that alone in worth about $50 without the sterling mount, selling it with the CIA file room key chain which says on the top 1976 Lowell Sigmund. I did not personally steal this from the CIA file room so I'm not sure what the story is on it. Selling the cool keychain items shown how I found it estate fresh. tw208

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1976 John Coers Cherokee Kachina silver, turquoise, coral Bolo tie/pendant. 40" long cord, made to be used a a pendant or bolo, no issues. Weight and measurements in pics.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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1976 Named Vietnam War Zippo in box USS Biddle DLG-34. Clean lighter that's seen little use. Has the now no longer with us Navy Veteran's name Mike Zubay crudely but nicely engraved on it. Tight hinge, clean working condition, needs flint and fluid of course.

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1976 Patriotic Native American Sterling turquoise, coral, Multi-stone inlay<br>bracelet. Fits up to a 6.75" wrist, no issues.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. 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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1977 Libra Paperweight. Very cool with no issues or damage 3.25" pwdrawer

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1978 MMA Egyptian Revival pendant. Metropolitan Museum of Art. Appears to be<br>gilt bronze. 3" tall x 3" wide.

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1978 Teagues North Carolina Pottery Bank. No damage or wear. 4.5" tall.<br>isshelf

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1978 Winter Landscape oil on board paintings pair by Besty Jones. Great looking pair of paintings with no significant issues. Measure 8.75" x 6.75" framed each. tw82

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1979 Sterling silver Coulee City Colorado Skeet Shooting Trophy belt buckle HOA<br>Champion. 3.25" x 2.25" solid sterling silver with gold filled accents 82.8<br>grams. Fits up to a 1.75" belt, great hand engraved buckle.

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1979 William Wilhelmi Texas Studio pottery Framed Art tile 4.25" tile, 7 1/8"<br>frame, no issues with either.<br><br>Corpus Christi potter William Wilhelmi has pieces in many private and public<br>collections world wide, including his iconic porcelain cowboy boots in the<br>Smithsonian.<br>Bill Wilhelmi began his artistic training by taking every art course offered at<br>San Diego State College from 1956 to 1960. The artist spent three years in the<br>Navy, where he said he spent most of his time decorating officers’ clubs, and<br>after his discharge enrolled in a graduate program at UCLA. The art that<br>Wilhelmi creates demonstrates a conscious movement away from the<br>Japanese-influenced style that he was taught at school, and a development of a<br>design that expresses his roots in Texas.

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1980 Chihuly student William Morris Art Glass vase height: 10 1/2 inches, width:<br>10 1/2 inches, depth: 3 1/2 inches. Absolutely no damage or wear whatsoever.<br>This vase represents his early work he was producing at Pilchuck while gaffing<br>for Dale Chihuly.<br><br>William Morris was born in Carmel, California in 1957. He is an American glass<br>artist who has been able to change the history of art within his lifetime.<br>Morris was educated at California State University in Chico, California as well<br>as Central Washington University in Ellensburg, Washington. 
In 1978, Morris<br>arrived at the Pilchuck Glass School and found work initially as a driver.<br>Later, he worked with Dale Chihuly, the founder of the school, and eventually<br>became his chief gaffer in the 1980s. Morris remained with Chihuly for about 10<br>years as his chief assistant before deciding to form his own studio and develop<br>his own artistic style of glass blowing.<br><br>For more than twenty-five years, William Morris has captivated and intrigued the<br>art community with hauntingly evocative and beautiful glass sculptures. He has<br>captured the imagination time and again by creating objects that appear to be<br>ancient stone or woodcarvings, not the modern glass sculptures they actually<br>are. His art speaks of human origins, myth, ancestry, and ancient civilizations.<br>It symbolizes a harmony between humanity and nature and provides a ghost-like<br>bond to the world around us – a world that is often forgotten, ignored, and<br>abused.<br><br>Morris gathers much of his inspiration from ancient cultures from around the<br>world – Egyptian, Asian, Native American – all peoples who respected and admired<br>the land they inhabited. Because of this, Morris’s artwork has become something<br>all its own: culturally distinct and yet familiar to all cultures. His pieces<br>embody a spiritual quality that sharply contrasts old beliefs with those of the<br>modern world. These objects speak to our senses and continuously beg us to<br>explore them further.<br><br>Morris achieved much success during his career and retired in 2007. He spent<br>over twenty-five years honing his skills and pushing the medium of glass further<br>than anyone, including himself, could ever have imagined.<br><br>Morris’ work can be found in numerous public collections including:<br><br>The Metropolitan Museum of Art, New York, NY; Corning Museum of Glass, Corning,<br>NY; American Glass Museum, Millville, NJ; Hokkaido Museum of Modern Art,<br>Hokkaido, Japan; Musee Des Arts Decoratifs, Paris, France; Auckland Museum,<br>Auckland, New Zealand and the Victoria and Albert Museum, London, England.

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1980's 14" Steiff Teddy Bear 1909 Replicas One growler. The tallest to the right is 14" and has a working growler, no damage or soiling to either. TW236

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