Frame measures 29" x 41", Painting measures 24" x 36" painted on 1979 by Calvin<br>Canepa who can be read about below. The painting is undamaged and has not been<br>restored, canvas is tight, frame is also in great condition.<br><br>Not many people are “discovered” in kindergarten, but Calvin Canepa’s artistic<br>talents were apparent at the age of 5.<br><br>“The superintendent of the Lake Tahoe school district saw a painting I did and<br>was impressed,” Canepa said.<br><br>“He contacted my mother and told her that she should expose me to as many<br>outdoor scenes as possible so I could further develop my artistic abilities.<br><br>“I had the first exhibition of my work when I was in the first grade.”<br><br> Canepa is a self-taught fine artist. He concentrates on outdoor scenes and<br>still lifes. The area around Lake Tahoe and the Sierra Nevada foothills serves<br>as the subject for most of his paintings.<br><br>When Canepa isn’t painting or exhibiting his art, he works as a clerk at the<br>Bel-Air market in Cameron Park. “When my daughter came to live with me,<br>following the death of her mother, I needed a job with health benefits that<br>would cover both of us,” he recalled. “I also wanted to work less than 40 hours<br>a week so I could have more time to concentrate on my painting. “That’s why I<br>applied to work at Bel Air. It was a Union job and I could work less than<br>full-time and still be eligible for benefits.<br><br>‘The only way to go’<br><br>“I also had an uncle and two cousins who were Union members and worked for<br>Lucky. I saw how they lived a solid middle-class lifestyle, so I knew Union was<br>the only way to go.”<br><br>Canepa works the overnight shift because it lets him paint and market his art<br>during the day.<br><br>“Selling paintings is an up-and-down business,” Canepa said. “Having a secure<br>Union job with benefits has been a lifesaver for me.”<br><br>His union-negotiated health benefits were especially useful when he had to have<br>back surgery seven years ago.<br><br>“I was out of work for six months,” Canepa said. ”Everything was taken care of.<br><br>I didn’t have to worry about how I was going to pay for the surgery and could<br>concentrate on getting better.”<br><br>Canepa’s goal is to get his art into more galleries and eventually into museums.<br>“Having your work hang in a museum would be very prestigious,” he said.<br><br> “But showing my work in as many galleries as possible is also important,<br>because I can sell more of my paintings.”<br><br>One of Canepa’s paintings sold for $14,000 to Bank of America and still hangs in<br>the bank’s corporate offices.<br><br>Although he is nowhere near retirement age, Canepa plans to keep working as long<br>as he can.<br><br>“Work sharpens my artistic abilities,” Canepa said. “Having less free time is<br>good, because you need a sense of urgency to paint. If you have too much time on<br>your hands, you can get lazy.<br><br>More information about Canepa’s artwork can be found at his<br>website, www.calvincanepafineart.com.

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I really don't try to talk things up very often, but this is a really nice<br>piece. This piece has a really nice patina all over front and back. It's never<br>been to an auction house or online ever. I really don't know whether it's from<br>the thirties or the sixties. I don't think it's 19th century. It's good quality<br>with a nice patina. It's the kind of piece that would stand out in any<br>environment and match at the same time. It's made out of no telling how many<br>thousands of wooden matches. You have to examine really closely to see any<br>traces of glue, I'm talking like 6". At that distance you can definitely tell<br>the wood and the glue are at least 50 years old. Everything about the back says<br>it's old. Old rope, old nails, slight old patinated rust. It'd be way more<br>trouble to fake this than it's worth. That's probably enough matches to give<br>three people cancer. It's extremely intricate, I've seen other matchstick stuff<br>that was like jailhouse stuff from the 70,'s. Nothing even close to this. All<br>the work that went into this, this guy would've had to have a life sentence. The<br>woods are really nice, the back board looks like balsa wood, I don't know if<br>this is African or American. I assume it would be one of the two, but really<br>know nothing about it other than it's old and has the name Damala on it and of<br>course that it's in Austin and freshly exposed. It measures 33.75" x 25 15/16 to<br>outside of frame. No damage to report, it's old and there's some minor wear on<br>the frame, but it's clean. I don't know if DAMALA is the artist or the person<br>being depicted.

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NEW Reed and Barton Francis 1 Sterling Silverware 8 7/8" Modern Hollow Knife<br>(Stainless blade) with sterling handle, 4 7/8" long blade. I have a small set of<br>this in "New old Stock" condition. They have never been out of the sleeve, never<br>used, this pattern was discontinued in 2019 so they have been in a drawer for<br>awhile and will be some wear to plastic sleeves but the pieces inside are<br>absolutely new and unused, not machine polished with a worn down pattern like<br>some of the big replacement patterns offer but new and not available anywhere at<br>any price in this condition. I'm still pricing them at way less than they cost<br>new and about what the big companies charge for a refinished piece that<br>typically has lost the original crispness of the pattern.<br><br>Selling (1) NEW Reed and Barton Francis 1 Sterling Silverware 8 7/8" Modern<br>Hollow Knife (Stainless blade) sealed in the pack, unused with more available.<br>You can change the qty to purchase more than one.<br><br>An American Classic, Francis 1st by Reed & Barton continues to be as popular<br>today as it was when it was introduced in 1907. The grandeur of this unique<br>sterling silver pattern, designed by Ernest Meyers, is enhanced by its fifteen<br>different fruit-and-flower clusters. Each handle bears one of these exquisitely<br>detailed vignettes. After 112 years this pattern was retired in 2019.

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c1979 Shoraku Sasaki Raku Set: Shimadai Chawan Tea bowls. In original wood box approx 6" x 8", largest bowl 7" x 2.5", smallest bowl 6 1/8" x 3 1/8"...Gold and silver appears to be intentionally worn on both pieces but I'm not sure as I have not had these for 44 years, you be the judge. No cracks, chips, or restorations. These are from a very famous potter.

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c1900 French Haviland Limoges oyster plate. 9" wide with no cracks, chips, or restorations, some wear to gilding on rim. isshelf

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Autographed President Bill Clinton Photo with/to Andrew Sharp Peacock. Authentic<br>White house photo from the Living Estate of Australian Ambassador Penne Korth<br>Peacock, Wife of Andrew Sharp Peacock. I cannot explain why the signature is<br>faded, maybe an accident, maybe sun, maybe a change in political views? Not<br>sure, but This is an official White House Photo of the president and an<br>Australian Politician/diplomat given to him while in office and signed by the<br>President. It's in a simple frame behind glass and I will keep it that way to<br>preserve it. The photo is 8" x 10".<br><br>Andrew Sharp Peacock AC GCL (13 February 1939 – 16 April 2021) was an Australian<br>politician and diplomat. He served as a cabinet minister and went on to become<br>leader of the Liberal Party on two occasions (1983–1985 and 1989–1990), leading<br>the party to defeat at the 1984 and 1990 elections.<br><br>Peacock was born in Melbourne and attended Elsternwick Primary School and Scotch<br>College before studying law at the University of Melbourne. A former president<br>of the Young Liberals, he was elected to Parliament at the age of 27, filling<br>the blue-ribbon seat of Kooyong, vacated by Sir Robert Menzies. Peacock was<br>appointed to cabinet in 1969 by John Gorton and later served under William<br>McMahon and Malcolm Fraser. He held a variety of portfolios, most notably<br>serving as Minister for Foreign Affairs from 1975 to 1980. He unsuccessfully<br>challenged Fraser for the Liberal leadership in 1982, but was then elected as<br>Fraser's successor following the party's defeat at the 1983 election.<br><br>At the 1984 election, the Peacock-led Coalition slightly reduced the Labor<br>Party's majority. He resigned the Liberal leadership the following year after<br>failing to have his deputy John Howard removed; he was duly replaced by Howard.<br>He remained a member of the shadow cabinet, and in 1987 unsuccessfully<br>challenged Howard for the leadership; he was instead elected deputy leader.<br>Peacock returned as leader in 1989. However, his second term lasted less than a<br>year, as he resigned after another electoral defeat in 1990; he had won the<br>popular vote but failed to win enough seats. Peacock left politics in 1994 and<br>was later appointed Ambassador to the United States, serving from 1997 to 1999.<br><br>b1

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1950's German Schuco Clockwork Dancing Monkey Drummer. Feet embossed Schuco Patent Made in Germany. Box present with one end/flaps detached but present, Working condition with no key but I tested it using a clock key. He drums and dances. And yes he stands up, my pictures are taken with the camera pointing down at the toy on it's back and I like to get as close as possible. 5.5" tall. isshelf

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1950's German Schuco Clockwork Dancing Beer Drinking boy. This is as good as they get, super clean. Feet embossed Schuco Patent Made in Germany. No Box, Working condition with no key but I tested it using a clock key. He not only drinks beer from a stein but also he dances around in a circle. And yes he stands up, my pictures are taken with the camera pointing down at the toy on it's back and I like to get as close as possible. 5.5" tall. isshelf

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Extensive Antique Burmese Bronze opium weight set. Largest 2.5" tall 244.4<br>grams. Smallest 5/8" tall 4.5 grams, very extensive set collected in the mid<br>20th century.

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Extensive Antique Burmese Bronze opium weight set. Largest 2.5" tall 240.7 grams. Smallest 3/8" tall 1.4 grams, very extensive set collected in the mid 20th century.

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c1980's British Roadace Replica 1955 Mercedes Benz 300 SLR in Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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c1980's British Roadace Replica Porsche 904 G.T.S Carrera In Box. Average Wood<br>base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car<br>shown, car is perfect, some wear and or adhesive residue to box.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 1960's Lotus model collection. No detectable<br>issues or wear. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm<br>long. Selling the Exact 4 cars shown. I photographed one individually with the<br>intention of listing individually but I figured I would offer them as a group<br>for a better price. These are all quite rare as they were not mass produced,<br>historically they tend to average $125-$200 each. If I were to split up this<br>group I would want towards the higher end for just one but could potentially<br>work a deal on several. I'll be offering other makes and models separately,<br>these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1900 Croft Darby Style Antique Handcuffs. Selling the handcuffs shown in<br>amazingly well preserved condition, fully functional. The keys are threaded, you<br>just keep turning until they open. These are very rare, especially in this<br>condition.

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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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5 Antique Teen/20's Sterling silver School medals 1.5"-1.75" tall x 1"-1.25" wide x 50.2 grams total. All sterling marked and/or tested. anderas

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c1910 Albert Rosenhain Berlin Bronze Dore Box 5" wide x 2 7/8" tall with no<br>damage, expected wear to gold Dore finish. Tw209

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Theodor Olsens Eftf - Bergen Mid Century Norwegian Gilt Sterling enamel demitasse spoon set. Selling the set shown with no issues 4" long. No damage to enamel. Theodor Olsens Eftf - Bergen Founded by Theodore Olsen (1837-1890) in 1868. After his death the silversmithery and store were sold to brothers Magnus and Knut Aase, but continued under the name of Theodore Olsen. Since then, many generations of the Aase family have managed the firm. In 2016 Theodor Olsen Eftf became Arven AS anderas

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NEW Reed and Barton Francis 1 Sterling Silverware 6 3/8" Modern Hollow Butter Spreader with sterling handle and (Stainless blade). I have a small set of this in "New old Stock" condition. They have never been out of the sleeve, never used, this pattern was discontinued in 2019 so they have been in a drawer for awhile and will be some wear to plastic sleeves but the pieces inside are absolutely new and unused, not machine polished with a worn down pattern like some of the big replacement patterns offer but new and not available anywhere at any price in this condition. I'm still pricing them at way less than they cost new and about what the big companies charge for a refinished piece that typically has lost the original crispness of the pattern. Selling (1) 6 3/8" Modern Hollow Butter Spreader (Stainless blade) sealed in the pack, unused with more available. You can change the qty to purchase more than one. An American Classic, Francis 1st by Reed & Barton continues to be as popular today as it was when it was introduced in 1907. The grandeur of this unique sterling silver pattern, designed by Ernest Meyers, is enhanced by its fifteen different fruit-and-flower clusters. Each handle bears one of these exquisitely detailed vignettes. After 112 years this pattern was retired in 2019.

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

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Antique Exposition Spoon collection 1893, 1904, 1915. Selling the lot, 3<br>sterling, two not. Regular sized teaspoons, penny shown for scale.<br>silverdrawer

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Antique Gold Miner's Portland Mine Cripple Creek Colorado Souvenir spoon<br>silverdrawer

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1890's Hand Engraved Hoffman House Bridgeport Alabama Sterling souvenir spoon.<br>Rare spoon, penny shown for scale.<br>silverdrawer

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Antique Dutch Repousse silver tea caddy spoon. Selling the spoon shown,<br>hallmarked in bowl and tested high content silver. 4.25" long with 2 3/8" bowl.

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Antique Bronze Snake Opium weight set in amazing basket. Rare and amazing set, I've seen mid sized snake form weights bring over $100 for one weight, a set like this in nonexistent, the basket is absolutely amazing. All 19th century. Basket 4.25" x 3 5/8" x 1.25" deep with no issues. I believe the basket is Japanese, acquired together from a very extensive "price is no object" collection of Japanese antiques. Largest weight is 67.7 grams, 1 5/8" tall, smallest 7.9 grams. Selling the set shown, the only one out there.

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Koshiro Ueki Minister of Justice Presented Pure Silver Sake Cup, some minor wear, tiny dent in bowl, overall good. 1.75" tall x 4 7/8" wide 129.4 grams.

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Antique Mesh Masquerade mask. Extremely cool and old, not 100% sure what it's<br>original intent was, maybe halloween, Mardi Gras, Maybe theatre, works well with<br>no significant issues. Mesh part is 9" tall x 6.75" wide. Painted accents with<br>most paint intact.

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c1890 French Napoleonic Carved Gourd bottle. A '92 on the base could likely be the production date. 3.5" tall x 2 5/8" wide with no issues, been enjoyed on a shelf for over 100 years. trinketdrawer

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c1890 Jacobi and Jenkins Sterling repousse shoe button hook 7.75" long, the handle is solid sterling, not hollow like most of these. This is about as good as these get. Years of polish residue embedded in design, easily removed with strong water from kitchen sink or similar. anderas.

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15th/16th Century Early Printed bible page with hand rubricated initials. From a large collection of manuscripts, framed in the third quarter of the 20th century. 10.75" x 8.75" framed, 8.5" x 6.25" sight. paintingshelf

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Large 1970's Case Buffalo knife in wood presentation box, appears unused and unsharpened. Sight oxidation in places but overall clean and untouched by me. 9.75" total length, 4.5" blade. trinketdrawer

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Retired James Avery Cross in sterling 1 3/16" tall with jump ring x 15/16" wide x 2.7 grams with no issues. James Avery founded his company in 1954, initially crafting jewelry in a two-car garage in Kerrville, Texas, with just $250 and a desire to create lasting value for others. Mr. Avery believed that meaning is what makes life more beautiful and this concept continues to drive how we design jewelry to this day. In 2007, 53 years after he first founded the company, James Avery officially stepped down as CEO and passed the reins on to his sons, Chris and Paul. Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself and others. With a focus on creating straightforward designs and a core belief of integrity in all things, his jewelry became more than precious metals and gemstones. Guests came to him with their stories—their special moments—so he could craft them into pieces they would wear with pride for a lifetime. From writing letters to greeting Customers, Mr. Avery prioritized developing lasting relationships with each person who connected with his designs.

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Antique Indian Silver Spice Box, 19th century. Similar example found can be<br>found at the Victoria & Albert Museum, Ref Number 02672(IS), Betel nut shaped<br>lids, peackock finials, great in every way. Really an amazing thing with 5<br>hinged lids and a center threaded handle that must be unscrewed to lift the lids<br>and when screwed down it holds the lids in place. 5.5" wide, x 3.75" tall, very<br>thick solid high content silver marked and tested. 545.1 grams.<br>silverdrawer

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c1900 American Tramp Art box 13" x 7.5" x 5.5", some wear as shown, metal feet<br>bent but it sits level. Cool and functional.<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

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C1890 Antique Porcelain Plaque Madonna in carved wood frame 4.5" x 3 5/8" total<br>with approx 2" x 1 5/8" sight on plaque. No damage to plaque, not examined<br>outside of frame, old glue restorations to frame.<br>trinketdrawer

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Uncirculated 1864 Confederate States American Currency Richmond 10 dollars. Authentic 1864 Confederate currency uncirculated and preserved in plastic case, this was purchased in 1978 from Larry Chauncey dealer in Confederate and Southern states currency. I'll be listing a few more that were purchased at the same time. Measures 7" x 3"

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Uncirculated 1864 Confederate States American Currency Richmond 5 dollars.<br>Authentic 1864 Confederate currency uncirculated and preserved in plastic case,<br>this was purchased in 1978 from Larry Chauncey dealer in Confederate and<br>Southern states currency. I'll be listing a few more that were purchased at the<br>same time. Measures 7 3/16" x 3 1/8".

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c1880's Allen & Darwin Boxed Nutcracker/Grape Shears/Serving spoon set Sheffield Silver plated. Really nice set, appears unused, box appears to have had a harder life for the past 120 years or so. These are all hand engraved, the nut cracker handles fold all the way over so they can be used both ways, not sure why. The handles of the Grape Shears are much longer than the blades, so that you can insert the blades deeply into a cluster of grapes. Most of the scissor ends of these pieces of antique silver have blunt tips, so that they won’t puncture the fruit. The grape shears would sometimes be found as part of a set with a grapestand, and the earlier grape shears from the late Georgian period were more like scissors, with equally long blades and handles. These were often gold-gilt, demonstrating the high value that the grape shears had been imbued with as an item of cutlery, and as part of a dinner service. Later though, grape shears were usually made of sterling silver, as with most high quality dinnerware, so as to avoid tarnishing and to stand the test of time. After the 1850s, most of the shears produced included a flange which had been added to one of the blades, so that once the grapes had been cut, they could then be elegantly placed on to the diner’s plate while still holding the shears. The decoration on the shears varied widely, at first the shears often displayed a grape and vine motif, however many grape shears were part of a much larger dining set, so they would be embellished with the same pattern that was on the other cutlery. Because so many pieces of various shapes and sizes had to incorporate the same design, these were often more simple than the decoration on single items.

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Antique European Bronze Mother and Child bonding. Late 19th to very early 20th century with no detectable marks or signatures. Very high quality cast bronze most likely French, possibly German. 12.5" tall, 7" base, approx 20 pounds. There was residue from a very old price tag on the top of the base, didn't notice it until after I took the photos, it's been removed.

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Tiffany Sterling Tea Caddy spoon shell form 3.25" long x 1 7/16" wide with no<br>issues. 17.7 grams.<br><br>anderas

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1980's Sterling Italian Montegrappa 402 pen set. Selling both pens in very clean<br>condition, both functional, one with good cartridge, one needed cartridge as<br>it's dry. No dents or major wear to either pen.<br><br>The 300 and 400 series were discontinued in the early 1990’s and are now<br>difficult to find in good condition. This was the flagship version of the 402,<br>with both pens being crafted from sterling silver and featuring a CANOVA<br>guilloche design on the barrel and cap – the trim is vermeil, so gold-plating<br>over silver. The pens have the 1055 VI hallmark, which indicates that it was<br>produced by the older Aquila owned company, prior to them selling to Richemont.<br>The newer Aquila pens have a 2670 VI hallmark.<br><br>The 402 was based on a model from the 1930’s and they’re incredibly comfortable<br>writing instruments to use, even for longer writing sessions.

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Antique French Sterling repousse Holy water font on wood. First quarter of 20th<br>century, 13.5" tall x 9 3/8" wide, solid sterling silver (unmarked but tested)<br>pieces mounted on wood.

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Huge c.1890 Wavecrest Jardiniere. 11" wide x 8" tall with no cracks, chips, or<br>restorations. It has some residue of museum putty on base because it came from a<br>California collection, I guess for earthquakes. I'll remove it before shipping<br>just didn't have time while taking pics since it's big and heavy and really need<br>to mess with it in a safer location.<br>isshelf

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Antique French Porcelain snuff box marked Sceaux 1777 4.25" x 2.25" x 1.75" tall with no damage, tight hinge, no issues. Nice hand painted box. I've seen boxes with this same mark, same age as this box bring $400-$3800 on ebay. I just don't feel like it's that old, I think it's a nice turn of the century box. It was part of a collection of mostly 18th century boxes and does have a really nice patina on the lid. Selling the antique box shown, nice, hand painted, French.

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19th Century French Sampson Chinoisiere Enameled Famille rose style Table Box. High quality box with strong hinge, snaps shut and stays shut when turned upside down. No cracks, chips, restorations, or other issues. 5.75" x 4" x 2 5/8" tall. tw108

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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

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c1880 French Orientalist Bronze Didier Debut(1824-1893) Foundry Stamp Garanti Au<br>Titre Paris. 12" tall x 8" deep with no damage.<br>isshelf

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c1750's Battersea snuff box. 2 5/8" wide x 1.6" tall. Some overall crazing and some overpainting on base and two spots on side of base. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's.Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house.Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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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.

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

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Kenneth Wyatt (1930-2021) "Texican" and "Arbuckle" Polished pewter Sculptures.<br>Selling both Sculptures each with no damage or detectable wear.<br><br>Dr. Kenneth Wyatt (1930-2021) was a well-known Western artist in the Texas<br>Panhandle. He was widely known through his paintings, bronze and pewter<br>sculptures, writing, speaking and preaching. He lived in Tulia, Texas, where he<br>maintained his studio gallery, bronze foundry and Y-8Publishing, Co. He was also<br>an ordained Methodist minister for 30 years. As an example of his success, his<br>works are in prestigious collections ranging from the White House to the Capitol<br>Building in Washington DC.

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Antique Hand Carved Jointed Artists Model Doll. 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>20" tall and Jointed everywhere, all the joints are functional, some a little<br>loose as this is about 100 years old. It is standing unassisted in two of the<br>pics but might not be the best idea unless held with "museum wax" or something<br>similar. tw106<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 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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1930's Popeye Pipe Toss Game. Box 11" x 5", some damage to box shown, displays well.

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17th Century Persian Hand written/colored Manuscript page. Very old description taped to reverse outside of frame, this is framed between two pieces of glass, so glass on both sides, both sides visible. Frame is 13.5" x 9.75"

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Collection Antique Scandinavian knives - Hellberg, Dahlgren. Longest 8.25" total<br>with sheath. All with wear, etc, in the condition shown. None with loose blades.<br>3 are branded with sheaths of the same brand, I believe all are in correct<br>sheaths.

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A beautiful Pirkenhammer porcelain cabinet plate of a hand painted central<br>portrait depicting Elisabeth Vigee Le Brun, a prolific painter associated with<br>Marie Antoinette.<br>9 5/8" wide, very high quality professional restoration at the 10:00 position<br>(upper left), very difficult to spot from the front but has yellowed with age on<br>back as it's likely about a 30 year old restoration and that's what happens.. No<br>other cracks, chips, or restorations, 100% hand painted and great.

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Antique NON-XLL Joseph Allen & Son Sheffield long blade knife. Nice solid knife<br>from the last half of the 19th century. 6" blade, 10.25" total length, Solid<br>knife with no play and excellent patina. Old initials on stag handle, Blade with<br>a few nicks, rounded tip, and some pitting. Knife still plenty sharp with a few<br>hundred years of use left in it.<br><br>knifedrawer

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Antique Wagner Royal Vienna Style Cabinet plate Louise Marie Anne de Bourbon<br>Illegitimate Daughter of Louis XIV. 100% hand painted. 7" wide with no cracks,<br>chips, or restorations. Impresses CMHR (C.M. Hutschenreuther) mark in addition<br>to Underglaze shield mark. One speck of gold loss to left of Wagner signature.<br><br>The Hutschenreuther family started production of porcelain in German Northern<br>Bavaria already in 1814. The founder was Carolus Magnus Hutschenreuther who<br>established factory in a town Hohenberg an der Eger.<br><br>Carolus Magnus died in 1845. After his death the factory was run by his wife and<br>two sons.

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

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Mid Century Frigast Gilt Sterling Guilloche enamel demitasse/sugar spoon set. Selling the boxed set shown, possibly unused with no detectable wear or damage. (6) 3.75" demitasse spoons and one large 5.75" long sugar spoon. silverdrawer

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1839 Writ of Republic of Texas signed Stephen William Blount. Stephen William Blount (1808-1890), signer of the Texas Declaration of Independence, soldier, and county official. This was part of the Elton M Hyder collection and once on display at the University of Texas law library hance the label identiying it as what it is framed in behind the glass. Rare document with an important signature. 12.5" x 15 framed, 9.5" x 7.5" document size.

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Italian 10k Gold Filigree cameo. No damage, signed Belais 10k 1.5" tall x 1.25" wide. 5.4 grams.

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2004 Swarovski Porsche Typ 356 1:43 Crystal scale model. Available originally<br>through Porsche dealerships, this retired 1:43 scale clear Swarovski crystal 356<br>was introduced in 2004 as is a numbered limited edition which closed in 2005.<br>The car comes with separate mirrored base and is 3 ½” (87mm) long. Mint<br>condition with grey box shown, no wear or damage to model or box. tw216

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c1790 Shagreen Travelling perfume Necessaire. French Shagreen Scent Case with Miniature Scent Bottles, 18th Century, with Parke-Bernet paper label, with some areas of the shagreen glued, occasional losses, and areas lifting, one bottle broken at mouth and lacking cover 3 3/8 by 1 3/4 by 1 3/8 inches. I couldn't remove the broken bottle but didn't want to force it.Parke-Bernet Galleries was an American auction house, active from 1937 to 1964, when Sotheby's purchased it. The company was founded by a group of employees of the American Art Association, including Otto Bernet, Hiram H. Parke, Leslie A. Hyam, Lewis Marion and Mary Vandergrift.

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Large Emil Brenk Sterling World Map Cigar box. Emil Brenk made the highest<br>quality humidors that were marketed by Dunhill, they also made the cases for<br>early 20th century Automaton singing bird music boxes that sell for thousands of<br>dollars. In other words this vintage box from the third quarter of the 20th<br>century is of the highest quality as hopefully evident from my pictures. Appears<br>unused, hallmarked as shown, original Willem Van Pampus Jeweler's presentation<br>box in like new condition. The silver box appears like new inside and out with<br>no dents, detectable wear, or other issues. Outside measurements are 10 3/16"<br>(25.75cm) wide x 7 5/16 (18.5cm) deep x 2" (5cm) tall. Inside dimensions are<br>17.5cm x 24.75cm wide (wide adjustable spacer) as shown. 1.3 kg on my shipping<br>scale, metals scale isn't handy. Very high quality box, doesn't smell like<br>tobacco, as previously stately likely unused and ready to suit your purposes.<br><br>Pampus , Willem van – Willem van Pampus, jewelry company, formerly Kalverstraat<br>117. In 1876 Herman van Pampus opened a small business on the Wittenburgergracht<br>on the Oostelijke Eilanden . He was a good neighbor of the Vroom family, the<br>founders of the current V&D group. Relocation to the center of the city was<br>necessary. In 1897 we moved to the Nieuwendijk and in 1905 we expanded with a<br>second business in the building Leidsestraat 106.<br><br>The business was transferred to sons Carel and Willem in 1909, with Carel<br>getting the business on Nieuwendijk and Willem in Leidsestraat. During the new<br>construction of buildings nos. 106-108 in Leidsestraat in 1919, which<br>temporarily involved a temporary wooden building on Leidseplein, a riot arose in<br>the municipal council. Councilor Loopuit submitted a motion not to have any<br>buildings placed on public roads in the future, without first obtaining the<br>council's opinion. The speaker pointed out the temporary goldsmith's shop on<br>Leidseplein, popularly called “the fortress of Pampus”. He said: “This goldsmith<br>is also cheap, because he only pays twenty cents per square meter per week and<br>has had a better place than he had in Leidsestraat for quite some time.” In 1927<br>it was moved to Kalverstraat, an even better shopping street. In 1952 there was<br>an expansion with a branch in The Hague and then in 1971 a total new<br>construction over four buildings: Kalverstraat 117-119 and subsequently Taksteeg<br>8-10. All shop buildings were rebuilt in 19th century style under the<br>supervision of the Monumentenzorg. From then on, the business was officially<br>called Willem van Pampus Amsterdam BV. The Kalverstraat and Nieuwendijk branches<br>were closed on December 31. 1981 discontinued. The Kalverstraat and Nieuwendijk<br>branches were closed on December 31. 1981 discontinued. The Kalverstraat and<br>Nieuwendijk branches were closed on December 31. 1981 discontinued.<br><br><br>anderas

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Antique French Sevres Style Tea For two Tête-à-Tête tea set. Amazing set from<br>the 19th century with no cracks, chips, or restorations, no significant wear of<br>any kind. Entire set is hand painted with precision, every piece marked as shown<br>except the tray. Height: teapot 4 1/2 inches; cup 2 inches<br>Tray 8 1/2 by 12 3/4 inches

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Wilbert Verhelst (1923 - 2012) American Bronze freeform figure.<br><br>Measurements<br>height 7 3/4 inches<br>width: 10 1/2 inches<br>depth 2 5/8 inches<br><br>WILBERT VERHELST OBITUARY<br>Verhelst, Wilbert (Bill) Dallas Texas artist established the sculpture program<br>for the Art Department at SMU and headed that program until his retirement,<br>after 20 years of teaching, in 1986 becoming an Emeritus Professor. He was<br>warmly known to his students as "Ver". He is the author of the textbook<br>"Sculpture Tools, Materials and Techniques". He initiated in 1978 the first<br>Texas Sculpture Symposium which was held every two years for many years. His<br>commissioned large scale sculptures can be seen around the country and he has<br>shown many other sculptures in countless exhibitions. He is survived by his<br>wife, artist Susan Lecky, stepdaughter Peggy Savage, stepson John Savage,<br>daughter Bobbi Jo Miller and his sister Wilma Potter.

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c1890 "Oriental Nurser" and comedy baby bottle flask Teddy's Pet. Selling both antique bottles, I believe one is a nursing baby bottle and the other a small flask shaped like one from the same era, largest 6" long, both with no damage.

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

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3 Antique French Bronzes one Eugene de Labroue. All three from the last half of the 19th century, two smaller ones are an obvious pair at a very cute 6" tall. Largest 10.5" tall and signed E de Labroue which I believe was the founder and operated in the mid 19th century. Smaller pair with no apparent signatures. Selling all three, all three antiques from the 19th century with no damage and little wear. isshelf

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c1750's Battersea snuff box. 2.75" wide x 1 3/8" tall. Some overall crazing, no restorations. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's.Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house.Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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c1750's Battersea snuff box. 2 5/8" wide x 1.6" tall. Some overall crazing and some overpainting on base and two spots on side of base. This and a few more Battersea pieces I'm listing have tags indicating they were last purchased at Sotheby's Parke-Bernet in the 1970's. Having already opened an office in New York, in 1964 Sotheby’s bought Parke-Bernet, America’s largest fine art auction house. Battersea boxes developed in the mid 18th century as tiny decorative containers covered with enamel or porcelain and decorated with pleasing designs. Originally the boxes were made of copper covered with white enamel, decorated with classical or scenes or portraits. They evolved over time to become more sentimental. The Battersea box got its name from a firm under the tutelage of Sir Stephen Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The boxes were decorated by transfer printing, which took an impression from an engraved plate painted with enamel and printed on to the box which was then hand painted and fired. The firm existed only from 1753 to 1756 however other firms producing similar boxes, especially those in the village of Bilston, took up this technique. Battersea became the collective name for all such boxes. With advancements in the pottery industry due to the Industrial Revolution, Battersea boxes gradually fell from favour. Allowing small boxes to be produced at less cost than the enameled competitors made Battersea boxes decline significantly by the mid 19th century. They became popular again in the second half of the 20th century with the development of commemorative boxes produced for such well known firms as Tiffany & Co.

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Antique Little Boy Blue Sterling Baby Spoon 3.75" long, clean, an uncommon variation.

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Antique Texas Branding Iron Candlesticks (5) 19th century. Great 19th century branding irons, some rust as shown. Tallest is 21", shortest 13", three of them make great candlestick, the ones with open handles. Selling the five shown.Guaranteed all are antique branding irons over 100 years old. They've been part of a collection of western items for 40 years.

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Vintage Noritake hand painted artist signed bowl 8" wide x 3" tall, hand painted<br>with little to no wear and no damage. Artist signed as shown. Great piece from<br>the first half of the 20th century.<br>isshelf

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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.

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Colmenares Peruvian Sterling Table Bell. Very thick and heavy sterling with the<br>most amazing ring. Marked and tested sterling. 3.25" tall x 2 1/8" wide 159.8<br>grams.<br>TW154

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c1870 Napoleon Porcelain Plaque Hand Painted in shadowbox frame. 19th century<br>plaque reframed in the early 20th century. 9" x 9.75" framed 3 5/8" x 4.5"<br>plaque.<br>B41

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c1900 Reliable Egg Scales Los Angeles California made. Selling the two antique<br>American made egg scales from the first quarter of the 20th century. One with<br>stamp identifying it as reliable scale made in Los Angeles, the other with no<br>identifying marks but I've seen it with a paper label. Both functional with no<br>issues, both come with fake stone eggs.<br>isshelf

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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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Antique Tibetan Coral/turquoise/glass foo lion/rabbit. Selling both in good condition, just a few missing turquoise beads which actually might be glass, lion is missing one tooth. Lions head moves. Lion is 5.5" tall x 5" long. Selling both.tw154

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c1880's Penny Farthing Bicycle Humidor or Biscuit jar lid. This is the real<br>deal, extremely rare and desirable. It came to me on a turn of the century clear<br>pressed glass jar shown in the last pic. I'll throw in the jar unless you<br>request otherwise. That Jar has a 3.75" outer diameter for the lip, the lid is a<br>little loose but does catch where it should. So maybe it's the right lid/base.<br>This is an important lid and it should be on an important jar, jar is old with<br>no damage, but not important by any means. Seems like the lis could have went<br>inside a jar as it has a lip. If so it would goi inside about a 4 1/8" opening<br>on the jar, I think 4.25" would be too big. So it can go outside a 3.75"<br>possibly 3 7/8" jar. Total height with jar 9 5/8", lid 4 5/8". No damage to jar<br>or lid, some brass showing through the silver plating on the bicycle. The right<br>pedal turns. B17<br><br><br>Penny-farthing<br><br>The penny-farthing, also known as a high wheel, high wheeler or ordinary, is an<br>early type of bicycle. [1] It was popular in the 1870s and 1880s, with its large<br>front wheel providing high speeds (owing to its travelling a large distance for<br>every rotation of the legs) and comfort (the large wheel provides greater shock<br>absorption).<br><br>It became obsolete in the late 1880s with the development of modern bicycles,<br>which provided similar speed amplification via chain-driven gear trains and<br>comfort through pneumatic tires, and were marketed in comparison to<br>penny-farthings as "safety bicycles" because of the reduced danger of falling<br>and the reduced height to fall from.<br><br>The name came from the British penny and farthing coins, the penny being much<br>larger than the farthing, so that the side view of the bicycle resembles a<br>larger penny (the front wheel) leading a smaller farthing (the rear wheel).<br>Although the name "penny-farthing" is now the most common, it was probably not<br>used until the machines were nearly outdated; the first recorded print reference<br>is from 1891 in Bicycling News. For most of their reign, they were simply known<br>as "bicycles", and were the first machines to be so called (though they were not<br>the first two-wheeled, pedaled vehicles). In the late 1890s, the name "ordinary"<br>began to be used, to distinguish them from the emerging safety bicycles; this<br>term and "hi-wheel" (and variants) are preferred by many modern enthusiasts.<br><br>Following the popularity of the boneshaker, Eugène Meyer, a Frenchman, invented<br>the high-wheeler bicycle design in 1869 and fashioned the wire-spoke tension<br>wheel. Around 1870 English inventor James Starley, described as the father of<br>the bicycle industry, and others, began producing bicycles based on the French<br>boneshaker but with front wheels of increasing size, because larger front<br>wheels, up to 5 feet (152 cm) in diameter, enabled higher speeds on bicycles<br>limited to direct-drive. In 1878, Albert Pope began manufacturing the Columbia<br>bicycle outside Boston, starting their two-decade heyday in America.<br><br>Although the trend was short-lived, the penny-farthing became a symbol of the<br>late Victorian era. Its popularity also coincided with the birth of cycling as a<br>sport.<br><br>History<br>Main article: History of the bicycle § 1870s: the high-wheel bicycle<br>Origins and development<br><br>Book cover of The Modern Bicycle, published in London in 1877<br>Eugène Meyer of Paris is now regarded as the father of the high bicycle[9] by<br>the International Cycling History Conference in place of James Starley. Meyer<br>patented a wire-spoke tension wheel with individually adjustable spokes in<br>1869.[3] They were called "spider" wheels in Britain when introduced there.<br>Meyer produced a classic high bicycle design during the 1880s.<br><br>James Starley in Coventry added the tangent spokes[3] and the mounting step to<br>his famous bicycle named "Ariel". He is regarded as the father of the British<br>cycling industry. Ball bearings, solid rubber tires and hollow-section steel<br>frames became standard, reducing weight and making the ride much smoother.<br><br>Penny-farthing bicycles are dangerous because of the risk of headers (taking a<br>fall over the handlebars head-first). Makers developed "moustache" handlebars,<br>allowing the rider's knees to clear them, "Whatton" handlebars that wrapped<br>around behind the legs,[14] and ultimately (though too late, after development<br>of the safety bicycle), the American "Eagle" and "Star" bicycles, whose large<br>and small wheels were reversed. This prevented headers but left the danger of<br>being thrown backwards when riding uphill. Other attempts included moving the<br>seat rearward and driving the wheel by levers or treadles, as in the<br>"Xtraordinary" and "Facile", or gears, by chain as in the "Kangaroo" or at the<br>hub, as in the "Crypto";[15] another option was to move the seat well back, as<br>in the "Rational".<br><br>Even so, bicycling remained the province of the urban well-to-do, and mainly<br>men, until the 1890s, and was a salient example of conspicuous consumption.<br><br>Attributes<br><br>Man standing next to a penny farthing in Fife, Scotland, 1880<br>The penny-farthing used a larger wheel than the velocipede, thus giving higher<br>speeds on all but the steepest hills. In addition, the large wheel gave a<br>smoother ride, important before the invention of pneumatic tires.<br><br>Although the high riding position seems daunting to some, mounting can be<br>learned on a lower velocipede. Once the technique is mastered, a high wheeler<br>can be mounted and dismounted easily on flat ground and some hills.[citation<br>needed]<br><br>An attribute of the penny-farthing is that the rider sits high and nearly over<br>the front axle. When the wheel strikes rocks and ruts, or under hard braking,<br>the rider can be pitched forward off the bicycle head-first. Headers were<br>relatively common and a significant, sometimes fatal, hazard. Riders coasting<br>down hills often took their feet off the pedals and put them over the tops of<br>the handlebars, so they would be pitched off feet-first instead of head-first.<br><br>Penny-farthing bicycles often used similar materials and construction as earlier<br>velocipedes: cast iron frames, solid rubber tires, and plain bearings for<br>pedals, steering, and wheels. They were often quite durable and required little<br>service. For example, when cyclist Thomas Stevens rode around the world in the<br>1880s, he reported only one significant mechanical problem in over 20,000<br>kilometres (12,000 mi), caused when the local military confiscated his bicycle<br>and damaged the front wheel.<br><br>End of an era<br>The well-known dangers of the penny-farthing[24] were, for the time of its<br>prominence, outweighed by its strengths. While it was a difficult, dangerous<br>machine, it was simpler, lighter, and faster than the safer velocipedes of the<br>time. Two new developments changed this situation, and led to the rise of the<br>safety bicycle. The first was the chain drive, originally used on tricycles,<br>allowing a gear ratio to be chosen independent of the wheel size. The second was<br>the pneumatic bicycle tire, allowing smaller wheels to provide a smooth ride.<br><br><br>An 1880 penny-farthing (left), and the first modern bicycle, J. K. Starley's<br>1885 Rover safety bicycle (right)<br>The nephew of one of the men responsible for popularity of the penny-farthing<br>was largely responsible for its demise. James Starley had built the Ariel<br>(spirit of the air) high-wheeler in 1870; but this was a time of innovation, and<br>when chain drives were upgraded so that each link had a small roller, higher and<br>higher speeds became possible without the need for a large front wheel.<br><br>In 1885, Starley's nephew John Kemp Starley took these new developments to<br>launch the modern bicycle, the Rover safety bicycle, so-called because the<br>rider, seated much lower and farther behind the front wheel contact point, was<br>less prone to a header.<br><br>In 1888, when John Dunlop re-invented the pneumatic tire for his son's tricycle,<br>the high wheel was made obsolete. The comfortable ride once found only on tall<br>wheels could now be enjoyed on smaller chain-driven bicycles. By 1893,<br>high-wheelers were no longer being produced. Use lingered into the 1920s in<br>track cycling until racing safety bicycles were adequately designed.

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Caran d Ache Varius Ivanhoe Rollerball and Ballpoint pens. Selling the two silverplate rhodium coated pens that retailed for $500+ each. One is in in working condition, the other needs an ink cartridge. Both are extremely clean with little to no wear, buying the exact pens shown. They are estate fresh with no boxes from an amazing pen collection all retailing for over $500, all apparently unused. trinketdrawer

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Antique Tiffany sterling Rams head master salt with B monogram. Selling one with two available by changing qty, both in same condition with no damage or significant wear. 3" wide x 1.75" tall x 72 grams. No dents, bends, or other issues. Selling one with two available by changing qty.Charles Tiffany was born February 15, 1812 in Killingly, Connecticut. About 25 years later, in 1837, Charles Tiffany and John Young, and later in 1841, they added J.L.. Ellis as a partner, began Tiffany, Young and Ellis in Lower Manhattan. That company at the time was founded at first to sell fancy goods and stationery. Tiffany bought his parents shares of the company in 1853 and changed the focus of the company to sell upscale jewelry and merchandise. Once Tiffany bought his parent’s shares, the company was renamed to Tiffany & Co. In 1867, Tiffany & Co. was the first United States based company to win an award for excellence in silverware at the Exposition Universelle in Paris. In 1868, the company became incorporated, had four stores and was on the right path to continue to grow to the company that it is today.A Humble Start When Young and Tiffany began their business, they originally started off with offering items such as stationery and merchandise before moving on to offering jewelry and silverware. The business continued to grow and manufacture jewelry, and later opened a location in Paris. His stores adopted the standards of European jewelry and therefore, sterling became established in the United States and the American jewelry market.Tiffany was determined to obtain one-of-a-kind jewelry. It was that desire which helped fuel how much his products were sought out, specifically among the upper classes of New York. The jewelry created by the company became partially well known because of the wealthy people who desired its products. In the 1830’s, Tiffany made it’s mark in the jewelry world at the time because they clearly marked the prices on their goods. This eliminated the chance that customers would haggle and try to negotiate the prices of the goods that they were purchasing at the time. Additionally, Tiffany’s was unique at the time because they only accepted cash payments and didn’t allow their goods to be purchased on credit.With the Civil War threatening jewelry purchasing at the time, Tiffany adjusted the focus of his company and ended up manufacturing swords, medals, light armor and many other items that were needed for war. In 1877, Tiffany & Co. had become such an established name that it easily influenced the industry and was able to make outlandish purchases. This when the now called “Tiffany diamond” (a yellow South African diamond) was purchased for $18,000 at 287 carats. The diamond was cut down to 128.54 carats over nearly a year and was eventually put on display in the Smithsonian. Today, Tiffany & Co. is an American worldwide luxury jeweler and specialty retailer, headquartered in New York City.Understanding the Markings While Tiffany & Co. is famous for the “Tiffany diamond” they are even more famous for their use of sterling silver. When looking at actually sterling silver that is made by Tiffany’s there are several markings that can help you figure out the origin and if a piece is indeed made by Tiffany’s or fake. At the start, there were several silversmiths who supplied silver flatware and holloware to Tiffany’s. Each of those silversmiths marked the pieces with their own marks in addition to marking them with Tiffany’s marks. Some of the makes of Tiffany’s sterling silver include William Gale, Gale & Hughes, Wood & Hughes, John Polhemus, Henry Hebbard, William Bogert, Grosjean & Woodward, Moore & Hebbard and John C. Moore.In 1868, Moore silversmithing firm was absorbed into Tiffany & Co. and Tiffany’s then began the production of its own silver. It was at that time that the silver was to be marked with the initial of the Artistic Director or the initial of the President of the firm but that was continued until the mid-1960’s. Each design on the silver that Tiffany’s creates represents the long and proud heritage that comes with the company’s history.

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Antique Silver Filigree miniature box. Likely 19th century, possibly Russian, maybe Chinese. Really nice, tested and guaranteed solid high content silver. No detectable markings. 2 1/8" tall with swivel handle extended x 2 1/8" wide. trinketdrawer

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c1820 French Sevres Style Gilt bronze mounted cabinet plate. The only identifying marks are an incised what I believe to be 24-C it is a large incision under the glaze taking up the entire area between the outer and inner footrims. Good early piece from the first half of the 19th century, entirely hand painted, the border has a matte finish, 9.75" wide. isshelf

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c1950's Pistol Expert badge NRA Junior Division Medals Air Rifle Jr, etc collection. Great lot from the mid 20th century, some possibly ww2 era.. All as found uncleaned, a few should clean up nicely if that's your thing.

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2 Signed first Editions The life of Pitser Garrison Bob Bowman. These are not just two signed copies of this book, these are from the Garrison Family and include all the legal paperwork, things submitted towards the publishing of the book, etc. I really didn't have time to look through it all but it's all important. These have to be the two most important copies of this book in existence I would think. Below is the bio of the estate they came from and it's significance. Both books with slight wear to dust jackets overall good, with all the paperwork included, not all of it shown. Garrison Brothers Honored Nathan Smith, Staff Writer February 10, 2012 Homer and Pitser Garrison, brothers and graduates of LHS, were honored by the Lufkin High School Alumni Associtation (LHSAA), for their distinct service to Lufkin and the state of Texas.Texas Rangers, family members, and friends including Reba Garrison, wife of Pitser Garrison and Tommie Garrison West, niece of the brothers, and Mayor Jack Gorden gathered in the Honor Hall as the Rangers dedicated a framed piece with two pictures found by Ranger Rayburn as he was doing research about the Garrisons.The Rangers gave a presentation in memory of Homer Garrison’s life and read through his achievements as a law enforcement officer.Homer Garrison, who lived from 1901 to 1968, served as the Texas Ranger Chief and the first director of the Texas Department of Public Safety. He began his law enforcement career at age 19, after being appointed as a deputy-sheriff in Angelina County. His father told him he would never get anywhere in that “dead end job”, but Homer continued to work at the job and became a state license and weight inspector for the Texas Highway Department and joined the Texas Highway Patrol when it was organized in 1930.In 1935, the Texas Highway Patrol and the Texas Rangers were placed under the same director, and the Texas Department of Public Safety was created. Homer Garrison Jr. was named as the first Assistant Director, and was tasked with training new DPS officers. His opportunities did not stop there, however. At the request of the governor of New Mexico, Homer was sent to help with the organization of the New Mexico State Police. He was even offered a position by Gen. Douglas MacArthur to structure Japan’s new police system, but declined so that he could stay with the Rangers an the DPS. Eventually, Homer Garrison Jr. went on to become the director of the DPS and took his position as chief of the Rangers. Under his leadership, many new and groundbreaking programs were created for the organization, and by the time of his death, the organizations themselves emerged as one of the most powerful and efficient police forces in America. Instead of choosing law enforcement like his older brother, Pitser Garrison chose a life of public political service in Lufkin and throughout the state of Texas. Pitser attended Lon Morris College and the University of Texas Law School where he graduated in 1935. He served as a senior partner at the J.J. Collins law firm for almost 30 years, before becoming president of the Lufkin National Bank. In 1970, Pitser Garrison became the mayor of Lufkin until his resignation in 1988, and he served for 18 years, longer than any other Lufkin mayor. Pitser was renowned for his hometown pride and his leadership skills during his career. He possessed a particular charisma and intellect and knew how to get things done. “Before Pitser, the local Lufkin government was in a very unstable shape,” mayor Gorden said. “It was not uncommon to have a new city manager every few years. But he changed that. He brought a stability and a sense of unity to the Lufkin government.” The character of each brother was just as much memorialized as the achievements they had while serving others. “Homer was a glowing man with a real gift for working with people,” added his niece, Tommie West. “He just had a way of motivating you and making you feel good about yourself.” And like his older brother, Pitser also had a way with people, and his kindness is still remembered by those close to him. “Pitser was just the nicest man. He had a booming voice that could really get you,” said Reba Garrison, laughing. “Everybody looked up to him, everybody respected him, and he deserved it.” These and other related items I'll be listing shortly are from the estate of multiple descendants of Homer Garrison Jr. GARRISON, HOMER, JR. (1901-1968). Homer Garrison, Jr., Texas Ranger chief and director of the Texas Department of Public Safety, son of Homer and Mattie (Milam) Garrison, was born in Kickapoo, Anderson County, Texas, on July 21, 1901, the eldest of nine children. After graduation from Lufkin High School he went to work in the office of his father, who was district clerk in Angelina County. Garrison received his first experience as a law officer at nineteen, when was appointed a deputy sheriff of Angelina County. In 1929 he became a state license and weight inspector for the Texas Highway Department, and he joined the Texas Highway Patrol when it was organized in 1930. When the Department of Public Safety was founded in August 1935 Garrison became the first assistant director. Among his initial duties was the task of developing a training program for DPS officers. At the request of the governor of New Mexico, he was sent to that state to help organize the New Mexico State Police. During World War II he was offered an appointment by Gen. Douglas MacArthur to reorganize and supervise the Japanese national police system for the War Department, but he declined in deference to his duties as director of the DPS and chief of the Texas Rangers. Among the many honors bestowed upon him during the nearly thirty years he served as the head of the state law-enforcement agency was the presentation of the sixth Paul Gray Hoffman Award, conferred annually by the Automotive Safety Foundation for distinguished service in highway safety. In 1963 Governor John Connally appointed Garrison director of civil defense and disaster relief for the state of Texas and chairman of the State Defense Council. The same year the governor also named him director of the Governor's Highway Safety Commission. In May 1966 he was elected chairman of the resolutions committee and a member of the steering committee of the Southern Region Highway Policy Committee of the Council of State Governments; in January 1967 he was named a member of the National Motor Vehicle Safety Advisory Council. Colonel Garrison became director of the Department of Public Safety and chief of the Texas Rangers in 1938. Under his leadership numerous major programs were developed, and the organization grew to a total of some 3,400 employees. The programs included crime control, police traffic supervision, driver licensing, vehicle inspection, safety responsibility, accident records, safety education, defense and disaster service, and police training. Garrison married Mary Nell Kilgore on June 1, 1939, and they had one son. Garrison died on May 7, 1968, and was buried in the State Cemetery, Austin. A Texas Ranger museum at Fort Fisher was named for him. BIBLIOGRAPHY: Ben Procter, "The Texas Rangers: An Overview," in The Texas Heritage, ed. Ben Procter and Archie P. McDonald (St. Louis: Forum, 1980). Vertical Files, Barker Texas History Center, University of Texas at Austin. Bill Carter "GARRISON, HOMER JR." The Handbook of Texas Online. [Accessed Wed Aug 7 11:36:57 US/Central 2002].

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Men's 1960's Elgin Electronic 105 with calendar band. Very cool and unique watch approx 37mm case, untested. Good condition, likely just needs a battery. The Junghans movement came out around 1967 and was the first German transistorized movement.

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Texas Ranger Chief Homer Garrison Jr(1901-1968) President LBJ Signed Lyndon Baines Johnson Book "No Retreat from Tomorrow" Especially important book because of the person it was given to, first edition signed by president LBJ. Garden City, N.Y., Distributed by Doubleday, 1/1/1967. Hardcover. Very Good. Signed. Presidential signature. Signed by Lyndon Johnson on Presidental Seal gift plate. Hardcover. Good binding and cover. 241 pages illustrations (some color), portraits (some color) 29 cm. Slight wear to cover, no writing to pages, dogears, or other issues. This Signed book and other related items I'll be listing shortly are from the estate of multiple descendants of Homer Garrison Jr. GARRISON, HOMER, JR. (1901-1968). Homer Garrison, Jr., Texas Ranger chief and director of the Texas Department of Public Safety, son of Homer and Mattie (Milam) Garrison, was born in Kickapoo, Anderson County, Texas, on July 21, 1901, the eldest of nine children. After graduation from Lufkin High School he went to work in the office of his father, who was district clerk in Angelina County. Garrison received his first experience as a law officer at nineteen, when was appointed a deputy sheriff of Angelina County. In 1929 he became a state license and weight inspector for the Texas Highway Department, and he joined the Texas Highway Patrol when it was organized in 1930. When the Department of Public Safety was founded in August 1935 Garrison became the first assistant director. Among his initial duties was the task of developing a training program for DPS officers. At the request of the governor of New Mexico, he was sent to that state to help organize the New Mexico State Police. During World War II he was offered an appointment by Gen. Douglas MacArthur to reorganize and supervise the Japanese national police system for the War Department, but he declined in deference to his duties as director of the DPS and chief of the Texas Rangers. Among the many honors bestowed upon him during the nearly thirty years he served as the head of the state law-enforcement agency was the presentation of the sixth Paul Gray Hoffman Award, conferred annually by the Automotive Safety Foundation for distinguished service in highway safety. In 1963 Governor John Connally appointed Garrison director of civil defense and disaster relief for the state of Texas and chairman of the State Defense Council. The same year the governor also named him director of the Governor's Highway Safety Commission. In May 1966 he was elected chairman of the resolutions committee and a member of the steering committee of the Southern Region Highway Policy Committee of the Council of State Governments; in January 1967 he was named a member of the National Motor Vehicle Safety Advisory Council. Colonel Garrison became director of the Department of Public Safety and chief of the Texas Rangers in 1938. Under his leadership numerous major programs were developed, and the organization grew to a total of some 3,400 employees. The programs included crime control, police traffic supervision, driver licensing, vehicle inspection, safety responsibility, accident records, safety education, defense and disaster service, and police training. Garrison married Mary Nell Kilgore on June 1, 1939, and they had one son. Garrison died on May 7, 1968, and was buried in the State Cemetery, Austin. A Texas Ranger museum at Fort Fisher was named for him. BIBLIOGRAPHY: Ben Procter, "The Texas Rangers: An Overview," in The Texas Heritage, ed. Ben Procter and Archie P. McDonald (St. Louis: Forum, 1980). Vertical Files, Barker Texas History Center, University of Texas at Austin. Bill Carter "GARRISON, HOMER JR." The Handbook of Texas Online. [Accessed Wed Aug 7 11:36:57 US/Central 2002].

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Wedgwood Gold Florentine Gravy Boat and underplate. This pattern was retired in 1986, these two pieces have no damage or detectable wear, no crazing, no wear to gilding. 6" x 8" underplate. Selling the exact pieces shown. isshelf

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1969 Lubbock TX Wrestling medal. Buying the medal shown with a penny for scale.

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WW2 USN Western Boulder CO Fixed blade knife 10.25" long without sheather, 5.75" blade, overall sharp with slight bluntness at tip, blade untouched by me, original sheath missing fastener loop/button. isshelf

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c1875 English Sterling Grape shears. 6 7/8" long 108.3 grams, solid and sharp with no issues.Grape shears and grape scissors are an instrument specifically designed for cutting grape stalks, and are smaller and designed especially for the purpose. Grape shears were invented in the 19th century, and the earliest examples were from the Regency period, although very few have survived and these early examples are extraordinarily rare now.These shears or scissors are about 6 to 7 inches (15 to 18 cm) long. The handles are much longer than the blades, so that you can insert the blades deeply into a cluster of grapes. Most of the scissor ends of these pieces of antique silver have blunt tips, so that they won’t puncture the fruit. The grape shears would sometimes be found as part of a set with a grapestand, and the earlier grape shears from the late Georgian period were more like scissors, with equally long blades and handles. These were often gold-gilt, demonstrating the high value that the grape shears had been imbued with as an item of cutlery, and as part of a dinner service. Later though, grape shears were usually made of sterling silver, as with most high quality dinnerware, so as to avoid tarnishing and to stand the test of time. After the 1850s, most of the shears produced included a flange which had been added to one of the blades, so that once the grapes had been cut, they could then be elegantly placed on to the diner’s plate while still holding the shears. The decoration on the shears varied widely, at first the shears often displayed a grape and vine motif, however many grape shears were part of a much larger dining set, so they would be embellished with the same pattern that was on the other cutlery. Because so many pieces of various shapes and sizes had to incorporate the same design, these were often more simple than the decoration on single items. silverdrawer

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