Prodotti

c1910 Japanese Nippon Bowl with Geishas. 7 3/8" wide x 1.75" deep with no damage. TW180

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c1910 Grande bottiglia di profumo in vetro tagliato inglese con fascia in argento. Pezzo incredibile. Un'ammaccatura sulla parte superiore del tappo sfaccettato, due ammaccature molto piccole sulla base trovate solo dopo un esame molto attento, mostrate nell'ultima foto. Nessuna crepa o scheggiatura di grandi dimensioni, nuvolosità molto lieve. Il tappo originale misura 6,25 pollici di altezza x 4 pollici di larghezza e si adatta come un guanto.

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c1910 Limoges Basket Hand Painted Roses and Heavy Gold . No cracks, chips,<br>restorations, or noticeable wear. 7" wide x 6.5" tall. Would make a really fancy<br>whatever you chose to use it for. Substantial size and uncommon shape.<br><br>TW3

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c1910 Loetz Candia Papillon Footed vase. 5 3/8" tall with 4.75" rim, unmarked<br>with no cracks, chips, or restorations.<br>B48

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c1910 Lookout Mountain Tennessee Folk Art carved Pyrography Civil war rifles letter opener. Great piece from the first quarter of the 20th century with appropriate wear. 7.5" long tip isn't sharp as shown, likely broken off long ago. kitshelf

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c1910 Miami Florida Avenue of Royal Palms Musa Isle Grove Cobalt German Souvenir Toothpick 2.75" tall, marked Germany on base, no damage. toothpickdrawer

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c1910 Northwood Carnival Glass Sweetmeat Candy Dish in Amethyst Iridescent. 9" tall x 5.25" wide. The smallest Chigger bite on stem after very close examination. No other cracks, chips, or other issues.

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c1910 Original Illustration from "With Grant At Vicksburg" By Listed Artist J<br>Watson Davis. This is an original illustration from the above book, Davis only<br>did four illustrations in this book which was published in 1910 and this is one.<br>White and grey watercolor and Gouache on 7" x 11" board. 11.75" x 15" framed. No<br>issues.<br><br>Last two pics are pictures I found of the cover of the book this illustration<br>was for and a copy of this illustration as seen in the book.<br>B2

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c1910 Ovington Bros Vienna Austria Set di piatti da dessert con bordi smerlati in oro pesante 9". Set davvero carino di piatti in ottime condizioni che hanno circa 100 anni. Vendo tutti e 7, sono larghi 9" senza crepe, scheggiature, graffi o altri segni di usura evidenti . Sono stati realizzati a Vienna, in Austria, e venduti al dettaglio da Ovington Bros negli Stati Uniti, che era il principale rivenditore di gioielli/articoli di lusso dell'epoca negli Stati Uniti che trattava articoli come Tiffany e altri importanti produttori da tutto il mondo.

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c1910 Quezal Iridescent American Art glass diminutive bowl 4.5" wide with great<br>iridescence, no cracks, chips, or restorations.<br><br>toothpickdrawer<br><br>Quezal Art Glass – The Journal of Antiques and Collectibles – April 2003<br><br>By Malcolm Mac Neil<br><br>Some of the most beautiful and alluring art glass made in America during the<br>early part of the 20th Century was made by the Quezal Art Glass and Decorating<br>Company. Often in the shape of blossoming lilies with brilliant gold interiors<br>and colorfully decorated with floral and other motifs inspired by nature, Quezal<br>art glass ranks right alongside the iridescent glass of Louis Comfort Tiffany<br>and Frederick Carder. Quezal artisans created an extensive range of decorative<br>and useful items, including vases, compotes, finger bowls, open salts, candle<br>holders, and shades for lighting fixtures, which are equivalent in terms of<br>beauty and quality of craftsmanship to Tiffany’s Favrile and Carder’s Aurene<br>glass. In recent years, glass collectors have discovered anew the special charms<br>and appeal of Quezal art glass, and collector desirability for this lovely<br>glassware has increased dramatically.<br><br>The Quezal Art Glass and Decorating Company was incorporated a century ago, on<br>March 27, 1902. It was founded by Martin Bach, Sr., Thomas Johnson, Nicholas<br>Bach, Lena Scholtz, and Adolph Demuth. The factory was located on the corner of<br>Fresh Pond Road and Metropolitan Avenue in Maspeth, Queens, New York. In October<br>1902, the trademark “Quezal” was successfully registered. By 1904, roughly fifty<br>glassworkers were employed at the works.<br><br>Martin Bach, Sr. was the president, proprietor, and guiding force behind this<br>successful company. Born in 1862 in Alsace-Lorraine to German parents, he<br>emigrated to the United States in 1891. Before his emigration, Bach worked in<br>Saint-Louis, France, at the Saint-Louis Glass Factory. After Bach arrived in<br>this country, he was hired by Louis C. Tiffany as the latter’s first batch-mixer<br>or chemist at the newly established Tiffany Glass and Decorating Company, in<br>Corona, Queens. After a period of about eight years, Bach left Tiffany and<br>established his own glassworks. By this time, Bach had already started his small<br>family. He and his German-born wife, Anne-Marie Geisser, whom he married in the<br>fall of 1889, in Paris, France, had three children. Two daughters, Jennie and<br>Louise, were born in France and a son, Martin, Jr., was born in Corona.<br><br>Bach was assisted by Thomas Johnson, an English immigrant, and Maurice Kelly, a<br>native of Corona, both of whom were gaffers or master glassblowers. Johnson and<br>Kelly helped pave the way for Quezal’s early accomplishments and later<br>recognition. Thomas Johnson, like Bach, was a founding member and also<br>previously employed by Louis C. Tiffany. Johnson’s association with Quezal,<br>however, was relatively short lived. Around 1907, Johnson left for Somerville,<br>Massachusetts, where he became involved in making Kew Blas glass, under William<br>S. Blake at the Union Glass Company. Maurice Kelly’s tenure with Quezal was also<br>brief. Kelly worked at Quezal from January 1902 until July 1904, but by November<br>1904, he was making Favrile glass at Tiffany Furnaces, where he would happily<br>remain until 1918.<br><br>To this day, the belief still exists that there once existed a man named Quezal,<br>who worked for Louis C. Tiffany, and it is after him that Quezal glass is named.<br>In truth, however, the founders of the Quezal Art Glass and Decorating Company<br>named the company and its products after one of the world’s most beautiful<br>birds, the elusive and rare quetzal, which dwells in the treetops of the remote<br>tropical forests of Central America. A rare company promotional brochure<br>provides a vivid description of the quetzal: Of all the birds of the America’s,<br>it is the most gorgeous. No more splendid sight is to be seen in all the world<br>than a quezal, flying like a darting flame through the depths of a Central<br>American forest. Its back is of a brilliant metallic green, so vivid it shines<br>even in the twilight of the woods like a great emerald and its breast is a<br>crimson so deep and bright that every motion of the wonderful creature is a<br>flashing of rubies among the trees and giant creepers. It bears a true golden<br>crown upon its head – a helmet of bright yellow and green, shaped just as the<br>helmet of old Aztec kings were shaped. Its tail is composed of lacelike plumes,<br>extending more than two and one-half feet beyond its body.<br><br>The quezal was certainly an appropriate designation for the company’s<br>resplendent glassware. One of the most prized characteristics of Quezal art<br>glass is the shimmering and dazzling brilliance reflected in the iridescent<br>surfaces on the interior as well as exterior of the glass. The radiant rainbow<br>colors in metallic hues, including gold, purple, blue, green, and pink, to name<br>only a few, were certainly inspired by the quetzal and its feathers. Not<br>surprisingly, lustrous feathers, in shades of opal, gold, emerald, and blue, are<br>among the most common decorative motifs encountered on Quezal glass.<br><br>The enduring hallmark of Quezal art glass is its unique expression of the Art<br>Nouveau style, based on organic shapes and naturalistic motifs coupled with<br>technical perfection in the . Vases, compotes, drinking vessels, and shades for<br>lighting fixtures were often fashioned to resemble flowers such as crocuses,<br>tulips, calla lilies, casablanca lilies, and jack-in-the-pulpits. Variously<br>colored inlaid threads of glass, pulled and twisted by hooks, simulate<br>naturalistic floral and leaf patterns, lily pads, clover leafs, and vines. Opal,<br>gold, and green colors prevail and the glass is generally opaque. Red is the<br>rarest color of all. Compared with Tiffany’s Favrile glass, the crisp, vivid,<br>and colorful decoration of Quezal art glass is distinctively precise,<br>symmetrical, and restrained.<br><br>Other Quezal wares recall shapes and styles favored in ancient Egypt, Persia,<br>Greece, and Rome, as well as the Italian Renaissance and the Georgian period in<br>England. This is especially true of classic-shaped vases and bowls of<br>translucent amber glass, which have a single surface color such as iridescent<br>gold or blue. Still, others were inspired by traditional Chinese and Japanese<br>forms.<br><br>The Gorham Manufacturing Company in Providence, Rhode Island, and the Alvin<br>Silver Manufacturing Company in Sag Harbor, Long Island, purchased Quezal art<br>glass, which they in turn embellished in their shops with silver overlay<br>decoration in the fashionable Art Nouveau style and later resold. Gorham’s<br>silver overlay designs mostly include stylized floral motifs. Alvin’s silver<br>designs are wonderfully organic. One sumptuous design is of a group of sinuous<br>iris blossoms with carefully articulated petals surrounded by attenuated<br>meandering vines. Collectors should note that not all silver-deposit pieces are<br>marked with a maker’s mark since the silversmith had to be quite careful not to<br>damage the glass underneath.<br><br>A rare 1907 retail catalog survives from Bailey, Banks, and Biddle Company, a<br>luxury goods retailer in Philadelphia, which reveals original retail prices of<br>Quezal art glass. A surprising revelation provided by this catalog is that<br>Quezal art glass was nearly twice as expensive as comparable French imported<br>glass made by such renowned firms as Gallé and Daum. Hock glasses, a stemmed<br>glass used primarily for drinking German white wine, were sold by the dozen and<br>retailed between $50 and $75. Fingerbowls were also sold by the dozen and<br>retailed between $50 and $100. These high retail prices were nearly the same as<br>those charged for Tiffany’s Favrile glass, and suggest Quezal art glass was also<br>marketed towards the high-end or luxury market.<br><br>Electricity was a brand new invention in the late 1800s and American glass<br>manufacturers developed novel approaches for concealing the electric light bulb,<br>which was rather harsh to the eye and perhaps unflattering to the domestic<br>interior. Tiffany, Steuben, and Quezal responded to this need with the most<br>extraordinary and beautiful art-glass shades, all of which were hand-made and<br>exquisitely fashioned. Many other companies also made art glass shades for table<br>and floor lamps, electroliers, hallway fixtures, and wall sconces, but it was<br>Quezal that excelled in this area and was the most prolific.<br><br>Quezal art glass shades were available in an infinite variety of shapes, sizes,<br>colors, and decorations. Some shades are formed and decorated as lilies while<br>others are bell-shaped and have ribbed or textured decoration. Rims are usually<br>plain but sometimes are notched or ruffled. Common motifs include feather or<br>hooked feather, leaf and vine, applied flowers, drape, fishnet, King Tut, and<br>spider webbing. The workmanship shown on most Quezal shades is of the highest<br>caliber. The sale of these shades represented a significant portion of the<br>firm’s revenue. Many manufacturers and retailers of electric lighting fixtures<br>purchased Quezal shades to sell with their fixtures, including Edward F.<br>Caldwell and Company in New York City, Stuart-Howland Company in Boston, and The<br>David J. Braun Mfg. Co., in Chicago. The 1907 Bailey, Banks and Biddle retail<br>catalog mentioned earlier, reveals Quezal art glass shades retailed between<br>$7.50 and $22.50 per shade. Today, Quezal shades are actively collected and<br>prices are considerably higher, especially for the rarest, largest, and most<br>elaborately decorated ones.<br><br>Amazingly, little is known about the original names for each of the company’s<br>products – for they certainly had them. One most satisfying exception is an<br>attractive and distinctive line introduced by Quezal in 1917, which was<br>appropriately named “The Glass That Looks Like Pottery.” The subtle color<br>blending and soft finish of the glass has all the rich color tones of the finest<br>contemporary art pottery produced in America or abroad. In 1919, Quezal’s new<br>sales representatives, Dela Croix & Wilcken, who were located at 19 Madison<br>Avenue in Manhattan, changed the name to “Innovation.”<br><br>“Innovation” is distinguished from Quezal’s other art glass because it is not<br>iridescent. In addition, the high-gloss body of the glass is always opaque and<br>usually consists of a subtle and artistic blending of colors that include dark<br>and light brown, olive green, gray, pale blue, lavender, dark orange, and pale<br>yellow. Previously this glass has been referred to as “stone,” “agate” or<br>“laminated” glass, which are the different terms used to designate a similar<br>type of glass by the Tiffany Glass and Decorating Company. No two pieces are<br>alike. The over-all effect is otherworldly and sometimes reminiscent of a<br>tropical sunset. In some cases, the shape and coloring are strikingly similar to<br>ceramics; in others the decoration is bold and distinctive.<br><br>Fortunately, a few of the line drawing sketchbooks, trade catalog pages,<br>bill-heads, correspondence and other papers from the Quezal glassworks have<br>survived. In 1994, these papers were donated by the children of Martin Bach,<br>Jr., Gladyce Bach Wells, and Clifford Bach, to the Museum of American Glass at<br>Wheaton Village in Millville, New Jersey. One of these documents reveals the<br>original pattern designations, which included diamond, curl, hammered, frill,<br>block-a-dot, reed, feather, leaf, heart, and spider. The “spider” decoration is<br>certainly an appropriate designation for this type of glass. It is easily<br>recognizable by the very thin threads of amber glass randomly wrapped around<br>some vases and shades, much like a real spider would weave its web. Detailed<br>line drawings exist for a wide variety of items and demonstrate the high level<br>of technical skill required by Quezal artisans, who manufactured these items<br>according to clearly prescribed specifications.<br><br>Most companies that produced art glass in this country followed the lead of<br>Louis C. Tiffany and marked their products with an identifying signature or a<br>paper label to distinguish their products from those of their competitors. The<br>Quezal glassworks was no exception. Quezal art glass is usually signed so it can<br>be more easily distinguished from similar items, including those marked Tiffany,<br>Steuben, Kew Blas, Imperial, Fostoria, Lustre Art, and Durand. A few of the<br>different marks that are sometimes found on genuine Quezal items include “Quezal<br>N.Y.,” “Quezal,” accompanied by a decorative scroll underline, and “Quezal”<br>together with a prefix letter and numeral. Two variations of the mark, “Quezal,”<br>by itself, are known: it appears either engraved into the surface of the glass<br>or else a special pencil or stylus was used, which left a platinum or silver<br>signature. Vases and other tableware items are generally signed on the underside<br>in the area of the pontil mark. The signature on a Quezal shade is usually found<br>along the interior of the fitter rim, which is the part of the shade that<br>adheres to the lighting fixture.<br><br>Martin Bach, Sr. was often given to generous actions and gave away a good many<br>pieces of his beautiful Quezal glass to neighbors, friends, and even settled his<br>local debts with his wares. When he died of cancer on August 1, 1921, at the age<br>of fifty-nine in the Greenpoint Hospital in Brooklyn, unfilled orders for Quezal<br>art glass totaled some $350,000 – a considerable sum in 1921. Complicating<br>matters, Quezal was experiencing financial difficulties under the management of<br>Robert Robinson, president, and Martin Bach, Jr., vice-president.<br><br>Dr. John Ferguson, a close friend of the Bach family and their family physician,<br>was brought in as an investor. Dr. Ferguson, together with three other wealthy<br>friends, raised the capital necessary to keep the factory operational. The<br>investors contributed an undisclosed sum of money and promised additional<br>financing if Martin Bach Jr. could show a profit of $1,000 at the end of the<br>year.<br><br>Notwithstanding the infusion of capital, in December 1923, the Quezal Art Glass<br>and Decorating Company was sold to Edward Conlan, a personal friend of Dr.<br>Ferguson, and in January 1924, the Quezal Art Glass and Decorating Company was<br>reorganized as the Quezal Glass Manufacturing Company. Dr. Ferguson served as<br>president and Martin Bach Jr. served as general manager. The reorganized company<br>continued to make both commercial and artistic glassware and even introduced<br>many new articles.<br><br>Several important glass artisans were employed in the art glass shop, including<br>Harry and Percy Britton, William Wiedebine, and Emil Larson, a gaffer hired in<br>1923. Sadly, by early 1924, the majority, if not all, of Quezal’s artisans from<br>the art glass shop had left the factory, which closed soon thereafter. These<br>individuals and Martin Bach, Jr., who was in possession of his father’s<br>glassmaking formulas, moved on to other glass manufacturers, including the<br>Imperial Glass Company in Bellaire, Ohio, and the Durand Art Glass division of<br>the Vineland Flint Glass Works, in Vineland, New Jersey.<br>tw210

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Questa è una bella copia dell'inizio del XX secolo di un dipinto di S. Koninck (1609-1659) del XVII secolo. Raffigura un vecchio, forse San Girolamo che legge. La targa è in ottime condizioni. La cornice presenta qualche segno del tempo e qualche zona di restauro. È stato prodotto in Germania, forse nel primo quarto del XX secolo. Targa: 10 "X 8" Incorniciato: 17 3/4 "X 15 3/4" Profondità: 3 1/2 " Due restauri vecchi, stabili e discreti sul lato superiore e inferiore sinistro del telaio, nessun danno alla placca.

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c1910 Royal Austria Heavy gold Salt Dip set. Selling the 5 with no cracks, chips, or restorations, very minimal wear to gilding on sharp points of top rim, near mint. TW239

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c1910 Royal Doulton Bottle Japan Chinoisiere Imari British Imari Piatti da deserto (4) da 7,5 pollici (4) con decorazioni policrome Accenti di lucentezza pesca. Sto elencando altri pezzi di questo modello raro e attraente separatamente. Non hanno crepe, scheggiature o restauri, uno ne ha alcuni piccole screpolature, gli altri non ne hanno. Vendo esattamente i 4 piatti mostrati.tw12

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c1910 Royal Doulton Bottle Japan Chinoisiere Imari British Imari 9.5" Luncheon Plates (8) with Polychrome Decoration Peach Lustre Accents. I'm listing other pieces of this scarce and attractive pattern separately. They have no cracks, chips, or restorations, Three have some minor crazing the others have none. Selling the exact 8 plates shown. tw12

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c1910 Royal Doulton Bottle Japan Chinoisiere Imari British Imari Platter with<br>Polychrome Decoration Peach Lustre Accents. I'm listing other pieces of this<br>scarce and attractive pattern separately. 17 5/8" x 14.25" with no cracks,<br>chips, or crazing. There are two spots on bottom rim that I believe are glaze<br>imperfections from the firing process, they're small and insignificant.<br>tw12

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c1910 Royal Doulton Bottle Japan Chinoisiere Imari British Imari Rim Soup Bowls (2) with Polychrome Decoration Peach Lustre Accents. I'm listing other pieces of this scarce and attractive pattern separately. 9 5/8" wide each. They have no cracks, chips, restorations, crazing, or stains. I'm selling multiple lots of these and they are all in the same condition. They have perfect lustre, really don't appear used. I believe they've been in a cabinet for 100 years. Selling two in each lot with multiple lots available. tw12

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c1910 Royal Rudolstadt Rose O'Neil Kewpie Cup and Saucer. No damage, slight wear to gilding. 5 1/8" wide saucer. This is not a dollhouse sized teacup, larger than demitasse/espresso cup, but smaller than the big english bone China type teacups. isshelf

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c1910 Schafer and Vater Germany Googly Eyed doll Figural perfume bottle Owl,<br>Elephant, Camel Collection of 4. Selling the 4 all guaranteed German pre 1930<br>early 20th century, I'm not 100% sure if they are Schafer and Vater. Tallest is<br>2" tall with no cracks, chips, or restorations on any. No stoppers which were<br>just simple corks with metal crowns in them.<br>tw52

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c1910 Sevres Style Muville Artist Signed Hand Painted Courting Cabinet Plate. No cracks, chips, or restorations. Likely framed about 30-40 years ago, but the plate is much older. It is one of a pair I'm listing the other separately under similar keywords. Frame is 14.25", plate is 9.5" Tw55

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c1910 Sevres Style Muville Artist Signed Hand Painted Courting Cabinet Plate. No cracks, chips, or restorations. Likely framed about 30-40 years ago, but the plate is much older. It is one of a pair I'm listing the other separately under similar keywords. Plate is 9.5", frame is 14.25" Tw55

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c1910 Simonds Worden White Pocket Knife Dayton Ohio Machine Knives Bars and<br>Plates Edge tools Dayton Grinding Wheels. Great knife in fine condition, fully<br>functional and tight. Made in USA by the company it's advertising. 3 3/8" wide<br>closed.<br>tw208

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c1910 D'Argental French Scenic Cameo Glass Vase with Shepherd Scene 11.75" x<br>5.5". Incredible complex labor intensive piece of over 100 year old hand<br>engraved art nouveau French cameo glass with no issues or damage whatsoever.St<br>Louis had been and still is one of the great old glass houses of France; they<br>had gone to the Paris exhibition in 1900 expecting to be crowned king of glass,<br>only to be completely out-classed by the cameo glass of the ‘upstart’ Emile<br>Galle. In the early 1920s they were still trying to get their own back. Paul<br>Nicolas cut a deal with St Louis –he would make cameo glass for them using their<br>facilities and then also he could use their facilities to make cameo glass for<br>himself too. This was before the days of ‘studio art glass’ if you had a glass<br>kiln you were a major sized business, not a one-man-band. The pieces Nicolas<br>made for St Louis were signed a number of ways, but quite soon they settled on<br>‘D’Argental’ (the brand name they had established for their own previous,<br>unsuccessful attempts at Cameo glass). Nicolas sneakily added a cross of<br>Lorraine to the mark to indicate when he personally made a piece. When he made<br>Cameo for himself pieces were signed ‘P. Nicolas’ usually followed by<br>‘Nancy’.Production at St Louis clearly had its limitations, the crystal glass<br>they used, had a more limited colour palate than he was used to at Galle and the<br>extra toughness of the crystal glass meant internal polishing was effectively<br>impossible. But using crystal did mean the cameo and wheel cutting could be much<br>finer.B61

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c1910 Sterling Alvin Orange Blossom floral bowl large berry/casserole serving spoon. 9.25" long with 2 7/8" wide bowl in fantastic condition with no damage or significant wear, no monograms or removals.

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c1910 Sterling Silver Boot Form match holder pendant. 2 5/8" tall x 1.5" long<br>with no damage. Great detail, stamped sterling inside lid. 21.4 grams.<br><br>pendants

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c1910 Unger Bros Sterling Art Nouveau L monogram cufflinks

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c1912 Lalique for D'Orsay Powder box with 3 Nymphs. 3.75" wide x 1 5/8" tall with no cracks, chips, or other issues. D'Orday in mold on exterior of box, R. Lalique France in mold of exterior of base. perfumedrawer

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c1915 14k Gold Enamel/Gold Ore Masonic Oriental Royal Arch Chapter 183 Shekinah<br>Lodge 246 Watch fob/pendant. Very unusual watch fob, tested in multiple places<br>to be 14k gold, guaranteed. 1 7/8" tall x 1" wide 12.12 grams.

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c1915 22" Bronze Sculpture of Salome with John the Baptist's Head by Philipp<br>Modrow<br><br>A rare work from a rather obscure sculptor, this example captures the famous<br>Biblical scene of Salome with John the Baptist's head. Herod's second wife,<br>Herodias, originally the wife of his brother Philip, had her daughter Salome<br>dance before Herod and his entire court in hopes of manipulating him against<br>John the Baptist. John was outspoken in his reproach of Herod for taking his<br>brother's wife and Herodias wanted him executed for this, though Herod would not<br>comply. However, greatly pleased by her dancing and drunk with his guests, Herod<br>promised to give Salome anything she asked for, up to half of his kingdom.<br>Salome asked to have the head of John the Baptist on a plate, as he was<br>presently held in the king's prisons. Placed in an awkward position in front of<br>his court, he was forced to grant her request despite his own personal<br>objections. The scene is moving in it's exceptional rendering of Salome's<br>careless and selfish nature. She clutches her prize with a certain grotesque<br>pleasure, an unsettling image of one so led astray for the vengeance of her<br>mother to an empty and ugly result. Modrow has sculpted her ingeniously to be<br>equal parts beautiful and repulsive. She stands before a naturalistic rock<br>backdrop. The sculpture is signed on the right and impressed by the foundry on<br>the left. Philipp Modrow (German, 1882-1925) is documented in the E. Benezit<br>Dictionary of Artists (Gründ, Vol. IX, p. 1080) as being the student of Emil<br>Cauer Jr. and that he is noted for his 1923 sculpture "Monument to Spengler" in<br>Davos, where he died in December of 1925.

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c1915 8.75" Van Briggle Owl Lamp. Looks like someone began or removed a<br>restoration to one ear. No other cracks, chips, crazing, or restorations. This<br>is the less common larger version. Lamp works.

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c1915 Art Deco Sterling Schmitz & Moore Mechanical crumb brush. Extremely rare item for the super elite of the first quarter of the 20th century. Table sized mechanical cleaning brush, or perhaps for bed. I've never seen another like it so I'm really not 100% sure of it's original intended use. Solid hand engraved sterling other than brushes, mechanism and handle of course. Handle a little loose, seems to work as it should. You have to press down to engage the brushes as you would the larger version of these that people used to use. 205.3 grams, 4" wide x 7.5" from bottom to end of handle.

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c1915 Chinese Bronze Vase with Bamboo Decoration. Extremely heavy for it's size. Lighter in color than a typical bronze patina but I feel like it's been polished before, some discoloration as shown. Came with the note shown inside it. TW74

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c1915 Fenton Kittens Miniature Bowl/toothpick holder. No damage or detectable wear. 3.5" wide x 2.25" tall. toothpickdrawer

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c1915 Fulper for Prang Flambe Drip low Bowl. 6" wide x 2" deep. No cracks, chips, or restorations, a few scratches on exterior. Fulper produced vases for the Prang Company of New York from 1913 to 1929. They were used as still-life models for Artists in training, and were valued for their beautiful form and glazes. This early piece (1913 to 1916) made for Prang by the Fulper Pottery of Flemington, New Jersey, was produced in what many consider Fulper's finest years. Typical factory manufacturing artifacts (very small glaze pops skips, etc). Signed Prang on the underside, indicative of their 1913 to 1916 production (after 1916, the Vases Fulper made for Prang were marked "Fulper"

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Pair Early Republic Chinese Cloisonne Dragon Cup Plates with Very intricate<br>work. These have some of the finest most intricate work imaginable, they're like<br>micromosaic. They're 3 5/8" wide. Pin dishes, coasters, snuff plates, cup<br>plates, coasters. Whatever you want them to be. They work is way better than<br>I've ever seen on this type of dish. One stamped China, the other unmarked, they<br>are very early 19th century or possibly very late 19th century. While they've<br>been together forever, they're different as they're handmade.<br>TW124

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c1920 1 Qt Grey Graniteware Measuring cup For Household use only. Uncommon embossings in wonderful condition with no significant issues. 5 3/8" tall. tw148

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c1920 13.25" Cast Iron horse Drawn Fire Pumper Truck with Fireman.<br>Very attractive with appropriate paint wear. No breaks or repairs. I'm selling a<br>very large collection of antique mostly iron toys that was assembled 50 years<br>ago. They're all antique, I can't spend much time on each item so I may not know<br>manufacturer of every piece, but they're all American and late 19th to early<br>20th century. No reproductions, and nothing rigged up.

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c1920 14k White Gold Cameo with Diamond Pendant/Brooch. Really nice quality hand carved victorian cameo with diamond pendant. Tested and marked 14k gold, Diamond is tested real. 1.5" tall x 1 1/8" wide 8.1 grams total weight. The top loop is hinged to come up when using as a pendant or down when wearing as a brooch.

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c1920 24" Dean's Rag Doll. 24" tall, Looks to have once had hair, possibly very<br>old restitching at some of the seams, maybe not. I'm not really familiar with<br>what the original stitching looked like I just know for sure all of the thread<br>in it is very old.<br>TW252

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c1920 3 Limoges Game Plates. Selling the three limoges plates shown from the first quarter of the 20th century. 8.5" wide hand painted with very slight wear to paint shown in pics. isshelf

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c1920 American Imperial Freehand Cobalt Hearts and Vines Art Glass Vase 10.25"<br>tall. Very special and rare piece of American art glass that's right at 95-100<br>years old. No cracks, chips, or restorations. Looks great in any setting but<br>really sets off with light shining through it.<br>TW144

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c1920 American Imperial Lead Luster Cobalt Iridescent Swirled vase. 6.75" tall x 3 1/8" rim. Nice antique 95-100 year old American art glass vase. isshelf

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c1920 Antique Bank/Doorstop Dog on pillow with bee. Nice large heavy bank from first quarter of 20th century guaranteed. Original paint with expected wear. 6" tall x 6" wide base. TW60

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c1920 Antique Chinese carved Jadeite sterling mounted Jewelry set. 16" long necklace, 7.5" long bracelet size 6.25 ring, Jadeite pieces measure approx 23mm x 16mm each. All pieces marked sterling with no other detectable markings. These Jade pieces were carved in China in the first quarter of the 20th century then exported to the US where they were set in sterling jewelry and retailed. 42.4 grams total.

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c1920 Argy Rousseau Pate De Verre Bowl in the Ivy Pattern signed G.Argy Rousseau. 3.5" tall x 4.5" wide at the rim with no cracks, chips, or restorations. Gabriel Argy-Rousseau is produced wonderful works of pate de verre art glass from about 1914 until 1937. Somewhere between 200 and 300 different designs have been recorded by researchers. Scholars believe that between 15,000 and 20,000 total pieces of art glass were produced by G. Argy-Rousseau. That is a relatively small production and it has made some pieces of his work very rare today. Please do not make the assumption that Argy-Rousseau was just a studio glass maker. He was the main creative force behind the glass, but it was in fact a large production. There were at times as many as 20 employees. G. Argy-Rousseau glass was sold all over Europe, in The United States, Latin America, and even in North Africa. It is partly because of this extensive original sales network that his glass can be found all over the world today. The importance of Argy-Rousseau was two-fold. First, it was completely unlike anything glass makers were producing at the time. And secondly, while others started trying the same styles, no one else was ever really able to make anything consistently more appealing or better. So not only was Argy-Rousseau the first, he was also the best. That is a feat that is rarely accomplished in the arts. Below is a brief timeline of Gabriel Argy-Rousseau and his life accomplishments: 1885 – Born in Meslay-le-Vidame, France 1902 – Attends Ecole de Serves 1906 – Graduates from Ecole de Sevres with an engineering degree 1913 – Marries Marianne Argyriades 1914 – Opens his first studio and displayed his original art glass 1921 – Forms firm with Gustav Moser-Millot to market Argy-Rousseau’s art glass 1923 – Generally considered to be the peak of his work 1931 – Moser-Millot liquidates firm marketing Argy-Rousseau works 1932 – Argy-Rousseau starts a new glass making venture 1937 – Closes the mostly unsuccessful new glass operation 1953 – Argy-Rousseau passes away tw191

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c1920 Art Deco 935 Silver guilloche enamel box. Descreetly fancy as can be. Extremely high quality tick solid silver. Gilt interior and exterior, wear to exterior gilding. No damage to enamel anywhere. Lid forms airtight seal. 2.75" wide without hinge or catch, 7/8" deep 120 grams.

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c1920 Art deco Beaded Handbag with silk interior. Great piece with glass beads, handmade. Minor wear as shown, really fantastic. TW101

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c1920 Art Deco Cut Glass Claret Jugs pair. Selling the pair of 90-100 year old English cut glass claret jugs in very clean condition. No cracks, chips, or restorations, some wear and oxidation to silverplate tops. 11.5" tall. isshelf

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c1920 Art Deco Czechoslovakia Iridescent Luster Pottery Vase. 10.25" tall, great amphora style piece with strong Art Deco influence. 2 very small shallow flakes on feet, no other chips, cracks, or restorations. tw104

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c1920 Art Deco Green Cut Overlay Glass Deacanter with Sterling silver mount. Large perfume or small decanter. 9.75" tall x 4.25" wide. Base marked sterling No damage to glass base. Chip of very top of stopper and micro chigger bite to center facet shown in first pic. b23

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c1920 Art Deco James Deakin and Sons Cut Crystal Biscuit Barrel. No cracks, chips, or restorations, no wear to plating. 7.5" tall without handle x 5.5" wide. B30

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c1920 Art Deco Silverplate Mounted Cut Glass Pitcher 11" tall. I would be tempted to date this closer to 1900, but I feel the geometric design on the mounting dates it to the art deco period. It's a great big pitcher with no cracks and only some small expected flakes that are only detectable upon close examination. I could find no markings on the lid or the base. tw96

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c1920 Art Deco sterling change purse. Great condition snaps shut and stays locked shut. 2.5" x 2 1/8" without chain. Possibly missing a change insert. 57.8 grams. tw208

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c1920 Austin Texas Miniature Sample Tin Mexene Chili Powder. In the condition shown 1 5/16" tall. isshelf

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c1920 Barber's Licence and Nameplate Sam R Tatum San Antonio Texas Claude<br>Eichman. From a New Braunfuls Texas estate, but I believe Claude Eichman was in<br>San Antonio and born in 1900. Minor loss to foil under sign, no chips or cracks.<br>8.5" x 5.25"<br>TW253

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c1920 Bohemian Art Deco Iridescent art glass biscuit jar 6.5" tall without<br>handle x 5.25" wide with no cracks, chips, or restorations. Great piece from the<br>first quarter of the 20th century.<br>B48

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c1920 British Boxed Fish set with Celluloid handles. 12 pieces in good condition with box wood box. tw138

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c1920 Carl Thieme Dresden Flowers Cup and Saucer. All hand painted with No<br>cracks, chips, or wear to gilding. Selling the cup and saucer shown. Cup is 3<br>5/8" wide without handle x 2" tall Saucer is 5.5" wide.<br>TW172 and bdrmshlf

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c1920 Coca Cola Change purse in amazing condition. This is as clean as these<br>come, right at 100 years old with no significant issues, no touch up, estate<br>fresh. Attached is a pic of one in not as good of condition selling for $1125 in<br>2014 on eBay. Fully functional but for obvious reasons I wanted to mess with it<br>as little as possible. 3" x 3.75" as shown in pics.<br>trinketdrawer

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c1920 Coronet Limoges Artist Signed Fruit wall Plaque 10.5" No cracks, chips, or restorations. Some very minor wear to Gilding on rim. Tw46

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c1920 Coronet Limoges Artist Signed Pheasant wall Plaque. 10.25" wide with no cracks, chips, or wear to paint/gilding. Exceptionally fancy border and nice painting. tw255

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