1860's Hotel Hot Tea Server Samovar Staffordshire Silver Lustre 15.5" tall x<br>11.5" wide. Circa mid 19th century with no cracks, chips, crazing, or<br>restorations. Some wear to the Platinum as shown, Spigot Turns and works. Rare<br>and unusual item.

Read more less

1860's Minton Majolica Game Pie Dish with lid. English Victorian majolica game-pie dish, Minton, c.1862, lid with game animals resting on ferns and leaves molded in relief, base modeled as a woven basket with oak branch handles, impressed mark Minton with date cypher, small area of restoration at tip of mallard's wing, approx 7"h, 13.25"l, 8"w, 6.25lbs. No damage or restorations other than the tip of the wing shown and described. isshelf

Read more less

1865 Dollhouse folk art pottery slip decorated Red clay rocking chair. Great piece 8.75" tall x 4 3/8" wide. Old professional restoration to right wing of chair. Looks to have been broken and professionally restored, but that was long ago, only visible under closed examination. I guarantee it to be of period, not totally sure whether it's American or British as I have seen similar examples from both countries. tw260

Read more less

1866 Thomas Bradbury and Sons Siverplate and Cut Glass Biscuit Jar. Very special<br>piece with diamond registration mark dating it to 1866. Top quality cut glass<br>with no cracks or chips, some expected very minor roughness to outside rim that<br>goes inside holder. No wear to plating. 7.25" wide at base x 8.5" tall.<br>TW167<br><br>The business traces its origin to Fenton, Creswick & Co, a partnership involving<br>Matthew Fenton (an apprentice of Thomas Law), Richard Creswick and William<br>Watson. They were active as silversmiths and Sheffield platers and were among<br>the first to enter their mark at the Sheffield Assay Office in 1773.<br>In 1789 Fenton left the firm and was replaced by Edward Oakes. The firm changed<br>its style to Fenton, Creswick, Oakes & Co. In 1795 the partnership was dissolved<br>and the business was continued under the style of Watson & Co under the<br>partnership of Thomas Watson, James Fenton and Thomas Bradbury I (a former<br>apprentice of the firm).<br>Later, Thomas Bradbury II (son of Thomas Bradbury I) and William Watson (nephew<br>of Thomas Watson) were admitted to the partnership.<br>In 1831 William Watson retired and the business was continued by Bradburys<br>(Thomas I and II) under the style of Thomas Bradbury & Son.<br>The firm was active at Arundel Street, Sheffield with London showroom at 12<br>Gough Square, Fleet Street.<br>In 1855 the firm changed its name to Thomas Bradbury & Sons, under the<br>partnership of Joseph and Edward Bradbury (sons of Thomas Bradbury II).<br>In 1877 the partners were Thomas Bradbury III (brother of Joseph Bradbury) and<br>John Sutherland Henderson.<br>The partnership was dissolved in 1888 and the firm was managed by Walton Turner<br>Bradbury, Joseph Bradbury Jr and Frederick Bradbury (sons of Joseph Bradbury<br>Sr). Frederick Bradbury is the author of the fundamental book "A History of Old<br>Sheffield Plate".<br>The business was converted into a limited liability company in 1905, under the<br>style Thomas Bradbury & Sons Ltd.<br>The company closed its activity in 1943 and dies and tooling were bought by<br>Atkin Brothers.

Read more less

1870 American Schoolgirl Needlepoint Sampler Jessie Pearson. 18.25" x 19.75" framed. B49

Read more less

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

Read more less

1870's Royal Worcester Lotus Form Satsuma Style Teacup and saucer. I didn't look<br>up the date code but it's from the last half of the 19th century. Slightly<br>smaller than a modern teacup but larger than a demitasse or coffee cup. 5 3/8"<br>saucer 2 78" wide cup without handle. Strong embossing's on both pieces very<br>high quality porcelain, a price tag from about a 1960's or so antique shop.

Read more less

1874 Antique American Painted Tin Shorebird decoy. Great folding decoy from the last quarter of the 19th century with good original paint with a few expected dings likely from stray pellets. 9.5" long x 10" tall with stand. Stand of course was made later for display purposes and the fit isn't the greatest. The stick, copper fitting and tin bird are all original. B70

Read more less

1875-1905 JB&SM Knowles American Sterling Fancy Serving Spoon Newton and Lincoln. I'm not sure if Newton and Lincoln was a hotel or what, reguardless it's a great spoon that's really clean in basically like new condition and it's about 120-140 years old. 8.75" long 54.5 grams. tw255

Read more less

1878 Royal Worcester Japonesque Satsuma Style Teapot. Very unusual perhaps one of a kind teapot. No cracks, chips, or restorations. 8.75" long x 6.75" tall. Composed of a low fired earthenware like satsuma so there is crazing with no exterior stains, some minor interior stains. tw203

Read more less

1880's Cornelius Desormeaux Saunders & James Francis Holland Shepherd Birmingham Sterling Silver Boxed Salt dips/Spoons Cranberry Liners. Talk about fancy, imagine the impression you'd make showing up to a dinner date with this set! Interesting Orientalist design with original flawless cranberry art glass inserts. Incredible original wood box measuring 6 3/8" x 2.5" x 3.25". The salts are 1 7/8" wide with 2.75" long spoons. No notable issues. tw152

Read more less

1880's Fanciest sterling spoons ever. Ok, maybe not fanciest ever but they are<br>great and better than anything anybody makes these days, better than most stuff<br>that was being made in that period. Two dated 1889 xmas gifts. All marked,<br>tested, guaranteed 80% silver or more. Longest 6" 113.3 grams total weight, all<br>solid and heavy for their sizes.

Read more less

1880's Figural Napkin Ring Boy with top hat 2.3" tall, slightly bent, no detectable markings, obviously victorian possibly Kate Greenway. Unpolished with possible wear to plating. B70

Read more less

1880's Figural Napkin Ring Tennis racket and ball. There's a scratch in the interior, it's not a crack, doesn't penetrate. Upon close examination the tip of the handle of the racket is broken off, worn plating, rare napkin ring. TW134

Read more less

1880's Majolica Plate and shallow bowl. Selling both pieces of British majolica, largest 8.75" wide, neither with any damage or restorations, light stains on bowl. isshelf

Read more less

1882 18.5" Crown Derby Imari Tea Tray Rare form of early tray with an uncommon<br>pattern. No cracks, chips, or restorations, some wear to gilding as shown. 138<br>years old.<br>b22

Read more less

1884-91 American Sterling Cigar Lighter with ornate Reticulated border Ferd<br>Fuchs & Bros New York W Monogram. 6" long x 3.25" wide x 2 5/8" tall. No bends<br>or dents 96 grams Guaranteed circa late 19th century, I don't think it was ever<br>used. It was probably given as a gift 120+ years ago and displayed or stored<br>since.<br>tw123

Read more less

1885 Scottish Highlander's Academy Sterling Medal with miniature painting on<br>silk portrait. Unmarked tested sterling 3" tall x 1.75" wide x 38.4 grams.

Read more less

1890 Dutch sterling Tea Caddy Spoon. Hallmarked on front, tested sterling, hand engraved for xmas 1890 on reverse side. 5.75" long 23.9 grams.

Read more less

1890 Longwy Hand Painted French Faience Desk Stand Double Inkwell with Candle Holders. Rare and unusual piece atypical of the work Longwy is mostly known for. Hand painted with precision. One of the inkwell inserts has a very old restorations and stains from ink, over all crazing. NO other cracks, chips, or restorations. 10.5" wide x 6" tall x 6" deep. TW216

Read more less

1890's American Art pottery Kensington Tile 6" square, small chip on reverse side, no other significant issues. Kensington Art Tile Newport, Kentucky 1885 - 1895 Tile Heritage Collection Gift of Bob Smyth In 1881 the Hatt brothers, Arthur and Otto, established a tile works at Elm and Lowell Streets in Newport, Kentucky. Their company, Hatt & Hatt, was taken over by a group of investors in 1885 and renamed the Kensington Art Tile Company. During its short tenure as a manufacturer of dust-pressed art tiles, the combination of portraits and floral interpretations was most impressive due to the artistic talents of Herman Mueller and Mary Louise McLaughlin, among others. From an 1891 published report in “Illustrated Cincinnati” (courtesy of the Tile Heritage Library): “The main building is a substantial brick structure, three stories and basement in height and 40 by 200 feet in dimensions. The equipment for art tile-making purposes is of the most elaborate, complete and modern description, and includes four large kilns, which bake to the extent of 14,000 feet of tile at one filling. “The processes of preparation of the crude clay are as elaborate as they are complicated. The clay is first puddled and forced through great sieves by steam power. It is then dried and ground to a fine powder, and then moulded and pressed into the tile shapes, which are carefully baked, then removed and coated with the enamel and glazing liquids. They are then finally placed in the kilns and thoroughly glazed, when they are finally removed to the sorting and packing room, and forthwith shipped to destination. “The most extreme care is taken to have all the materials pure and accurately prepared, and the result is a perfection of quality, an elaborateness of finish, and a beauty and delicacy of colors and tints, nowhere else attempted, much less duplicated. An average force of 100 hands is employed, and ten teams are kept constantly busy.”

Read more less

1890's Haviland Hand painted Raised Gold Cabinet plate Floreal by Soustre 9.25"<br>wide with no cracks, chips, restorations, or significant wear.

Read more less

1890's Lenox CAC American Belleek Beer Mug 5 5/8"tall. No cracks, chips, or<br>restorations. Some small scratches to paint here and there. hand painted.

Read more less

1890's Pink to cranberry Cased Glass Peg student lamps Pair. It's really rare to<br>find a pair of these, especially with the shades. The whole lamps top, bottom,<br>burners, hardware, etc are from the 1890-1910. I obviously have no way of<br>knowing if these shades were on them 125 years ago or not, they were on them<br>when I got them and they look fantastic on them. As you can see some of the<br>hardware on the burners doesn't match completely, but they are functional, bases<br>and most of the hardware was polished and lacquered at one point in the last<br>half of the 20th century. Total height 18.5", the top shades are 6.25" wide.<br>They will obviously be disassembled for shipping.<br>TW234

Read more less

1890's T&V Limoges Porcelain Plaque Hand Painted Depicting Jesus with a crown of Thorns in incredible frame Tressemann and Vogt . Incredible piece rare to one of a kind. 14.25" diagonal framed with a 5.25" plaque. No significant issues to frame, no issues with plaque. 30 years or so ago someone did a funny job of securing the plaque in the frame. I'm leaving it this way because the plaque is obviously not damaged and I uncovered just enough to reveal the mark, there is likely an artist signature somewhere but I don't think it matters because it is obviously an accomplished artist. B32

Read more less

1890-1950 Unique Button Collection (47) these are all glass metal or mother of pearl except for the three on the right. I cherry picked these from a ton of buttons. They measure from .25" to 1.25" Part of a huge cache of buttons dating from 19th century to mid 20th.

Read more less

1892 Miniature Pewter child's Dollhouse Desk or desk caddy. One of a kind piece with incredible original patina. I believe it's a dollhouse piece. The estate it came from had lots of good early American antiques. 2" tall x 4 1/16" wide x 2" deep. Very heavy for its diminutive size.

Read more less

1897 Pennsylvania Tramp Art American Folk Art Wall Box Upside down Heart. Very cool, signed and dated, original paint. 7.5" wide x 8.75" tall. Signed top left dated top right. Minor loss to stars. B51

Read more less

18k Gold French Art Deco Lapis cufflinks for Nieman Marcus. I don't recognize the hallmark but these are the highest quality, similar to that of Van Cleef & Arpels, Boucheron. I feel this is likely an obscure hallmark only used for a short time by a well respected company such as the ones mentioned. 11/16" face, 16 grams.

Read more less

18k Natural Ethiopian Brown Opal/Diamond pendant. Beautiful pendant marked and tested 18k gold with appox .15ct diamonds and a .9ct natural opal 2 grams with no damage or significant wear. 1 1/8" tall x .5" wide.

Read more less

18k/Sterling Old Cuzco Peruvian Clip on Earrings. Nice quality vintage earrings 1" tall with no issues, clips and springs on clips work.

Read more less

18th Century Armorial silver Sugar Nips 4 7/8" long, tight with no issues. Hallmarks as shown. silverdrawer

Read more less

18th century Cast iron hardware locks Texas/Mexico frontier. From an Austin Artists/Geologists estate that had some connection to UT. I'm not sure where they originate from but they are almost as old as dirt, really nice, hand forged. LIkely older than the 18th century I am conservatively calling them. Longest is 8.75" long without the added part that goes behind the door or whatever it came off of. b7

Read more less

18th century Delt/French Faience Figure of Cockatoo. Marked as shown, fantastic piece with a professional restoration to neck and section right about legs. Appears to have been broken into three pieces. This restorations had to have cost hundreds of dollars. It's not easily apparent to someone that hasn't been handling ceramics their entire lives. Minor glaze wear in a few spots shown in pics.

Read more less

18th century Derby Porcelain boy figure. 6.25" tall, late 18th century with slight loss to tree limbs, something at each foot and minor wear here and there. No restorations, no cracks. isshelf

Read more less

18th century English Papier Mache Snuff box. Circa mid 18th century, good<br>condition with splits on each end of base, one glued. 3.25" wide x 2 3/8" deep x<br>1 3/8" tall. These were all purchased in New York at Parke-Bernet Galleries<br>before they were bought out by Sotheby's in 1964.

Read more less

18th Century Frankenthal Cup. Incredible intricate hand painted decoration, really crisp molding on top. No cracks, chips, or restorations, some small worn gilding spots on rim. 3 1/8" tall x 2 9/16" wide. b12

Read more less

18th Century French Chinoisiere Carved Abalone perfume bottle 3.5" tall x 1.75" wide with no damage. No identifying marks, 18th to early 19th century guaranteed. Hand engraved mounting and mother of pearl.

Read more less

They measure 7 7/8" tall and the bases are 3 11/16" wide. I'm 100% certain these<br>are very early antique figures circa late 18th to early 19th century. They have<br>Joseph Gaspard Roberts' mark and I have no reason to believe they aren't that.<br>He operated a factory until 1793. The man has an extremely old restoration to<br>his arm and a small chip under the base with no other damage. The woman has a<br>few small chips off her bouquet with no other damage.

Read more less

18th Century Heavy Brass Candlesticks Pair. 9.25" high One is 926 Grams, other is 969 Grams. Very heavy candlesticks guaranteed over 200 years old with a nice patina and no significant issues. One has old thread on the threads to tighen it when screwed together which is common. tw84

Read more less

18th Century Indian Katar Tiger Knife. Great early knife 18th century with<br>incredible patina, one piece construction high carbon steel. 16 1/8" long x<br>3.25" wide at widest point. Some significant wear to gold gilt decoration as<br>expected, tip has ben blunted, blade is fairly sharp.<br>tw53

Read more less

18th century Japanese bronze vase 5.25" tall x 4 1/8" wide at top with nice patina

Read more less

18th Century KPM Berlin Porcelain Woman with pear in hand figure. Woman with a pear in her hand : KPM Berlin, 18th century. Designed by Friedrich Elias Meyer in 1765, standing on a three-passage base with tree support. Porcelain with polychrome painting and. Underglazed blue sceptre and impressed v. 8.5" tall with loss to each of the three bowl and wear to gilding at base. No other chips, cracks, or restorations. issshelf

Read more less

18th Century Meissen Figure. 5.5" tall x 5.25" at widest point. Very old<br>professional restoration to left arm, loss to ribbon/flowers in hair and a few<br>tiny chips on ruffles and lace.<br>figcab

Read more less

18th century Pewter Reproduction Lot Antique. This is a lot of what after close examination believe to be reproduction 18th century pewter. It's a very old lot probably early to mid 19th century. I believe much time and effort was dedicated to making these pieces look authentic and old. They would look great in any colonial setting and I believe would fool or puzzle pretty much anyone even after close examination. Selling the whole lot. Largest tankard is 10.5" tall. tw94

Read more less

18th century Porcelain Cherub with applied Florals Possibly Capodimonte. Very early piece guaranteed 200+ years old. I believe it's capodimonte, but it could be German. Some restorations to body, missing bouquet, some missing petals. 5.5" tall. tw82

Read more less

18th Century Rudolstadt Volkstedt Napoleonic Horse figure. I guarantee this figure to be 200+ years old. If it is actually a depiction of Napoleon's horse then it would be early 19th century, but I believe it be from the last decade of the 18th century. 5 7/8" tall x 6.5" long, with a very old professional restoration that is now flaking off on the mid to upper body of the horse. Volkstedt Porcelain - History In September 1760, Georg Heinrich Macheleid (1723-1801) made a request to Prince Johann Friedrich, Fürst von Schwartzburg-Rudolstadt to establish a porcelain factory in Sitzendorf, Thuringia, Germany. Macheleid previously worked at a glass factory in Glücksthal. Independent of the ceramicists at Meissen, Macheleid conducted his own research into creating a hard paste porcelain.Prince Johann Friedrich granted Macheleid’s request in 1762 with the stipulation that the plant be located near his court in Schwarzburg-Rudolstadt. Macheleid established the Aelteste Volkstedter Porzellanfabrik (Oldest Volkstedt Porcelain Factory) in Volstedt which became part of Rudolstadt in 1923. Macheleid created a self-sustaining village for his workers.In 1767, Macheleid left. The factory came under the control of the prince, his wife, his son, and five other investors. They leased the factory to Christian Nome from Erfurt. During the latter half of the eighteenth century, Volksted gained a reputation for its well modeled and painted figurines, rivaling those of Meissen. In 1793, Prince Johann Friedrich purchased all outstanding shares. In 1797, Prince Ludwig Friedrich, Johann’s successor, sold the factory to his brother-in-law Ernest Constantine, Landgrave of Hesse-Philippstahl, who sold it to Wilhelm Greiner and Carl Holzapfel several years later. Nome left around 1800.isshelf

Read more less

18th Century Sceaux French faience snuff box. Good hinge, metal mounts reglued, no restoration or major damage to Faience pieces, small glaze flakes on bottom corners and one small glaze flake on front right edge. 5.25" x 4" x 2.25"Sceaux ware, tin-glazed earthenware and porcelain made at a factory in Sceaux, Fr., from 1748 to 1794. Both were skillfully painted in a large range of enamel colours with landscape and figure subjects and with minutely exact flowers and birds. Cupids in pink outline derived from the paintings of François Boucher were typical of the period of Louis XV. Pieces decorated with naturalistic flowers, fruit, and the like in relief may have been modeled by Richard Glot, who purchased the factory in 1772.Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe.While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.tw108

Read more less

2 Guaranteed Authentic 18th century lighting devices for one price. The spiraled<br>candlestick is missing the piece that pushes the candle up. Candlestick is 8.5"<br>tall iron with a wood base. Both would hold standard sized tapered candles.

Read more less

So I got lucky while photographing, never thought to check for a makers mark. It<br>is stamped what appears to be NA&LM. Though there's a very good chance I<br>butchered that.<br><br>Guaranteed Authentic 18th century lighting device, uncommon and desirable item.<br>Candlestick is 7.25" tall iron with a wood base. Both would hold standard sized<br>tapered candles.

Read more less

18th Century Silver, mother of pearl inlay tobacco box. Great piece 18th century<br>to very early 19th century. High content solid silver mounting with brass hinge.<br>Mother of pearl inlaid in another type of shell or horn. Inscription on reverse<br>side. Sponge inside held in place by a wax seal. Strong box with good hinge,<br>overall crazing to shell/mother of pearl. Unmarked. 4.5" x 2 7/8" x 1 1/8"<br>trinketdrawer

Read more less

18th Century Xuande Marked Archaistic Chinese Bronze Censer. Very nice estate<br>fresh Chinese bronze censer, honorary Xuande mark. Fantastic authentic "no<br>brainer" patina inside and out. A very nice censer that has been well loved for<br>a few centuries. 6.75" handle to handle, 4 7/16" wide without handles, 3.5" tall<br>with handles. Strong and stable piece with no cracks or significant damage, very<br>old small pinholes one one side shown in the pics.

Read more less

18th-19th Century Tibetan Bronze Buddhist Tara Sculpture Antique Buddha. Very early Authentic antique Buddhist Statue of Tara. It has a wonderful natural patina and nice casting. There is a small very old chip in the base on the right side facing it. It measures 13" tall x 7.5" wide. It is fresh from a fine estate collection of Chinese antiques that was purchased in the mid 1970's. 6.5 pounds. TW102

Read more less

18th/19th century 9ct gold /sterling inlaid Tortoise Shell Traveling perfume<br>bottle holder. 2.5" x 2.5" x 1.25" overall, great and way above average, the<br>type of thing the elite of the period would have owned. Illegible hallmarks to<br>bottles lids, I believe gilt sterling, inside frame also hallmarked. Inlaid with<br>solid 9ct yellow and rose gold and sterling silver all hand engraved, hand done.<br>No damage to bottles, all stoppers present. One stable fracture to back left of<br>top section above hinge, another chip to front side diagonal of other. Both<br>really inconsequential as this is a rare, one of a kind museum quality item.<br>These were all purchased in New York at Parke-Bernet Galleries before they were<br>bought out by Sotheby's in 1964.

Read more less

18th/19th century 9ct gold /sterling inlaid Tortoise Shell Etui, Vesta, and<br>other Objects of Virtue. Selling the lot shown, fake "normal" sized femal hand<br>shown for scale. All intact with some sort of damage or loss. Most considerable<br>being lots of chips inside rims of top and bottom of gold inlaid fox box.<br>Selling the lot shown. These were all purchased in New York at Parke-Bernet<br>Galleries before they were bought out by Sotheby's in 1964.

Read more less

18th/19th century Bronze Asian snuff box. Fantastic high quality bronze snuff<br>box, the lid fits amazingly perfect, best "no brainer" patina imaginable. Not<br>totally sure of the country of origin. I'm assuming Chinese or Japanese. Great<br>early box with no issues. 4 1/8" x 2 1/8" x 1.5" tall.<br>chinashelf

Read more less

18th/19th century Bronze Jester Bell. Incredible natural patina on this bell.<br>Really nice detailed, crisp casting. I honestly think it's possible that this<br>was created to summon a jester. Guaranteed mid 19th century or older, I can find<br>no references to a similar bell, small bend on base. 4.5" tall. It came from a<br>large collection of table/servant bells.<br>isshelf

Read more less

18th/19th Century collection coin silver slide temple eyeglasses. All<br>revolutionary war era to civil war era glasses. I believe they are all coin<br>silver. Only one is marked with the silversmith's hallmark J Colton, two others<br>numbered. 4 interesting and unique pairs with no significant issues. Two with<br>slide temples, one with folding temples.<br>isshelf

Read more less

18th/19th Century French Sevres style snuff box. Great early hand painted box with no damage, good hinge, lid stays shut when turned upside down. 3.5" x 2.75" x 1 5/8" tall.

Read more less

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

Read more less

19th century Japanese Samurai sword fittings collection. Selling the lot shown.

Read more less

18th/19th century Tortoise shell snuff box. 3.75" wide x 1 5/8" deep x 1 1/8" tall, 200 years of wear with no significant issues, completely stable crack front top left corner, close-ups shown in last two pics. These were all purchased in New York at Parke-Bernet Galleries before they were bought out by Sotheby's in 1964.

Read more less

19" c1905 Royal Rudolstadt Bisque Boy/Girl Figure Pair. Boy is 19" girl is 18" both in near mint condition. Boy has the tiniest flake the size of a flea on his base. No other cracks, chips, wear, or restorations. These are very uncommon especially in this size.

Read more less

19" Ramone Navajo sterling silver onyx modernist lariat style necklace. Selling the necklace shown in good condition with measurements in pictures. Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Circa last quarter of the 20th century, 19" long. Signed as shown.

Read more less

19" Vintage 14k clasp 14-15mm lapis lazuli beaded necklace. Nice quality vintage necklace with no issues. 122.2 grams. anderas

Read more less

19.5" c1850 Chinoisiere Blue Transferware Platter Staffordshire. 19.5" x 15.75" Guaranteed circa mid 19th century. Nice oriental scene. No cracks, chips, or restorations. Overall crazing with a few light stains. One line stain on footrim of rear that doesn't go through so I'm not going to call it a hairline. No identifying marks. TW5

Read more less

19.5" La Loop Sterling silver Eyeglass/Sunglass holder necklace Retired. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century to early 21st century. This is a retired/substantial design. Current designs of similar weight/quality retail for about $1500. No issues, slight wear.

Read more less

19.5" Vintage Navajo sterling silver coral shadowbox beaded pendant necklace. Selling the necklace shown in good condition with measurements in pictures. Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Circa third quarter of the 20th century. 19.5" long.

Read more less

British sterling silver trophy cup, William Hutton & Sons Ltd., c.1903, engraved "Trooper H. Brace No. 4 Troop, D Squadron E.I.Y., Musketry, 1903," Sheffield hallmarks, approx 4.5"h, 2.25"diam, 2.71ozt, together with (1) photograph of a soldier on horseback marked "Trooper H. Brace E.I.Y. Es Hussars, 1900," photo: approx 5.5"h, 4.25"w **Note: The Es Imperial Yeomanry (a volunteer cavalry unit) participated in the Second Boer War, South Africa, 1899-1902, the likely location of the photo. Small dent in base of trophy, no other issues. tw154

Read more less

1906 Rochester Fair Schafer & Vater Egyptian Revival Jeweled Hair Receiver marked on base 4" long x 2 1/8" tall with no cracks, chips, or restorations. b37

Read more less

1907 Charles Wallace Quicksell Limoges Raised gold porcelain Syrup pitcher for Dr Herbert G Pettebone for Jessie Flick Beers. Great piece with no damage or restorations, very minimal wear to gilding. Interesting with the built in provenance. 5.75" tall. No markings other than what's shown, top quality porcelain most likely French. Quicksell Decorated a fair amount of Porcelain in the Early 20th century, I believe he was decorating in the US, possibly for Pickard. tw271

Read more less

1910 Meissen Figure of Cherub with Wings and Hands Bound. Mint condition with no<br>cracks, chips, or restorations. Very interesting 200 anniversary mark this<br>unique mark with dates 1710 and 1910 is well documented and designates important<br>pieces made in the year 1910. This Meissen figurine is depicting a seated cupid<br>or cherub with his wings and wrists tied behind his back, presumably to keep him<br>from getting into mischief. The figure was modeled by Heinrich Schwabe circa<br>1880. 4.25" tall.<br>TW180

Read more less

1910 Silverplate Inri Jesus On Cross Plaque Elmire Boucher 1870-1910 8.25" x 4" interesting item. Not sure what it's from, but it's 108 years old. S.M.G. Co. No wear to plating or dents.

Read more less

1910's Antique Arcade Cast Iron Lion Bank with good gold paint 4.75" long x 3<br>7/8" tall.<br>b41

Read more less

1911 Austin Texas Sumphony Concert Hans Harthan Director Program 6 1/8" x 3 7/8". Rare piece of Austin Memorabilia that shows it's always been an extremely cultured city.

Read more less

1911 Prince Regent Luitpold Plate by Rosenthal 8 5/8" wide with no damage or<br>detectable wear.<br>isshelf

Read more less

1912 Josef J Brabender Impressionism Oil on Board. I do not know a whole lot<br>about this artist, but I do know in the 30's and 40's he painted a lot of<br>miniatures. I believe he started off painting in Mexico then moved to Alaska.<br>Most of his miniatures were a thicker impasto paint in a similar style to this<br>one. I found a result of a 3" x 4" painting by this artist bringing $675 on ebay<br>in 2016, and a 2" square bringing $335 at Bonhams. 7.25" square painting 11"<br>square framed. No issues with painting, appropriate wear to frame.

Read more less

1919 American Tramp Art Sewing Box with Pincushion Top Dated WW1 Era 8.25" x<br>6.5" x 5.25" tall. Very minimal wear as shown, not a distraction, no significant<br>issues. Made from cigar boxes as shown from the exposed section on the base.<br>From a San Antonio, Texas estate.<br>The first picture is actually the back of the box with the initials on the front<br>and the date on the back.<br><br>Tramp art<br>Tramp art is a style of woodworking which emerged in America the latter half of<br>the nineteenth century. Some of tramp art's defining characteristics include<br>chip or notch carving, the reclaimation of cheap or available wood such as that<br>from cigar boxes and shipping crates, the use of simple tools such as penknives,<br>and the layering of materials into geometric shapes through glue or nails. One<br>technique used in tramp art is Crown of Thorns joinery.<br><br>History<br>Although widespread use of wooden cigar boxes in the 1850s sparked involvement<br>in tramp art, it was most prevalent during the Great Depression. Tramp art was<br>made around the world but it prospered in the United States. Examples can be<br>found in every state. The most common forms were the box and the frame and<br>although there were no rules or patterns to lend commonality in the artists’<br>work there were objects made in every conceivable shape and size including full<br>sized furniture and objects of whimsy.<br><br>Tramp art was a democratic art form made wherever the raw materials used in its<br>construction were found. It appealed to men who might have made an important<br>body of work such as ‘Sunflower’ artist John Martin Zubersky (active c. 1912 –<br>1920) or the wonderfully expressive wall pockets by John Zadzora (active circa<br>1910) but also to men who might have made one piece in their lifetime. It was<br>easy to make and appealed to anyone who had a desire to take a pocketknife to<br>wood.<br><br>There were countless men, some women, and even children who historically<br>constructed tramp art.<br><br>Origins of the Term<br>A 1959 article by Frances Lichten in Pennsylvania Folklife used the term "tramp<br>work" to describe crafts constructed from waste materials such as discarded<br>cigar boxes and assembled with a penknife. Contemporary scholars and art dealers<br>such as Clifford A. Wallach have noted that while this art form may have been<br>practiced among America's itinerant population, it was by no means unique to<br>them and was practiced by factory workers, farmers, and laborers in other<br>occupations.<br><br>In 1975 Helaine Fendelman published the first book on tramp art, Tramp Art an<br>Itinerant's Folk Art. The book acted as a catalog to the first museum show on<br>the art form sponsored by the American Museum of Folk Art.<br>b30

Read more less

1919 Bernardaud Limoges Lion Head Handle Jardinière and Pedestal Chinoisiere<br>decoration Artist Signed. Extremely rare shape especially with the pedestal with<br>even more uncommon decoration. 12" total height, 14" handle to handle, 9" wide<br>at the rim. No cracks, chips, or restorations. Minor loss to raised gold<br>decoration as shown in the pics, some wear to gilding on lion paw original base<br>where the extremely heavy Jardinière has rested for over 100 years.

Read more less

William B. Kerr sterling silver napkin ring, decorated with embossed depictions,<br>featuring different nursery rhymes: "Humpty Dumpty", "Puss In Boots", "The<br>Bears" and "Mary & Lamb". No monograms. Marked 5362.This marvelous napkin ring<br>is 1 3/4" in diameter, 11/16" wide and weighs 16.2 grams. Helen monogram shown,<br>Kerr mark obscured but that's what it is, with same numbers as others I've seen<br>in this shape with Kerr markings.<br><br>William B. Kerr Co. was a manufacturer of jewelry, flatware and hollow-ware.<br>Established in Newark, New Jersey in 1855, they are listed in the 1915 Edition<br>of the Trademarks of the Jewelry and Kindred Trades as having been located at<br>144 Orange St.<br>silverdrawer

Read more less

1920's 14" Wachenheimer Art Deco Sterling and blue jasper choker. 14" long x .75" wide x 29.2 grams with no apparent issues. The first Wachenheimer factory was located in downtown Providence and had 18 employees. Harry ran the operations, and Jacob and Samuel remained in New York with responsibility for sales. By 1908, the company employed about 30 workers and moved to the fourth floor of 36 Garnet Street, in the jewelry-manufacturing district of the city. Late in 1919, the brothers incorporated the firm along with John R. Rosenfeld, a Providence lawyer who had been associated with gemstone dealers earlier in his career. By the following year, Wachenheimer Brothers had grown to 76 employees, had opened a showroom at 303 Fifth Avenue in New York City, and had registered several patents and trademarks. They ceased operation around 1934 due to the Depression.

Read more less

1920's 2 Flower basket doorstops. Selling both one Hubley 256 6.75" tall, one attributed to Albany factory 1924 8 3/8" tall. Both good old doorstops from the early 20th century. The Albany factory one has a few coats of paint, the one under this one is gold.

Read more less

1920's 2 Small flower basket doorstops. Selling both, one 7 1/8" tall and one 5<br>5 /8" tall. Both guaranteed early 20th century American doorstops from the<br>1930's or earlier.

Read more less

1920's Abilene Building and Loan Association Texas Bank by Bankers Thrift corporation Chicago. 3" x 2.25" good condition with no key. Two coins rattling around inside I can't tell what they are. B14

Read more less

1920's AC Williams Graf Zeppelin Cast Iron Bank. No damage, good paint, 6.75" long. TW252

Read more less

1920's American Legion School Award For and Country Bronze medal. 2.5" wide, heavy well cast bronze medal with no issues. tw208

Read more less

1920's Antique Condom Tin Akron tourist tubes Zeppelin Litho Vintage<br>Prophylactics Tin. Very cool 2 1/8" x 1 5/8" x .25", guaranteed authentic. A<br>handfull of these originally found by my client's grandfather about 50 years ago<br>in an old barn in West Virginia. He sold those, some for as much as $2500 each<br>via Ebay auctions, he saved the best two and here we are. One scratch at bottom<br>right below Zeppelin. Overall super clean with no rust.<br>pwdrawer

Read more less

1920's Antique Flower Basket Doorstop. 10.5" tall x 8" wide. Heavy cast iron likely over 100 years old with no damage.

Read more less

1920's Art deco Watson Sterling Genuine Cloisonné Brooch. Great condition 1.75" wide x 5/8" tall with no detectable wear or damage.

Read more less

1920's Austria Portrait Butter Pat set for Herzog Galleries Houston. Selling the set of 5 shown, combination of hand painted accents over a transfer. 3" wide with no cracks, chips, or restorations. isshelf

Read more less

1920's Awaji Japanese Deco Art Pottery Vase Tubelined Squeezbag Decoration in the Style of Moorcroft. Very unusual and wonderful piece. Period art deco, signed Made in Japan and the Awahi Kiln Mark. The outlines of the hand painted decoration are Tubelined. 7.5" tall x 7.25" wide at rim. No cracks, chips, or restorations, some expected crazing, but no stains. While the decoration is also Gouda style, this is really next level quality with the tubelined squeezbag and the great matte glaze. In my opinon this would be a Book Cover type example for a few diferent collecting areas, it's fresh to the market for the first time since the internet. Awaji pottery has got its name after the Japanese island at which it was made during a period of about one hundred years, between 1830 and 1939. Most of the pieces we find are made from the mid 1870's when Awaji began to export its products, to the mid to late 1930's when the last of the kilns closed. Earlier wares from the active period of this kiln catered to the Asian taste and could be found imitating Chinese monochromes from the Kangxi period and later. Wares from the turn of the century, the shapes got more inspired by the western art movement such as Art Deco (Jugend) and Art Noveau. Awaji pottery is usually hand thrown. The body is made of high-fired, white or cream colored clay. Footrims can vary from pink or buff to white or grey. The glazes are lead based and often brilliant in tone. They are typically translucent and have a fine crackle. The lead in the glaze gives the colors brilliance and makes the translucent enamels glassy and often iridescent. Most common are the green and yellow Awaji monochromes. The yellow can range from pale lemon to deep amber but also cobalt blue, aubergine, light green, blue, light and dark turquoise, mirror-black, and burdy occurs. Other wares can feature two-tone glazes, three-color glazes that are very similar to Chinese sancai), pieces, with incised decoration (most commonly featuring iris flowers), and applied relief decoration. Also more gaudy examples from the last decade are Flambé and drip glazed wares similar to Japanese Sumida and Chinese Shiwan pottery, or later Jindezheng Jun or transmutation glazes, with generous layers of thick glaze B35

Read more less

1920's Bohemian Hoffman Intaglio Perfume bottle with stopper. Great bottle likely with the best smelling perfume ever. The stopper is stuck and I don't have time to mess with it. Stopper mis missing part of the dauber which can't be seen with the bottle mostly full as it is, no other damage or wear to stopper, two tiny tiny rough spots on base, no large chips other than dauber, no cracks. 5.5" tall x 4 1/8" wide. Butterfly mark engraved in bottom center of stopper, no other detectable markings. perfumedrawer

Read more less

1920's Czechoslovakian Amethyst Iridescent Hand Enameled Candlestick. 8.75" tall, over the top with iridescence and enameling from the first half of the 20th century with no cracks, chips, or restorations. B32

Read more less

1920's Demitasse Turkish Coffee Cup and Saucer Set of 5 Rudolph Wachter Bavaria.<br>Selling the 5 Demitass cups and saucers shown with no cracks, chips, or<br>significant wear. Cups are 3" tall x 2 3/8" wide at the rim, saucers are 5".<br>Highly decorative set as shown, hand painted accents over transfer design. Very<br>close to 100 years old if not so.<br>TW227

Read more less

1920's Durand Art Glass Candlestick. Very amazing candlestick, I've had a lot of<br>Tiffany, Steuben, etc candlesticks and they just don't come any better. 5.25"<br>tall x 4.5" wide rim with no damage or flaws.<br><br>Durand art glass was made between 1924 and 1931. Durand was the art glass<br>division of Vineland Flint Glass Works in New Jersey which was founded by Victor<br>Durand in 1897. Many of the glass artists came from the Quezal Art Glass company<br>which closed in 1924. The artists at Durand were granted a great deal of freedom<br>to produce glass in a variety of styles. Many pieces were blown using an unusual<br>yellow glass which many collectors now refer to as "Ambergris". Durand produced<br>a wide variety of art glass items including bowls, vases, perfume bottles,<br>candlesticks and lamps. Durand's art glass quickly gained fame for its beauty<br>and quality. In 1926 Durand received a medal of honor at the Sesquicentennial<br>International Exposition in Philadelphia. Sadly production ceased in 1931 when<br>Victor Durand died in an auto accident.<br><br>tw106

Read more less

1920's Durand Blue Cut to Clear glass Vase. 8 5/8" tall with no cracks, chips,<br>or restorations. Does appear to have some cloudiness in the interior which I<br>didn't attempt to remove. unmarked.<br><br>Durand art glass was made between 1924 and 1931. Durand was the art glass<br>division of Vineland Flint Glass Works in New Jersey which was founded by Victor<br>Durand in 1897. Many of the glass artists came from the Quezal Art Glass company<br>which closed in 1924. The artists at Durand were granted a great deal of freedom<br>to produce glass in a variety of styles. Many pieces were blown using an unusual<br>yellow glass which many collectors now refer to as "Ambergris". Durand produced<br>a wide variety of art glass items including bowls, vases, perfume bottles,<br>candlesticks and lamps. Durand's art glass quickly gained fame for its beauty<br>and quality. In 1926 Durand received a medal of honor at the Sesquicentennial<br>International Exposition in Philadelphia. Sadly production ceased in 1931 when<br>Victor Durand died in an auto accident.<br>b34

Read more less

Well made with great crisp detail, Modeled after James Earle Frasier's "End Of The Trail", No makers name or marks, Cast iron finished to look like bronze, Each measures approx 6" tall x 5.75" x 2" and weigh approx 3.8 pounds each, Native American Indian Warrior on Horseback with spear. I believe the spears are bronze, the top of the spear on one of the bookends is broken at his arm I believe. TW68

Read more less

1920's French Legras Cameo Art Glass Vase. 9" tall with no cracks, chips, or restoraitons.The Legras glassworks – ultimately a multi-centred concern employing hundreds of people across several manufacturing centres – produced enough highly-distinctive pieces to be considered an art-glass movement in its own right.It’s more accurate, of course, to consider the name one of the foremost in the panoply of innovative, experimental and overtly artistic producers who revolutionised decorative glassware from the mid 1860's, throughout the fin de siècle, across the duration of the Great War and beyond The founding father of the company, François-Théodore Legras, came from humble stock, having be life as a woodsman in the Vosges department south of Strasbourg. In 1859, Legras determined that there was potentially more to life than trees and leaves, and secured himself a clerical apprenticeship at the glassworks in Clairey, a long-established manufactory producing drinking glasses and tableware which – crucially for Legras – included the manufacture of crudely-frosted pieces. After learning his trade for five years, Legras moved to Paris and took a job at the Plaine St Denis factory, securing a senior managerial role by the age of 27. He was director of the works when, underwritten by expat-philanthropist Sir Richard Wallace, it was significantly extended and modernised; the duo also took over another factory at Pantin, on the northern fringes of the city. Unrestrained by the financial strictures of facilities lacking patrons such as Wallace, Legras was able to encourage an experimental approach to glass production, harking back to his childhood in the Darney Forests and using opaque glass – based on Clairey’s frosted material – as a canvas on which designs could be created. The businesses were also underwritten by the production of utilitarian glassware for industry – distilleries and pharmacies – and this security gave François-Théodore the freedom to develop his art-glass production techniques. Intricately cut cameo glass pieces, acid-etched and enamelled imagery – requiring up to five separate firing processes to achieve the desired effect – became the Legras hallmark, with many pieces featuring forested landscapes and the favoured themes of the artistic director - irises, orchids and chrysanthemums.Additional members of the Legras family were apprenticed in to the company, notably a nephew – Charles – whose expertise in the chemical treatment of glass to produce marbled, opaline surfaces on which designs could be overlayed, was to prove a valuable commodity. Charles was ultimately to take over the running of the businesses in 1909, seven years before the death of his uncle. He was able to maintain a level of innovation which sustained the company for another decade – achieving notable successes in developing synthesised “gemstones” which could be ground up and incorporated in to the glass melt to give an extraordinary depth of colouration which provided the base for the production of striking cameo vessels.tw108

Read more less

1920's Fulper Porcelain perfume lamp. 6" tall x 5" wide in working condition<br>with no cracks, chips, or restorations. Embossed fulper on base. The same Fulper<br>American art pottery company from New Jersey.<br>tw212<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.

Read more less

1920's German Art Deco Mesh Handbag with enamel frame. Special vintage handbag with 2 small old repairs only visible in interior, shown in last pics. TW101

Read more less

1920's Halsam Wood Safety Blocks Zeppelin Toy In Box. Rare and desirable box with Zeppelin. Wear to box shown in pics, still attractive. Blocks in very good condition.

Read more less

1920's Heisey Marmalade and Underplate with rare Marbleized satin treatment and Pickard/Minton gold. Very unusual if not one of kind piece. Marked heisey on underplate and inside marmalade. 5.5" tall with 4.5" underplate, no damage or significant wear. I found a little about this, it was was custom designed and made by Heisey between the years 1923 and 1925 all for one owner, R. V. Pettingell, of Winchester Massachusetts and sold through John J. Hines of New York. TW185

Read more less

Huge Antique Steel Airplane Toy US Mail Plane. Great early Toy from about the<br>1920's, pressed steel. Overall expected wear with nothing I know of missing. As<br>found original unrestored condition. 22 5/8" wingspan x 24" long. No apparent<br>manufacturer markings.

Read more less

1920's Lightolier Pendant Light With Iridescent Uranium Glass Painted Shade<br>Parrots and Geometric Art Deco Designs. It's really amazing to find a light<br>light this intact. It has the Lightolier label inside the brass ring where it's<br>wired to the ceiling. The top iron section is 15.5" The shade is 8.5" tall and<br>the Ornament at the bottom of the shade is 4.5" long. So it will hang about<br>28.5" down from the ceiling. The Globe is about 10.5" wide. It's Iridescent but<br>didn't show well in the pics. There is also some uranium in the glass as it<br>glows green under a blacklight but not as much as full on yellow vaseline glass.<br>Tiny flakes where shade attaches to hardware, no big deal and expected. No large<br>chips, no cracks, extremely rare and super cool. It will be packed with the<br>hardware in one box and the glove in another then tons of padding. There's a<br>little surface rust on the iron but really it's just got character and lots of<br>it.<br>B33

Read more less

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

Read more less

1920's Nippon Hatpin Holder Japanese Moriage Collection. Selling the three all Japanese from the late 19th to first quarter of 20th century. No cracks, chips, or restorations, Might be some very minor loss to enamel. Tallest is 4" two Unmarked, one marked "made in Japan". TW249

Read more less

1920's Noritake Art Deco heavily gilt oval bowl. Very amazing piece in near mint condition with no damage or detectable wear. Marked as shown, likely decorated by Pickard or one of the other Chicago decoration studios of the first half of the 20th century.. 10.25" x 7" x 2.5" deep.tw270

Read more less

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

Read more less

1920's Rosveville Imperial Large Centerpiece bowl 10.25" wide with no damage or<br>restorations, overall crazing.<br>isshelf

Read more less

1920's Scotsman Nodder Mechanical Bank cold painted Aluminum. Great hard to find bank with most of the original paint. He nods when the coin is inserted. 8.25" tall x 4.5" wide with no damage and good paint as shown. TW106

Read more less

1920's Spode Pink Tower 3 part Relish/Condiment dish. 9.75" wide with no cracks, chips, resorations, stains, or crazing. Selling the exact piece shown with older mark from the first quarter of the 20th century. This pattern was retired in 2007 and this is a very difficult to find piece. tw244

Read more less

1920's Steuben Alabaster Lamp Shade Vase Flared. No cracks, chips, or restorations, expected wear to base on about 100 year old piece of glass. 5.5" tall x 5 9/16" wide at rim. I could not find a mark but it is definitely Steuben from the first quarter of the 20th century. isshelf

Read more less

Bowls are 5" wide x 2.5" tall, Saucers are 6" wide. Selling the 8 pcs shown with<br>no damage or significant wear.<br><br><br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is<br>in Steuben County, from which the company name was derived. Hawkes was the owner<br>of the largest cut glass firm then operating in Corning. Carder was an<br>Englishman (born September 18, 1863) who had many years' experience designing<br>glass for Stevens & Williams in England. Hawkes purchased the glass blanks for<br>his cutting shop from many sources and eventually wanted to start a factory to<br>make the blanks himself. Hawkes convinced Carder to come to Corning and manage<br>such a factory. Carder, who had been passed over for promotion at Stevens and<br>Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass<br>Works and became the Steuben Division. In July 2008, Steuben was sold by Corning<br>Incorporated for an undisclosed price to Schottenstein Stores,[2] which also<br>owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and<br>formerly Value City Department Stores; Value City Furniture, which changed its<br>name to American Signature Furniture; 15% of American Eagle Outfitters, retail<br>liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing<br>its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced<br>it was shutting down Steuben's Corning factory and Manhattan store, ending the<br>company's 108-year history. Soon after, Corning Incorporated repurchased the<br>Steuben brand. In early 2014, The Corning Museum of Glass announced that it<br>would work with independent contractors to reproduce Steuben using a new,<br>lead-free formula and their classic leaded crystal. Carder period<br>(1903-1932)[edit] Steuben Glass Works started operation in October 1903. Carder<br>produced blanks for Hawkes and also began producing cut glass himself. Carder's<br>great love was colored glass and had been instrumental in the reintroduction of<br>colored glass while at Stevens and Williams. When Steuben's success at producing<br>blanks for Hawkes became assured, Carder began to experiment with colored glass<br>and continued experiments that were started in England. He soon perfected Gold<br>Aurene which was similar to iridescent art glass that was being produced<br>by Tiffany and others. Gold Aurene was followed by a wide range of colored art<br>glass that eventually was produced in more than 7,000 shapes and 140 colors.<br>These are a pair of handblown Steuben gold Aurene glass candlesticks designed by<br>Frederick Carder for the Steuben Glass Works, ca. 1913. (From a private<br>collection in Manhattan, New York.)Steuben Glass Works continued to produce<br>glass of all sorts until World War I. At that time war time restrictions made it<br>impossible for Steuben to acquire the materials needed to continue manufacture.<br>The company was subsequently sold to Corning Glass Works and became the Steuben<br>Division. Carder continued as Division manager without any real change in the<br>company's operation except that he now had reporting responsibilities to Corning<br>Glass Works' management. Corning's management tried, mostly unsuccessfully, to<br>limit the articles that Steuben made to only the most popular. Production<br>continued until about 1932. In 1932, there was a major change in Steuben<br>management. The nationwide depression had limited the sale of Steuben and there<br>was a lessening of public interest in colored glass. In February 1932, John<br>MacKay was appointed to Carder's position. Carder became Art Director for<br>Corning Glass Works. Steuben then produced primarily colorless art glass.<br>Steuben still produced colored art glass, but mostly to fill special orders. A<br>few new colors were added after Carder transitioned into his new role with<br>Corning Glass Works, but the last known sale for colored art glass by Steuben<br>was in 1943. Houghton period (1933–2012) An example of Steuben Glass design<br>during the Houghton era is the Balustrade Candlestick set, which mimics a<br>classical balustrade. Of special note is the hallmark of the perfectly formed<br>tear drop air bubble suspended in the design.Corning Glass Works<br>appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership<br>Steuben changed artistic direction toward more modern forms. Using a newly<br>formulated clear glass developed by Corning (referred to as 10M) which had a<br>very high refraction index, Steuben designers developed beautiful, fluid<br>designs. Pieces such as Gazelle Bowl, designed by Sidney Waugh incorporated Art<br>Deco and modernist themes into glass. The themes during this period included<br>"balustrade" designs for water goblets and candlesticks, footed bowls and<br>serving pieces. Decorative forms included wildlife pieces representing owls,<br>penguins and other birds in smooth stylistic forms. Some pieces, such as the<br>Ram's Head Candy Dish, playfully included clean lines crowned by an ornate<br>design (a ram's head, complete with a ruff) on the lid as an homage to its<br>classic earlier pieces. The company also entered into the field of larger show<br>and presentation pieces celebrating various scenes (such as its cut-away design<br>featuring an Eskimo ice fisherman above the ice, and the fish below, or the<br>Cathedral Window design) and elements that incorporated etchings. In some cases<br>sterling silver or gold plating were used on metal finish elements such as the<br>golden "fly" atop the nose of a rainbow trout. Each piece is signed simply with<br>"Steuben" on the underside of the object. Toward the 1990s, the company also<br>began production of small objects—"hand coolers"—in various animal shapes. Items<br>from this period were also noted for their careful and elegant packaging. Before<br>boxing, each Steuben piece was placed in a silver-gray flannel bag (stitched<br>with the Steuben name), and then placed in a presentation box.<br><br><br><br>tw274

Read more less