Prodotti

American Steuben MCM art glass Centerpiece. 10" wide x 4 5/8" wide with no<br>cracks, chips, or restorations. A few tiny non distractive scratches under close<br>examination and of course the expected shelf wear on base as this is an<br>old/heavy piece of glass.<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>tw5

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American Optical Cruxite Optometrist Tools Early 20th century. Selling both boxes as shown. Don't know how they work or what they're for. V boxes are wood and exhibit wear. B7

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American Redware Folk Art Hen on Nest Bank. Very rare and unusual 18th to mid<br>19th century. Some very old chips on beak, top of head and opening, no cracks.<br>8" long x 6.5" wide.<br>b51

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Ancient Artifact Prehistoric Mayan Pre-Columbian Black Stone Hammer Carved Effigy. This and a few more I'm listing are part of an estate collection, I believe they had a small museum in the nineties or before. There was everything from Native American to Pre columbian pottery, everything so far was real. I purchased awhile back but am just now getting around to listing. Guaranteed authentic, hassle free returns. 6.25" tall x 4.5" wide. TW82

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Ancient Artifact Prehistoric Tool possibly Neolithic Celt Mississippian ax Authentic. This and a few more I'm listing are part of an estate collection, I believe they had a small museum in the nineties or before. There was everything from Native American to Pre columbian pottery, everything so far was real. I purchased awhile back but am just now getting around to listing. Guaranteed authentic, hassle free returns. 5.75" long. TW82

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Ancient bronze bracelet. Very old bracelet with a very nice patina and nice hand<br>decorated design. Likely from a UT Professor's estate but I really can't<br>remember where I acquired it as I sometimes acquire more in a week than many<br>normal people do in a lifetime. My lovely wife helped my clean my old photo room<br>and it got mixed in with tons of other jewelry. It is 15/16" wide with a .75"<br>gap and it isn't flexible, so it seems like it would have had to have been put<br>on a child. I know many cultures wore bronze jewelry, African and Viking of<br>course being the first to come to mind, I'm just not really sure. and I don't<br>know whether it's 250 years old or 2500 years old, but would bet it's in that<br>range. Approximately 6.75" inside diameter including the gap. 98.6 grams

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Ancient Carved Marble Votive Head, Alexandrian, Egypt. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4" tall x 2.75" wide, some wear/adhesive residue to case, Head 1.25" X 7/8"

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Ancient Chinese pottery bull. Museum collection numbers on base, part of a large<br>collection many having similar numbers. Likely excavated with glaze degradation,<br>likely Tang Dynasty. 5.75" long x 3.75" tall with no cracks, chips, or<br>restorations.

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Ancient Egyptian/Chinese Sancai Ram figure with Provenance from the Estate Of Hugh McMath University of TX Dean of Architecture. Ok so I'm 100% sure it's ancient and belongs in a museum...just not sure where it's from. If I found it in a collection of Chinese items I'd be sure it was Tang Dynasty Chinese or around that time. Thing is this guy got around quite a bit in the early to mid 20th century with an interest in Archaeology/Architecture. It has a custom fitted wood base with the number 13 on the base and I'm sure there's a list somewhere that says where he found this. It has old restorations on one horn and in the back. Really it's a little difficult to tell what's restoration and what they may have been afraid to clean off upon excavation. I believe it was discovered, not sure when by Hugh McMath who played an important role at the University of TX for many years, there's much information about him in the UT library, below is a description of his papers. 4" long x 3" tall without stand that was obviously made circa mid 20th century to display it. Hugh L. McMath papers Location: Alexander Architectural Archives Subject Tags: Architecture Collection Type: Archive & Notable Collection The Hugh McMath papers include textual and photographic material primarily documenting his 44-year teaching career in the School of Architecture at The University of Texas at Austin. He held a deep interest in the art and architecture of Mexico and developed courses in pre-Hispanic and Colonial architecture of Mexico and published several monographs on the subject. Record types include photographs, correspondence, student work, writings, and faculty papers. I just bought this a few hours ago along with other items from the estate, right now I don't have time in my life to research anything for more than about 5 min or so and I'm always overwhelmed with stuff so I wanted to get it photographed and put in a safe place and hopefully have time to spend on it later or I'll take it with me next time I go to a better auction house. b63

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Ancient Artifact Prehistoric Tool possibly Neolithic Celt Mississippian ax Authentic. This and a few more I'm listing are part of an estate collection, I believe they had a small museum in the nineties or before. There was everything from Native American to Pre columbian pottery, everything so far was real. I purchased awhile back but am just now getting around to listing. Guaranteed authentic, hassle free returns. 4 1/8" long. TW82

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

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Ancient Roman Bronze buckle. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 3.5" tall x 2.25" wide, some wear/adhesive residue to case, Artifact is 2 3/8" x 1 3/8" wide.

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Ancient Roman Bronze buckle. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4.5" tall x 3" wide, some wear/adhesive residue to case, Artifact is 2" x 1 3/8" wide.

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Ancient Roman Bronze buckle This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4" tall x 2.75" wide, some wear/adhesive residue to case, buckle 2.5" x 1 1/8" tw154

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Ancient Roman Bronze buckle. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. Buckle: 2 1/8 by 1 3/4 inches Display: 4 1/2 by 2 3/4 by 2 1/2 inches Some wear/tape residue to acrylic top.

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Ancient Roman Terracotta Jewelry mold or Votive offering. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 5.25" tall x 3.5" wide, some wear/adhesive residue to case, Artifact is 2.5" tall x 2.25" wide and appears to have some loss at the base, possibly part of something larger.

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Ancient Roman Terracotta Jewelry mold or Votive offering. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4.5" tall x 3" wide, some wear/adhesive residue to case, Artifact is 1.5" x 1.25" wide and appears to have some loss at the top and bottom, possibly part of something larger. Votive offerings have been part of the human relationship with s and belief from pre-history to the present. Today we might light a candle, a stick of incense, lay a bunch of flowers or in some Catholic churches people still leave a wax body part by way of an offering, but in the ancient world the practice was more wide-ranging, literal and multifaceted. The ancient Greeks and Romans offered them to a deity to bring good fortune or to grant favours and they were an important expression of their personal relationship with their s and desses. And when it came to matters of health and personal wellbeing, they were often anatomical.

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Ancient Terracotta head on stand. From a collection of world artifacts, much eastern, much from the central and Southern US. Honestly not 100% sure where it's from but I know it's early, guaranteed over 500 years old, likely much older. 3" x 3.25" wide without stand, 4.5" tall with stand. Stand is vintage, head is an ancient shard and particularly nice. b60

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André Gisson (1921-2003) Parisian Scene oil on canvas. 16" x 20" in a 22" x 26"<br>frame. Fantastic 1960's Oil on linen by a well listed artist. No issues or<br>damage with painting or frame. Estate fresh, one of a pair with similar subject<br>matter obviously purchased at the same time originally. The other is listed<br>separately.<br><br><br><br>Andre Gisson came to French Impressionism with an unorthodox background. Born<br>Anders Gittelson in Brooklyn New York, the young man recognized that the<br>Impressionist movement favored older French artists who appealed to the upper<br>classes. Given this, he changed his name to Andre Gisson, and adopted a new<br>identity as a Frenchman born in 1910 - actually identifying as an older<br>Frenchman as he wanted to be associated with his famous French forerunners.<br><br><br><br>Gisson spent his remaining years in the Northeast, living in Westport,<br>Connecticut and traveling to New York City now and again. He exhibited in New<br>York, Washington, California, London, Tokyo, and Paris for more than 40 years.<br>Most of his art focused on landscapes, especially beach scenes like this<br>example. Although not a native Frenchman, his oeuvre certainly demonstrates<br>French influence with loose painterly brushwork that conjures a sense of<br>spontaneity and softly conveys the forms, and an emphasis on light effects.<br><br><br><br>Interestingly, this painting is accompanied by an old label that reads, "Andree<br>Gisson: Born in Besancon, France 1920, son of an artisan. Worked in the shop of<br>his father and started painting as a hobby. When a prominent Parisian art dealer<br>happened to see his paintings he was enthused about his talent and arranged a<br>showing of his work in his gallery which turned out a great success. From there<br>on he was on his way. His manner is of that 'conservativ' impressionism and his<br>subjects mainly devoted to the Parisian street scene. He still lives in Paris."<br><br><br><br>I have seen several of Andre Gissons' painting with this label, typically<br>Parisian scenes, all with strong auction results, he originally started with an<br>earlier date of 1899 on the label, then as he started to get more public<br>exposure I guess he decided to change the date to closer to his real birth year.<br>Also the stretchers are made by the same companies of other Gisson paintings<br>I've studies, and the style/quality of the artists work is spot on. I'm 100%<br>sure of the authenticity of these and guarantee it.

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André Gisson (1921-2003) Parisian Scene oil on canvas. 16" x 20" in a 22" x 26"<br>frame. Fantastic 1960's Oil on linen by a well listed artist. No issues or<br>damage with painting or frame. Estate fresh, one of a pair with similar subject<br>matter obviously purchased at the same time originally. The other is listed<br>separately.<br><br><br>Andre Gisson came to French Impressionism with an unorthodox background. Born<br>Anders Gittelson in Brooklyn New York, the young man recognized that the<br>Impressionist movement favored older French artists who appealed to the upper<br>classes. Given this, he changed his name to Andre Gisson, and adopted a new<br>identity as a Frenchman born in 1910 - actually identifying as an older<br>Frenchman as he wanted to be associated with his famous French forerunners.<br><br><br>Gisson spent his remaining years in the Northeast, living in Westport,<br>Connecticut and traveling to New York City now and again. He exhibited in New<br>York, Washington, California, London, Tokyo, and Paris for more than 40 years.<br>Most of his art focused on landscapes, especially beach scenes like this<br>example. Although not a native Frenchman, his oeuvre certainly demonstrates<br>French influence with loose painterly brushwork that conjures a sense of<br>spontaneity and softly conveys the forms, and an emphasis on light effects.<br><br><br>Interestingly, this painting is accompanied by an old label that reads, "Andree<br>Gisson: Born in Besancon, France 1920, son of an artisan. Worked in the shop of<br>his father and started painting as a hobby. When a prominent Parisian art dealer<br>happened to see his paintings he was enthused about his talent and arranged a<br>showing of his work in his gallery which turned out a great success. From there<br>on he was on his way. His manner is of that 'conservativ' impressionism and his<br>subjects mainly devoted to the Parisian street scene. He still lives in Paris."<br><br><br>I have seen several of Andre Gissons' painting with this label, typically<br>Parisian scenes, all with strong auction results, he originally started with an<br>earlier date of 1899 on the label, then as he started to get more public<br>exposure I guess he decided to change the date to closer to his real birth year.<br>Also the stretchers are made by the same companies of other Gisson paintings<br>I've studies, and the style/quality of the artists work is spot on. I'm 100%<br>sure of the authenticity of these and guarantee it.

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André Gisson (1921-2003) Impressionism Parisian Scene oil on canvas. 16" x 20"<br>in a 22" x 26" frame. Fantastic 1960's Oil on linen by a well listed artist. No<br>issues or damage with painting or frame. Estate fresh, one of a pair with<br>similar subject matter obviously purchased at the same time originally. The<br>other is listed separately.<br><br>Andre Gisson came to French Impressionism with an unorthodox background. Born<br>Anders Gittelson in Brooklyn New York, the young man recognized that the<br>Impressionist movement favored older French artists who appealed to the upper<br>classes. Given this, he changed his name to Andre Gisson, and adopted a new<br>identity as a Frenchman born in 1910 - actually identifying as an older<br>Frenchman as he wanted to be associated with his famous French forerunners:<br>Claude Monet (1840-1926), Edgar Degas (1834-1917), Camille Pissarro (1830-1903)<br>and others of an earlier French generation. Gisson studied in Paris for several<br>years, immersing himself in French Impressionism, and later moved back to the US<br>to set up a studio in New York City, where earlier he had studied at the famous<br>Pratt Institute following time serving as a Captain in the Army during World War<br>II.<br><br>Gisson spent his remaining years in the Northeast, living in Westport,<br>Connecticut and traveling to New York City now and again. He exhibited in New<br>York, Washington, California, London, Tokyo, and Paris for more than 40 years.<br>Most of his art focused on landscapes, especially beach scenes like this<br>example. Although not a native Frenchman, his oeuvre certainly demonstrates<br>French influence with loose painterly brushwork that conjures a sense of<br>spontaneity and softly conveys the forms, and an emphasis on light effects.<br><br>Interestingly, this painting is accompanied by an old label that reads, "Gisson:<br>Born in Besancon, France 1920, son of an artisan. Worked in the shop of his<br>father and started painting as a hobby. When a prominent Parisian art dealer<br>happened to see his paintings he was enthused about his talent and arranged a<br>showing of his work in his gallery which turned out a great success. From there<br>on he was on his way. His manner is of that 'conservativ' impressionism and his<br>subjects mainly devoted to the Parisian street scene. He still lives in Paris."<br><br>I have seen several of Andre Gisson's painting with this label, typically<br>Parisian scenes, all with strong auction results, he originally started with an<br>earlier date of 1899 on the label, then as he started to get more public<br>exposure I guess he decided to change the date to closer to his real birth year.<br>Also the stretchers are made by the same companies of other Gisson paintings<br>I've studies, and the style/quality of the artists work is spot on. I'm 100%<br>sure of the authenticity of these and guarantee it.

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Andrea Lonjose Shirley Zuni Mickey, Minnie, Donald, Pluto, and Goofy squash blossom necklace. Fun vintage necklace in good condition with no issues. 26" long with other measurements in pics.Zuni artist Andrea Lonjose Shirley makes gorgeous pieces of handmade art. She was taught by legendary Zuni artist Shirley Benn and the Benn style is definitely revealed in her work. Also, she married a Navajo man and draws from both the Pueblo and Navajo cultures to create her one-of-a-kind pieces. We have accumulated a collection of her Kachina pin/pendants and are making them available to you. Each piece demonstrates the incredible talents of Andrea, and is realistically done with etched channel inlay work and a variety of stones.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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Andreas Beckmann Sterling Alligator Belt buckle on size 26 Alligator belt. From<br>the retired high end Dallas designer Andreas Beckmann. The buckle is 4.5" x<br>2.75" thick solid heavy sterling and takes up to a 1" belt. The buckle appears<br>new with no signs of wear. The belt appears to have been worn a handfull of<br>times with no significant wear but very close examination shows it's not "Brand<br>New". Belt is 1.25" wide tapering down at both ends, comes with original bag and<br>two new keepers in the box from the shop this ensemble likely came from in Aspen<br>Colorado. It was likely about a $1500 retail item that isn't currently available<br>at any price as the designer retired.

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Andrew Saufkie Hopi Overlay Silver cuff bracelet Fits up to a 7 3/8" wrist, 1.5"<br>gap, 1 5/16" wide, 63 grams, sturdy with no issues.<br>Andrew Saufkie. (Born 1946) This Hopi jeweler from the Bear Clan is recognized<br>for his exquisitely designed and executed overlay metal work.<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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Andrews Rollin Karg Art Glass Paperweight no cracks, chips, scratches, or dings. 3.5" wide x 1.5" tall. Rollin Karg, is a renowned glass artisan from the Midwest who designs and creates small and massive sculptural pieces from molten glass, usually shaped in a free-form, asymmetrical manner.  He brings the glass to life through his dynamic use of color, especially dichroic colors – a color that transmits one color while reflecting another – which adds a unique dimension to the piece. While Karg prefers to use traditional techniques of glass making that are thousands of years old, he also adds his own inventive techniques to each project.  It is amazing and awe-inspiring to watch him create massive works of art through the use of a five-foot blowpipe. Although Karg spent the first part of his career as an industrial engineer, photographer, potter and woodworker before becoming a full time glass artist in 1983, he has quickly gained notoriety for his contribution to the world of glass art.  He has won many awards in competitions and shows throughout the United States and his work has been exhibited throughout most of North America.

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Andy Cadman Navajo sterling and spiny oyster barette. Function with no issues. From a collection of unused jewelry, "new old stock"Born in 1966 Gallup, NM. His brothers Darrell and Donovan Cadman, Gary and Sunshine Reeves are also silversmiths. He is the oldest of his brothers, so his stampwork is very deep and wild. His heavy and fine stampwork are popular with high grade turquoise.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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Andy Lee Kirk Isleta Pueblo (1947-2001) 14k gold Sugilite and Opal necklace. With accompanied 2008 appraisel from Waddell Gallery 2008, keep in mind gold averaged 1/3 of it's current price in 2008 so do the other materials not to mention a deceased master's labor and skill. No issues with the necklace or pendant, no damage or significant wear. 23" long and other measurements in pics. 64 grams total weight.Andy Lee Kirk was a Master contemporary Native American artist of Isleta and Navajo heritage, who died tragically at the height of his career at the age of 54. He created beautiful gold and silver jewelry using the finest materials from 1970 to 2001. Born in 1947, he originally earned a degree in biology continuing on to work for the Fish and Wildlife and Forest Services. Andy had learned the basics of jewelry making at the University of New Mexico and with the urging of Navajo artist, Gibson Nez, he made the decision to become a full time jeweler. Andy Lee Kirk was a consummate artist with many fine skills. He did lapidary work, rolling his own beads, and had mastered many types of precious metalwork including lost wax and sand cast techniques, stamping, engraving, overlay and fabrication. His artistic innovation reached further than aesthetic beauty alone. His designs were brilliant – a perfect balance between clean modern lines, meaningful symbolism, and bright southwestern colors such as lapis lazuli, turquoise, and red coral. He was the IACA Artist of the Year in 1996 and earned many other prestigious awards and accolades including First Place and Best of Division at Santa Fe Indian Market and Best of Category at the Inter-Tribal Indian Ceremonial in Gallup, NM.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.

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Angelita Cheama Zuni Sterling pendant with turquoise and coral. No issues, weight and measurements in pics. Angelita Cheama or Angie C., a Zuni silversmith who has crafted jewelry since the early 1950s. This piece likely dates to the 60‘s, and has a teardrop shape with bezel mounted branch coral and sky blue turquoise. The stones are accented with silver beads, and a detailed silver feather curves at the lower edge. The pendant is bordered with a rounded edge that is incised around the lower half. 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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Anique General Electric Instrument Potential Transformer Porcelain Sign GE. Great unrestored authentic piece from the early 20th century with no significant damage. 6.75" x 4.25" TW165

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Ann King 18k/Sterling dangle earrings. 18k accents and posts, earrings have no backs, no other issues. 1.5" tall x 5/8" wide. 10.7 grams total.

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Ann King Sterling Silver & 18K Yellow Gold Accents Cross Crucifix Charm Bracelet. High quality authentic item with no issues. Very clean pre-owned condition.

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Annie Davis Sterling Silver Scottie Dog belt buckle 3.5" x 2 3/8" fits up to a 1 3/8" belt. 93.4 grams marked and tested sterling silver. Annette Allen Crawford Davis1933 - 2021Annette Davis was a gifted artist. She turned the garage of her home into a studio, and taught art classes there. She created remarkable sculptures out of clay, marble, sterling and bronze. Later in her career she took up welding, painting, and glass slumping. Several years after her husband Bill died, she married George Davis III. He was also a gifted artist who taught figurative sculpture at "The Studio" in northeast Dallas. Together they traveled all over the world, shared a love for sc uba diving and photography, and occasionally parachuted out of airplanes. They were actively involved with the artistic community in Dallas, and for a time Annie was president of the Dallas Sculpture Association.

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Anno 1678 17th Century Engraved Pewter Plate. This plate is definitely an<br>antique. It has a nice patina but was polished at one point a long time ago and<br>has residue in the grooves. That being said I'm not 100% sure how old it is. I<br>have found no other identical examples so really have no reason to believe it's<br>not 342 years old, but also that is really old so I'm not 100%.<br>TW82

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Anothai Hansen (Thailand/ New York) Artisan 7 color stone and crystal necklace.<br>I'm fairly confident this piece was never worn, no identifying marks but it's an<br>Anothai Piece as it was purchased directly from the artist.<br>Hung with a large raw pendant, seven color stone, in black, wire accented mount<br>with protruding faceted stones, and central amulet showing seated Lady Luck<br>(Nang Kwak), on a woven and twisted cord, with beaded push through closure,<br>approx 16"l, drop: 4"l, 2"w, 1"d, 219 grams

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Anothai Hansen (Thailand/ New York) Artisan Quartz/Rainbow stone necklace. I'm<br>fairly confident this piece was never worn, no identifying marks but it's an<br>Anothai Piece as it was purchased directly from the artist.<br>Artisan one-of-a-kind wearable art statement necklace, Anothai Hansen (Thailand/<br>New York, 20th c.), a double terminated clear crystal quartz, above a seven<br>color rainbow stone, both held by multi-strand knotted leather cord, with copper<br>wire accents and hook closure, approx 15.5"l, both pendants: approx 3.5"h,<br>3.5"w, 229 grams (inclusive of all materials)

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Antique Moser Raised Enamel Tray with Bird of Prey. 19th century incredible<br>piece, unsigned atrributed to Moser. 18.75" diagonal x 6" tall with no cracks,<br>chips, restorations, or significant wear.<br>TW214

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Antique 10k gold Bird Stickpin with ruby eyes pearl mouth. Great piece over 100<br>years old, marked and tested 10k gold 1 gram.

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Antique 14k enamel flowers seed pear pin. Great little pin well over 100 years old, most likely late 19th century. Tested 14k gold with worn hallmarks. 1" wide 1.7 grams.

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Antique 14k gold Enamel carved Jade pin. Amazing piece, late 19th to early 20th century, likely made from older jade plaque. Jade plaque secure in bezel with what appears to be old natural fissures and possible fractures. It is backlit in the pics so they are more apparent when no apparent in person. 1 7/8" x 1 1/8" x 12.84 grams.

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Antique 14k Gold Hardstone cameo pendant with pearls. Unmarked, tested and<br>guaranteed solid 14-15ct gold. Approximately 150 years old, 1 7/8" tall with<br>bail and jumpring x 1.25" wide. 14 grams.

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Antique 14k rose gold French enamel Pendant/brooch. 19th century pendant mounted<br>as a brooch soon after. 14k yellow gold (tested) brooch and 14k rose gold<br>pendant (tested) Both unmarked. 13.1 grams Penand is 1 7/8" tall with bail x 1"<br>wide not counting brooch chain, the brooch and chain could be easily removed to<br>wear as a pendant, I could remove it upon request.

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Antique 14k Yellow Gold/Diamond cufflinks in original box. Great set of (tested) 14k yellow gold cufflinks with (tested) .1cttw diamonds. The cufflinks are solid matte finish 14k gold but are hollow and weight 5.7 grams without the box, they are unmarked. They are estate fresh guaranteed from the first quarter of the 20th century with no damage or issues, minor soiling to original box.

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Guaranteed over 100 years old American primitive basket fresh a local estate full of nice primitives and other baskets. I only list rarities online, so this is the only one I'm listing. Money back guarantee it to be as stated. Not quite mint, but very clean, see pics. Nice patina. 3.25" wide x 3" tall.

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Guaranteed over 100 years old American primitive basket fresh a local estate<br>full of nice primitives and other baskets. I only list rarities online, so this<br>is the only one I'm listing. Money back guarantee it to be as stated. Not quite<br>mint, but very clean, see pics. Nice patina. 3.25" wide x 3" tall.

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Antique 800 Silver Demon pin. No issues, measurements and hallmark in pics.

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Antique 800 Silver Mounted Cut overlay glass Vase. Fantastic piece from the first quarter of the 20th century. 8" tall with 2 5/8" rim. Beautiful cranberry/Amethyst mix, a unique color. Top quality piece that could easily be Baccarat/St Louis, Val St Lambert, or one of other worlds top glassmakers. 80% silver rim, hallmark looks like LY or LV with something in the center. No damage whatsoever.TW107

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Antique 835 Silver Western Themed Choker Charm necklace. The coolest very old<br>necklace from the first half and likely the first quarter of the 20th century.<br>13 1/8" wide, center horse hangs down 3" wide. I left it unpolished but 100%<br>guarantee it to be solid silver 83.5+%. No damage or issues, a super cool one of<br>a kind piece. I can hand polish before shipping upon request, I just felt it<br>looks great like this and while I really don't like using the word patina when<br>discussing silver, I do kind of feel this has that untouched antique patina.<br>57.3 grams.

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Antique Agate Match Safe. Gold filled mount with no markings, tin striker<br>surface with some intact rough surface for striking, lift tin top to store<br>matches. 2.25" long x 1" wide x 13/16" deep, no damage, some expected wear.<br>These were all purchased in New York at Parke-Bernet Galleries before they were<br>bought out by Sotheby's in 1964.

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Antique Agate Trinket/match box. 2.25" x 1.25" x 1.25", no damage or significant wear. There's some irregular lines in bottom stone but I possibly stable fissures, really difficult to tell. These were all purchased in New York at Parke-Bernet Galleries before they were bought out by Sotheby's in 1964.

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Antique American Folk art puppet carved wood artists doll Milt Simpson Estate.<br>Amazing item on high quality museum grade stand. This is from the Estate of<br>Milton Simpson, author of several books and publications of Folk a. He was the<br>graphic designer who discovered the Woodbridge figures collection in New Jersey.<br>Not the construction worker that found them but the person who purchased them<br>all from a local pawn shop and recognized their importance. There is a very high<br>probability this piece is published in one or more of his books/publications.<br>It's a great hand carved, one of a kind piece. It's 9" tall and happens to be<br>painted black, if it were painted white, green, yellow, purple it would be<br>equally important in my eyes, really just a strange and wonderful thing with<br>these orange breasts, etc.<br><br>Milton Simpson (1911-2023)<br>Milton – also known by his friends and acquaintances as Milt - was born and<br>raised in Brooklyn, New York City and raised his family in Millburn, New Jersey.<br>He attended the New York School of Industrial Art (SIA), now the School of Art<br>and Design. He then worked for Incorporated Ideas Advertising Agency in New<br>Jersey before joining the United States Army, serving in Korea.<br>After his discharge from the Army, Milt attended The Workshop School of<br>Advertising & Editorial Art. Upon completion of his studies there, he became the<br>Art Director of The American Baby Magazine in New York, Assistant Art Director<br>at Lewin, Williams & Saylor in New Jersey, and then Art Director of Kenyon-Baker<br>Advertising & Baker Printing Company, (both of which were under one roof) in New<br>Jersey. (He left there because the promised air conditioner was never<br>installed!)<br>He then worked as a freelance graphic designer and illustrator for several<br>years.<br>In 1964, he and business partner Don Johnson founded the firm of Johnson &<br>Simpson Graphic Designers with Milt as president. They were based in a townhouse<br>in beautiful downtown Newark, New Jersey and specialized in corporate<br>communications. The design projects they took in included annual reports,<br>corporate magazines, capability brochures, posters, museum catalogs, trademarks<br>and books. Their clients included Conoco, Johnson & Johnson, New Jersey Bell,<br>Hoffmann-La Roche, The Newark Museum and Singer Corporation.<br>The firm was featured in every major design publication, was recognized by over<br>350 graphic design awards and he and Don were inducted into the New Jersey Ad<br>Club's Advertising Hall of Fame in 1991.<br>Milt also served on the Advisory Board of The Greater Newark Chamber of Commerce<br>and was an Adjunct Professor (Publication Design) at Montclair State College.<br>The New Jersey Art Directors Club voted Milt Art Director of the Year in 1972.<br>Books were his passion. He couldn't seem to get them out of his system and<br>didn't try to. For many years he produced and self-published a series of<br>Artists' Books using several print-on-demand platforms. Milt was always a<br>student and appreciator of quirky, eccentric and irrational human behavior.<br>These Artists' Books were very much influenced by his observations and<br>obsessions.<br>Among many others too numerous to mention, he wrote "Windmill Weights" which was<br>self-published and "Folk a" published by HarperCollins.

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Antique American Folk art wood horses pull toy. Likely homemade from the first<br>quarter of the 20th century, missing wheels and possibly other hardware. Hand<br>carved and wonderful. 7.75" long x 6.5" tall with no breaks.<br>tw22

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Antique American Ice fishing decoy Carved wood Painted Tin fins. 8.25" long with<br>original paint, The fins were made from a Liggett and Myers tobacco tin as I can<br>read part of it under the old original red paint.<br>tw233

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Antique American Ice fishing decoy Carved wood Painted Tin fins. 8.25" long with original paint, The fins were made from a Liggett and Myers  tin as I can read part of it under the old original red paint. tw233

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Antique American Ice fishing decoy Carved wood Painted Tin fins Glass eyes. Nice<br>old estate fresh decoy from a small collection. 5 1/16" long, nicely carved and<br>painted, the eyes are definitely glass.<br>tw233

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Antique American Sterling James Armiger Repousse bowl 6.25" wide x 1.25" tall with no issues, monogrammed as shown. 137 grams.

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Antique American Sterling Tea Ball infuser. Fantastic piece with no issues. Top snaps shut tightly to hold tea, forms a tight seal. 5.75" long, American sterling hallmark that I recognize and don't have time to puzzle over, no issues.

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Antique American Sterling Whiting Lily Compote. Very clean with no large bends<br>or dents. 8" wide x 3.5" tall x 267.6 grams, monogrammed as shown.

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Antique Amethyst Enameled Water Pitcher Art Glass c.1900 Fenton or Northwood<br>9.75" tall x 8" wide with handle. No cracks, chips, or restorations. Wear to<br>Gilding on rim.<br>tw84

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Antique Arabic Sterling, turquoise, and coral pendant on wheat chain. Very old pendant and necklace, solid high content silver. Necklace is 20" long with no issues, other weight and measurements in pics.

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Antique Arcade Cast Iron Buffalo Bank c.1920's 3" tall x 4 3/8" long. Guaranteed<br>authentic with orthogonal paint. Nice patina that doesn't show so well in the<br>pics.

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