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

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1870年アメリカの女子高生ニードルポイント・サンプラー、ジェシー・ピアソン。 18.25 インチ x 19.75 インチのフレーム付き。B49

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

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1870's French Glove Box Hand Chased Inlaid Brass Marquetry. 11" x 4.5" deep x4.25" tall. Very nice box with appropriate wear for 150 year old box. No key, no major issues. Tw62

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

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

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

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

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

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

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

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

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1880's French A Klingenberg Limoges Demitasse cup and saucer set (7). Sellingthe 7 Eggshell porcelain demitasse (espresso) cup and saucers shown, they each look to have an ornate P monogram on the saucer incorporated into the pattern, really an amazing set all hand painted with absolutely no damage. No cracks, chips, restorations, or significant wear to gilding, they all ring like a bell. Selling all 7 with 4.5" wide saucers, small cups not tea cups, these are cabinet sized or for strong espresso coffee.A. Klingenberg was an accomplished Limoges artisan painter when he opened his own porcelain factory and decorating studio in the Limoges region of France in the early 1880's. There does not seem to be a surfeit of information about Klingenberg or his company other than that he merged with Charles Dwenger's studio sometime in the late 1890's or very early 1900's. Klingenberg & Dwenger together manufactured porcelain products, produced decorated finished porcelain pieces, and exported them world-wide until 1910 when the company closed its doors. While there may be a paucity of detail about A. Klingenberg and his company, there are numerous astonishingly lovely works of art that this short-lived company left behind.

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

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1880's Majolica Stag plate and leaf dish. Selling both pieces, leaf dish wish small chip on reverse side shown at top of last pic, tiny chip and short tight hairline on plate. No other chips, no cracks, no restorations.isshelf

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1880's New England Agata peachblow creamer 4.5" tall x 5" spout to handle, buying the piece shown with no damage. I'm offering the creamer and sugar separately so I can accurately present each item. I photographed them both under the same conditions one after the other. Agata is so rare that I have no way of knowing if the decoration on the sugar is "better" from the factory 135+ years ago or not. Agata glass was made by Joseph Locke of the New England Glass Company of Cambridge, Massachusetts, after 1885. A metallic stain was applied to New England Peachblow, which the company called Wild Rose, and the mottled design characteristic of agata appeared. Most agata glassware is shaded pink to rose or rose to white, with mottled spots similar to lusterware. The Glass of New England 1818-1888 The glass industry was attracted to New England for many of the same reasons it was attracted to other locations throughout history; access to natural fuel resources, availability to world marketplaces, and a ready work force. Of the many glass houses in New England in the early to mid-1800s, two of the best known were The New England Glass Company and The Boston and Sandwich Glass Company. The New England Glass Company was located in the Cambridge area of Boston. The use of the term "Cambridge Glass" in literature has led to some confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio. The New England Glass Company was incorporated in 1818. Deming Jarvis, the only one of the four owners with practical business experience, was to run the shop. Mr. Jarvis, born in Boston into a wealthy family, had working experience in the dry goods business before joining the NEGC. He had a unique talent for selecting the right men and getting them to come to work for him, including some of Europe's most skillful cutters. Deming's father died in 1823, leaving him with considerable wealth and he spent some time in Pittsburghstudying the local methods of glass making. isshelf

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1880's New England Agata peachblow sugar bowl 4.25" tall x 6" handle to handle,buying the piece shown with no damage. I'm offering the creamer and sugar separately so I can accurately present each item. I photographed them both under the same conditions one after the other. Agata is so rare that I have no way of knowing if the decoration on the sugar is "better" from the factory 135+ years ago or not.Agata glass was made by Joseph Locke of the New England Glass Company of Cambridge, Massachusetts, after 1885. A metallic stain was applied to New England Peachblow, which the company called Wild Rose, and the mottled design characteristic of agata appeared. Most agata glassware is shaded pink to rose or rose to white, with mottled spots similar to lusterware.The Glass of New England 1818-1888 The glass industry was attracted to New England for many of the same reasons it was attracted to other locations throughout history; access to natural fuel resources, availability to world marketplaces, and a ready work force. Of the many glass houses in New England in the early to mid-1800s, two of the best known were The New England Glass Company and The Boston and Sandwich Glass Company. The New England Glass Company was located in the Cambridge area of Boston. The use of the term "Cambridge Glass" in literature has led to some confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio. The New England Glass Company was incorporated in 1818. Deming Jarvis, the only one of the four owners with practical business experience, was to run the shop. Mr. Jarvis, born in Boston into a wealthy family, had working experience in the dry goods business before joining the NEGC. He had a unique talent for selecting the right men and getting them to come to work for him, including some of Europe's most skillful cutters. Deming's father died in 1823, leaving him with considerable wealth and he spent some time in Pittsburgh studying the local methods of glass making. isshelf

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1880's New England peachblow vase 3.75" tall x 2.5" wide with no damage or<br>issues.<br><br>The Glass of New England 1818-1888<br>The glass industry was attracted to New England for many of the same reasons it<br>was attracted to other locations throughout history; access to natural fuel<br>resources, availability to world marketplaces, and a ready work force. Of the<br>many glass houses in New England in the early to mid-1800s, two of the best<br>known were The New England Glass Company and The Boston and Sandwich Glass<br>Company. The New England Glass Company was located in the Cambridge area of<br>Boston. The use of the term "Cambridge Glass" in literature has led to some<br>confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio.<br>The New England Glass Company was incorporated in 1818. Deming Jarvis, the only<br>one of the four owners with practical business experience, was to run the shop.<br>Mr. Jarvis, born in Boston into a wealthy family, had working experience in the<br>dry goods business before joining the NEGC. He had a unique talent for selecting<br>the right men and getting them to come to work for him, including some of<br>Europe's most skillful cutters. Deming's father died in 1823, leaving him with<br>considerable wealth and he spent some time in Pittsburgh<br>studying the local methods of glass making.<br>isshelf

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1880's New England Plated Amberina syrup pitcher, original metal silver-plate<br>mount with integral handle, quadruple-plate underplate marked for "JAMES W.<br>TUFTS" and numbered "1954", polished pontil mark.Color: opal cased deep maroon<br>fuchsia to amber/butterscotch with rare blue highlights. Attribution: New<br>England Glass Co. Circa: Circa 1886. Condition: Undamaged with some minor<br>scattered surface scratching to the glass; underplate with light scattered wear<br>to the top-side, underside with moderate scratching/wear. Size: Syrup: 5 3/4"<br>HOA. Undertray: 6 1/4" D<br><br>Plated amberina was patented June 15, 1886, by Joseph Locke and made by the New<br>England Glass Company. It is similar in color to amberina, but is characterized<br>by a cream colored or chartreuse lining (never white) and small ridges or ribs<br>on the outside. The color of Plated Amberina varies from yellow to ruby.<br><br>The Glass of New England 1818-1888<br>The glass industry was attracted to New England for many of the same reasons it<br>was attracted to other locations throughout history; access to natural fuel<br>resources, availability to world marketplaces, and a ready work force. Of the<br>many glass houses in New England in the early to mid-1800s, two of the best<br>known were The New England Glass Company and The Boston and Sandwich Glass<br>Company. The New England Glass Company was located in the Cambridge area of<br>Boston. The use of the term "Cambridge Glass" in literature has led to some<br>confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio.<br>The New England Glass Company was incorporated in 1818. Deming Jarvis, the only<br>one of the four owners with practical business experience, was to run the shop.<br>Mr. Jarvis, born in Boston into a wealthy family, had working experience in the<br>dry goods business before joining the NEGC. He had a unique talent for selecting<br>the right men and getting them to come to work for him, including some of<br>Europe's most skillful cutters. Deming's father died in 1823, leaving him with<br>considerable wealth and he spent some time in Pittsburgh<br>studying the local methods of glass making.<br>isshelf

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1881 US 2 Cent U.S. Revenue stamp on check from Bank of Lewisburg West Virginia<br>with Confederate dollar. Selling both items from the same estate as found, there<br>is a tear in the center of the check but stamp looks good, confederate dollar is<br>very rough as shown but real, 1862.

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1881 Victorian Sterling brooch 1.75" x 1 3/8" 6.2 grams with no issues.

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

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1883 John G Brown Engraving with Children. Art measures 11.75" x 9.25" matting is 10.5" x 12.75". No issues with authentic over 100 year old engraving except minor yellowing under edge of matting.Tw61

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1884,1885 Silver Dollar cufflinks. Selling the pair shown of oversized cufflinks. Authentic 90% silver late 19th century American Currency in nickel silver mounts. Selling the exact pair shown with no issues.

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

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

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

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

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1890's American Art pottery Cambridge Tile 6" square, slight glaze wear on front, no chips or cracks. Cambridge Tile Manufacturing Company was started in Covington, Kentucky by German craftsmen in 1888, and later moved across the river to Ohio. Artists include Rookwood's Clement Barnhorn, who used Cambridge tiles to sculpt King Lear , a sculpture that resides in the Smithsonian Museum. Another artist, Charles Harper, created his Wildlife Mosaic out of Cambridge tiles; Harper's mosaic is in Cincinnati's Federal Building.isshelf

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1890's American Art pottery Kensington Tile 6" square, small chip on reverse side, no other significant issues.Kensington Art TileNewport, Kentucky1885 - 1895Tile Heritage CollectionGift of Bob SmythIn 1881 the Hatt brothers, Arthur and Otto, established a tile works at Elm and Lowell Streets in Newport, Kentucky. Their company, Hatt & Hatt, was taken over by a group of investors in 1885 and renamed the Kensington Art Tile Company. During its short tenure as a manufacturer of dust-pressed art tiles, the combination of portraits and floral interpretations was most impressive due to the artistic talents of Herman Mueller and Mary Louise McLaughlin, among others.From an 1891 published report in “Illustrated Cincinnati” (courtesy of the Tile Heritage Library): “The main building is a substantial brick structure, three stories and basement in height and 40 by 200 feet in dimensions. The equipment for art tile-making purposes is of the most elaborate, complete and modern description, and includes four large kilns, which bake to the extent of 14,000 feet of tile at one filling.“The processes of preparation of the crude clay are as elaborate as they are complicated. The clay is first puddled and forced through great sieves by steam power. It is then dried and ground to a fine powder, and then moulded and pressed into the tile shapes, which are carefully baked, then removed and coated with the enamel and glazing liquids. They are then finally placed in the kilns and thoroughly glazed, when they are finally removed to the sorting and packing room, and forthwith shipped to destination.“The most extreme care is taken to have all the materials pure and accurately prepared, and the result is a perfection of quality, an elaborateness of finish, and a beauty and delicacy of colors and tints, nowhere else attempted, much less duplicated. An average force of 100 hands is employed, and ten teams are kept constantly busy.”

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1890's Butler KY Old Dexter Whiskey Jug. No damage or significant wear, 7" tall<br>x 5 5/8" wide.<br>isshelf

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1890's Durgin Sterling Louis XV Cracker scoop with gold wash bowl. 7.5" long x 2<br>5/8" wide with no bends, dents, clean gold gilding to bowl...amazing condition.<br>silverdrawer

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

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

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

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1890's Punch and Judy Cast Iron Mechanical Bank 6.25" tall x 7.5" tall. No breaks or missing pieces, operational as shown in video. Genuine Article with very nice original paintB3

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1890's Sterling Whiting Hyperion Gold wash bowl Cream ladle. 6" long with 1<br>15/16" wide bowl, clean with no damage and little wear.<br>silverdrawer

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

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

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1892 ミニチュア ピューター製の子供用ドールハウス デスクまたはデスク キャディ。信じられないほどのオリジナルの緑青を備えたユニークな作品。ドールハウスの作品だと思います。その土地には、初期アメリカの良質な骨董品がたくさんありました。高さ2インチ x 幅4 1/16インチ x 奥行き2インチ。小さなサイズの割に非常に重いです。

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1895 Croix d'Honneur Amsterdam Whiskey Flask with Shot glass lid.. Nice bottle<br>late 19th to early 20th century. Glass and bottle both sun colored amethyst it<br>just shows more in the glass in the pics. 7" tall x 4.25" wide. two small chips<br>on rim of bottle and factory chip on base of bottle.<br>tw168

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1896 Sterling Silver Teaspoon and Sugar Tong Set Hand Engraved By John Round and<br>Sons Sheffield. Great set with no issues. Wood box is clean with minor wear on<br>right side and base. Spoons are 4 7/8" long.<br>B55

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

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18k Gold .26ct Diamond Modernist designer pendant. Extremely high quality piece<br>and a great design. Approx .26 ct high quality tested diamond with no issues.<br>Designer stamp LIV and 750, marked and tested 18k gold white and yellow. 1 5/8"<br>tall x 7/8" wide 5.1 grams.

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

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

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

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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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18th Century Brass Engraved Snuff/Tobacco box. Very early box 18th century or older. 5.5" x 3" x 1.25" with considerable damage to lid. Still great. trinketshelf

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

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

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

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

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

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

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18th Century French Shagreen Etui with Silver filigree insert and cobalt blue<br>cut/faceted bottles. Totally amazing and over the top set fit for a queen. The<br>shagreen exterior is in the best condition imaginable, the box is wood, insert<br>is solid high content silver (tested), bottles are the highest quality cut<br>cobalt blue glass. Guaranteed late 18th to very early 19th century. The catch<br>for the lid is present but not catching so not currently staying shut, the<br>bottles have no cracks but a few small chips on lids, overall clean.. Box is 2<br>1/8" tall x 1.75" wide.

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

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

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