Adelmo (Delmo) Tarsitano (1921-1990) Lampwork Salamander paperweight. 3.5" wide<br>x 2.25" tall in mint condition with no damage or wear of any kind. The signature<br>cane can be seen on the top on the opposite side of the salamanders tail.<br>Guaranteed Authentic c1980's Delmo Tarsitano Paperweight.

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Adjustable 1950's Beau Sterling Super cool ring. Size 5.5 and up very high level<br>of coolness here, won't find another. 1" at widest point of face, no significant<br>issues.<br><br>Beau or Beaucraft Jewellery<br>1947 - September 2004<br>Beaucraft Inc. began operations and produced "Beau" and "Beaucraft" jewellery in<br>Providence, RI from 1947. The company was one of the leading producers of<br>beautiful and unique fine sterling silver jewellery ever made for over half a<br>century. The jewellery designs had originality, versatility, and impeccable<br>craftsmanship. Vintage Beaucraft jewellery pieces are now considered highly<br>collectible and in the same class of jewellery as Coro. Their latest designs<br>took on a new approach by contrasting brushed and high polished sterling silver<br>finishes, creating a completely original look that combines classic style with<br>modern fashion. The jewellery designs include fish and seahorses in sterling<br>silver metal. Mark: "Beaucraft" (In Sterling), "Beau B Sterling", "B" with<br>"Ster" or "Sterling", and "Beau Sterling". Beaucraft also made 14k jewellery.

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Adjustable c1950‘s Sterling and turquoise watch band bracelet. Adjusts from 6.5" to 7.75", no issues. Watch needs a battery, or band needs a new watch. Band is solid sterling weight and measurements in pics. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Adjustable Hemerson Brown Navajo Sterling and Kingman turquoise cluster ring. Adjustable ring currently sits at size 9.5 2.75" x 2.25" face 48.3 grams. Navajo artist Hemerson Brown has a way of making pieces of jewelry you just want to own. His work is definitely not subtle, his bold designs bring the silver and stone to life. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Adjustable Modernist Sterling/Obsidian Ring. Great looking ring, the design<br>looks Scandinavian, the mark looks native American. I didn't realize it was<br>adjustable until I put it on the sizer. It'll fit most all sizes within reason.<br>7.7 Grams, Marked R Sterling.

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調整可能なナバホ スターリング ターコイズ、マラカイト、アメジスト リング、フェイス 30 x 38 mm、現在サイズ 6、簡単に調整可能。 17.1 グラム。すべての貴金属は検査され、保証されています。シルバーまたはスターリングと呼ばれるネイティブ アメリカンのジュエリーは、少なくとも 90% (コイン) の銀、場合によってはそれ以上の含有量が保証されています。ほとんどのカフ ブレスレットは、6 インチの女性の手首で撮影されたもので、金属の先端が巻尺の数字と一致する内周を示す写真が含まれています。

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Adjustable Running Bear shop Sterling/turquoise southwestern ring. No issues with ring 15.1 grams. RUNNING BEAR SHOP A trader shop in business since the mid-1970's who run a manufacturing shop, directly commission piece work, and buy direct from "name" artists for resale. Running Bear is a wholesale source to stores and dealers. Items in this collection were made specifically by or for Running Bear and (usually) have their logo. Items bearing this logo do not represent a specific artist. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Adjustable Southwestern Sterling Amethyst, opal, and pink mother of pearl ring. Adjustable ring currently size 7.5 16.3 grams.

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Adjustable Sterling/18k feather style ring. Very clean with little to no wear, unsure of maker. Currently at size 8, sturdy but adjustable. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Adjustable Vintage Chinese Silver and turquoise ring. No issues.

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Adrian Sanchez Hopi sterling warrior pendant, no issues.All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Adrian Sanchez Hopi warrior Kachina pendant. All hand done, no issues.All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn't an exact thing with handmade jewelry. I've seen thousands of pieces xrf'd to prove this. Bracelets are photographed on a 6" women's wrist.

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AF Sterling silver pendant with stones. 34.5 grams 3" tall x 1 5/8" wide with no issues or damage. Cool piece from the last quarter of the 20th century. This designer typically uses semiprecious stones, I didn't test these. Marked and tested sterling.

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After Frederick Remington Vintage Etched Enameled Brass Belt Buckle. From the third quarter of the 20th century, nice buckle in good condition. 2.75" x 2.25" fits up to a 1.75" belt. No issues.

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AL Vintage Navajo sterling concho pin with turquoise. Measurements in pics

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Alabama "Feels So Right" Presentation Record framed Given to Tom Middleton. I have not examined this outside of the frame but I acquired it from Tom Middleton's(1953-2020) estate personally along with about 400 pairs of cowboy boots and everything cowboy imaginable. Selling this, what I assume to be a record that was framed and given by Alabama for the work tom did for the album. 19.5" x 21.5" framed, 12" x 12" sight. 5.5" wide plaque. In 1973, Tom found a catalog of instruments from Warehouse Music Sales in Fort Worth that contained multiple dobros. He sold his two guitars and used the funds to buy his first dobro. After it arrived, his life was never quite the same. If you ever had the pleasure to hear him play, you saw Tom doing what he loved. Before making his way to Arizona to continue his education, Tom worked as a towboat deckhand for the United Maritime Union on the Ohio, Monongahela, and Allegheny Rivers. Tom received a BS in English Literature from Northern Arizona University. During his time in Flagstaff, he was a member of the Mormon Lake Hotshots on the Coconino National Forest. Bill Mack's "All Night Open Road" show from WBAP in Dallas kept him company at the Mormon Lake Guard Station. He became lifelong friends with several of his fellow firefighters and kept in contact with them the rest of his life. But music kept calling, and Tom began working for R.Q. Jones Resophonic Guitar Company in Wanette, Oklahoma. Now he wasn't just playing dobros, he was making them. In fact, he made one for a young dobro player named Jerry Douglas who is now widely regarded as "the" dobro player of our time. The dobro in question now belongs to the Music Instrument Museum in Phoenix. Jerry and Tom became good friends and whenever Jerry toured through Austin in recent years, they would take in some live music together at Ginny's Little Longhorn Saloon among other music venues. In 1978, Tom went to work for Peaches Records and Tapes in Oklahoma City, then The Handleman Company, and finally Pickwick Distribution Company in Dallas. These three jobs showed Tom the buying, selling, and distribution side of the music business. By 1985, Tom was working as a Print Production Manager at The Richards Group, an advertising agency in Dallas. He excelled at print production and would stay with it in Austin at both GSD&M and McGarrah Jessee from which he retired after 24 years shortly before his death. Tom's work in print production should not go unrecognized. There is no doubt that countless times you've seen ads, packaging, and products that he produced – you just didn't know it. He had a wealth of experience and knowledge and was always keen to share what he knew with young producers and creative types. When Tom retired, his coworkers, vendors, suppliers,

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Alain Le Foll 1970s Rosenthal Studio Line vase 8.5". No damage or wear, white spots are reflections in the pics.

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Alaric Polequaptewa Sterling Hopi overlay silver cuff bracelet. No issues. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Albert & Jeanette Brown Navajo Tufa Cast Turquoise Cluster Cuff Bracelet. Fits<br>up to a 6 5/8" wrist, 1.25" gap, nice solid cuff with no issues. 107 gram.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content.

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Albert & Josephine Vigil (1927-2009) San Ildefonso pottery vessel 4.25" wide x 3.5" tall, no damage or restorations, very minor exterior wear. Comes with tag from when it was last purchased. Albert & Josephine Vigil worked together on their pottery. They began making pottery in 1945. Josephine made the pottery and Albert painted the designs. Albert Vigil (1927-2009) was a nephew of Maria Martinez. He was also the son of noted San Ildefonso painter Romando Vigil, one of the members of the San Ildefonso School of watercolor artists and also know for his work with Walt Disney Studios. Josephine Cordova Vigil (1927-2001) was from Taos Pueblo and she moved to San Ildefonso when she married Albert. Josephine learned pottery making by watching her aunts-in-law Maria Martinez, and Maria’s sister Clara Montoya, who are considered San Ildefonso Pottery Matriarchs. Maria Martinez taught Josephine how to coil-shape the clay and Clara Montoya taught her how to polish the pottery before it was designed or painted. They began making pottery in 1945. Josephine and Albert used the traditional methods of hand-coil, polishing, and traditionally open fired pottery.

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Albert Nells Navajo silver high grade turquoise, coral, shell, jet pendant. Nice contemporary Navajo pendant, no issues. Solid sterling silver with weight and measurements in pictures. Albert Nells was raised in Cedar Springs, Arizona and now makes his home in Flagstaff with his wife, Marylou and their four children. He is a self-taught artist and started in leather work. Many of his jewelry designs come from leather applied to silver. Albert calls his signature technique “wire design with channel inlay. Albert considers himself a traditionalist, believing in the traditional Navajo ways. He participates in Navajo ceremonies in the “Beauty Way. One method the artist represents his culture in his jewelry-making is through the use of all-natural, four-color stones that can be seen in each piece he makes. These sacred colors of blue, red, white, and black represent the four directions and four sacred mountains for the Navajo people. One could consider Alberts work to have quite the modern, sleek design; while still having genuine cultural richness, Albert makes jewelry with an aesthetic that fits well in the contemporary world. His children do some jewelry work and enjoy painting. Albert shows his work at Indian Market, the Southwestern Art Festival, and The Heard Museum Show and he says he always takes home a ribbon.

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Albert Payton Navajo Sterling concho belt. 57" total length, 1.25" belt, other measurements in pics. No issues, all of the conchos in good condition with no issues. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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Alex Sanchez Navajo sterling petroglyph earrings with turquoise. No issues, weight and measurements in pics. Backs included, only one is shown in the pics. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it‘s marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Alex Siam Sterling silver niello box with elephant 1.25" tall, other weight and measurements in pics. Solid sterling with lightweight wood liner.

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Alfred J Bennett(1861-1923) British Pencil Signed Engraving Westminster Abbey. 17.75" x 13" framed. Slight discoloration only visible on border, clean frame. Alfred John Bennett (1861 – c.1923) was an Englishartist who worked in oils, watercolour and etching. Life and work Bennett was born in London which became a major source of inspiration to the artist. His paintings, drawings and etchings, more often than not, depicted well known landmarks of the capital city. In December 1889 Bennett married Catherine Avery (They had one daughter, Mary Catherine) and spent a short amount of time living with her family in East Hyde, Bedfordshire.[1] During this period Bennett worked as a Jeweller, whilst also regularly submitting paintings to the Royal Academy of which four were exhibited between 1861-1880.[1][2] After this success, Bennett left the jewellery trade and concentrated on his art, first moving to Thornton Heath, Surrey and then relocating his studio to Knebworth.[3][4] Exhibitions Bennett exhibited extensively, regularly contributing work to the Royal Watercolour Society (17 pictures) and British Institution (2 pictures) exhibitions.[2] A further painting titled The Hill Farm was exhibited at the Royal Academy in 1916, and he achieved more success with solo and joint shows at the prestigious Walker's Gallery in New Bond Street, London in 1918 and 1923.[4] In addition, he also exhibited works at the Fine Art Society, New English Art Club, Grosvenor Gallery, International Society, and the Royal Institute of Oil Painters.[3] Many of Bennett's works are found in public art collections, including two watercolours in the collection of Brighton Museum & Art Gallery. B3

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Alfredo Villasana モダニスティック メキシコ シルバー ブレスレットAlfredo Villasana 作Alfredo Villasana は、1930 年代から 1940 年代にかけてタスコの William Spratling と Héctor Aguilar の下で働いていた、高く評価されている銀細工師です。彼は 1950 年代に独立しました。ホールマークには次のように書かれています。「スターリング 925」、非常に小さな四角形 (ホールマーク?)「タスコ メキシコ」「ヴィラサナ」。この豪華なものブレスレットは見事に作られています....1950 年代の様式化されたモダニズムとアールデコの融合、エレガントで立体的な隆起した幾何学的なモチーフ....まさに絶妙なデザインです!このビンテージ メキシコ ブレスレットは非常に優れています。作った;洗練されたクラシックなモダニズム デザインです。ブレスレットの幅は閉じた状態で 2-1/2 インチ、最も広い部分で 7/8 インチ、正面中央の厚さは 1/4 インチです。最も厚い部分です。状態は良好で、新しい所有者がその外観を好む場合は、輝くまで磨くことができます。これは磨かれていません。

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Alice Quam Zuni Mediterranean Coral cluster earrings sterling. Clip on with strong springs on clips, no issues. Alice Quam has worked with her husband Duane Quam since 1945 on some of the most beautiful cluster jewelry of the Zuni Pueblo. They worked together for nearly 60 years. She became a master of setting and cutting the stones, while Duane did all of the silverwork. Alice and Duane worked primarily with high quality turquoise and coral. Alice is known for her intricate needlepoint work because of the symmetry of the stones in her jewelry.

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Alice Scott (1924-2005) original unframed signed and matted watercolor of Charleston Gullah Lady. 10" x 14" ; 6 1/8" x 8 5/8" sight, good condition as shown. A collection of her paintings toured the United States and Europe with the Opera Porgy an Bess. Alice Scott was born in Columbia, South Carolina but grew up in Charleston, South Carolina where she was active in both the theater and painting. She taught painting to both children and adults from her studio on Queen Street next to the historic Dock Street Theater. Her career in art included study with Robert Brackman of the Art Students League in New York City and Hainz Warneke, Don Turano and Richard Lahey of the Corcoran Gallery in Washington, DC. Some of the galleries which have exhibited her works include: High Museum of Art, Atlanta, GA Twentieth Century Gallery, Williamsburg, VA Gibbes Art Gallery, Charleston, SC, Columbia Museum of Art, Columbia, SC Robert Carlen Gallery, Philadelphia, PA Pensacola Art Center, Pensacola ,FLVZTOP Gallery ,Pensacola, FL Charlestown Gallery, Charleston, SC Lemoyne Art Foundation, Tallahassee, FL Gallery of Art, Panama City, FL plus others Galleries!

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Alice Scott (1924-2005) original unframed signed and matted watercolor of Charleston Gullah Lady. 10" x 14" ; 6 1/8" x 8 5/8" sight, good condition as shown. A collection of her paintings toured the United States and Europe with the Opera Porgy an Bess. Alice Scott was born in Columbia, South Carolina but grew up in Charleston, South Carolina where she was active in both the theater and painting. She taught painting to both children and adults from her studio on Queen Street next to the historic Dock Street Theater. Her career in art included study with Robert Brackman of the Art Students League in New York City and Hainz Warneke, Don Turano and Richard Lahey of the Corcoran Gallery in Washington, DC. Some of the galleries which have exhibited her works include: High Museum of Art, Atlanta, GA Twentieth Century Gallery, Williamsburg, VA Gibbes Art Gallery, Charleston, SC, Columbia Museum of Art, Columbia, SC Robert Carlen Gallery, Philadelphia, PA Pensacola Art Center, Pensacola ,FLVZTOP Gallery ,Pensacola, FL Charlestown Gallery, Charleston, SC Lemoyne Art Foundation, Tallahassee, FL Gallery of Art, Panama City, FL plus others Galleries!

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Allenroy Paquin (Jicarilla Apache/Zuni) Multi-stone channel inlay lizards beaded<br>Sterling necklace approx 22" long, 79.7 grams with no issues.<br><br>https://www.youtube.com/watch?v=zjw_iOVUyhM<br>above is a link to a video of the Artisan who made this piece being interviewed<br>15 years ago.<br><br>Allenroy Paquin is a jeweler who is known for his wonderful depictions of<br>lizards, frogs and sea turtles in silver and gold, often with beautiful inlay<br>work. He likes to incorporate humor into his work, as can be seen in his<br>wonderful lizard pins that are designed to perch on the wearer's shoulder, one<br>of his unique designs.<br><br>Growing up in Albuquerque, away from his father's Zuni Pueblo and his mother's<br>Jicarilla Apache Reservation, Allenroy was not always interested in his native<br>heritage, much less in making jewelry. In high school, he became interested in<br>fancy dancing, one of his favorite activities through today. At this same time,<br>his father took up jewelry making to support their family after being disabled<br>in an accident, but it still did not interest Allenroy. Instead, he earned a<br>degree in technical engineering. It was not until his father died several years<br>later, when his mother gave him his father's tools, that Allenroy realized this<br>was his inheritance and heritage. Today he considers his father to be his<br>strongest inspiration.<br><br>This feeling was reinforced one time when he was having a creative block. He<br>found a lizard in a shed he was cleaning, and was captivated by its colors and<br>shapes. "It was like someone told me, 'make inlay lizard jewelry.' I felt it was<br>my dad telling me to do that." It seemed logical after that to move on to<br>turtles and frogs.<br><br>Allenroy is interested in educating as well. His sons, Ignacio and Kyle, have<br>already started making jewelry, and have won awards for their work. Allenroy<br>also teaches school children about native heritage, trying to break down the<br>image of the "stereotypical Hollywood Indian." He performs a solo show that<br>incorporates storytelling, dancing and flute playing at schools. He would also<br>like to "be an inspiration to native urban Indians who have lost their<br>connection with their reservation or their native ties -- to help them find<br>there is something to connect them to that world."

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Allison Lee - Navajo Sterling and turquoise pendant. No issues, weight and measurements in pics. Allison "Snowhawk" Lee (1958 - 2022) was an award-winning artist from Mexican Springs, New Mexico. He was a full-blooded Navajo and is the third oldest of eight (four brothers and three sisters). Allison lived in Albuquerque, New Mexico with his three sons, Wyatt, Kyle and Trent. He enjoyed spending time outdoors hunting, fishing, hiking, and camping with his family. When there was a boom in Indian Jewelry in the early seventies, Allisons mother and uncle started making Squash Blossoms. At the young age of 14, Allison was asked by his mother to make a silver ring with a Turquoise stone. He made the ring well and so began his interest in jewelry making. Allison graduated from Tohatchi High School, during the summers he worked at various silver shops in the Gallup area, where he perfected the methods of silversmithing from the top silversmiths in the shops. Allison began competing in juried art shows back in 1988 and continues this tradition of competition throughout his life. He received many top awards, such as: Best of Division at the Santa Fe Indian Market, the George C. West Memorial Award for Excellence in Silver Jewelry (which he has won three years in a row), and at Indian Market in Santa Fe, NM. Allison was asked to join in on making a piece for the millennium sampler concha belt along with twelve renowned Indian Market jewelers. He was very honored to be chosen to participate in this collaboration. The proceeds of this auction benefited the Southwestern Association for Indian Arts (SWAIA). Sadly, Allison passed away in June of 2022. He will be greatly missed, but his legacy will live on in his sons‘ beautiful jewelry. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist, rings<br>photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Allison Snowhawk Lee (1958-2022) Hand Hammered silver concho belt.. 45" total length, adjustable to any size below that. Extremely high quality with no issues. Each concho 1" x 2" with tabs not counting center rings. 15 conchos total. 184.8 grams. Allison Lee - Navajo Silversmith: Speaking of the silver and gold jewelry he hand crafts, Allison Lee's captivating voice is sincere when he says, "One time my uncle told me that everything we build comes from the earth, like the silver that comes from the earth, or the turquoise that comes from the earth. That is a lot of energy. You put it together and you put your heart and mind into a piece. Then sometimes a certain piece of jewelry- I believe- it is made for a certain person. I usually have a ring, or something, that stays with me for about two or three years, until the right person comes along. And then that person buys that piece. I believe that every piece of jewelry that I make is made for somebody out there- it's made for somebody special. Whoever might be having problems, or something like that. In essence, that energy helps that person get help, by wearing pieces that we make. That is the way I look at it."Born in the heart of the Navajo homeland, in the spring of 1958, Allison Snowhawk Lee attended boarding school until 8th grade. Lee is the last name given to him by the boarding school because they couldn't pronounce, spell, or translate his Navajo name; Snowhawk is his grandmother's name.Allison became involved in silversmithing in a high school art class, making his first simple jewelry pieces at age 12. When he was 14 years old his mother asked him to remove the last stone from an old turquoise brooch and make her a ring with it. Being able to combine old and new into something beautiful gave him a metaphysical sense of bridging generations, connecting him to his heritage and at the same time launching him into a viable vocation.During his high school summers he worked at silver shops in Gallup, New Mexico. His first job included sweeping floors, but as he worked he became acquainted with the top silversmith, and learned his techniques. Each summer thereafter he found a job in different shops, and studied under various masters. Now he is the master who owns a shop that employs high school age apprentices.When Allison graduated from high school in 1977 he won the "Most Artistic" award in his class of 160 students. That was just the beginning of his awards. Allison has won numerous honors in prestigious shows in seven different states. He is not only artistic, but very creative, and therein lies his greatest challenge. "A lot of people copy," he says, "and then pretty soon an original idea is being mass produced. I've got to keep ahead of them."Allison makes many different kinds of jewelry: earrings, necklaces, rings, and bracelets; and is best known for his elaborate concho belts. "I really like making concho belts," he professes, "and coming up with different styles."Allison uses either silver or, occasionally, 14 karat gold, and sets it with coral, turquoise, or other semi-precious stones. Hand fabricated, his work may be either stamped or contain bezel set stones. His favorite piece was a squash blossom necklace he made using tools he created.Allison goes on the road two or three times a month, for two or three days at a time, to market his work or attend shows. He also does demonstrations and seminars at Grand Canyon and other places. When he is at work in his shop he may put in up to 16 hours a day. "I take breaks sometimes," he confesses, "Sometimes I get burned out. That's the time to just walk away from it. That's when it's time to go outdoors, just to kind of refresh my mind."I go hunting, I go hiking. What I really love to do is go to old Indian ruins and just look around, see what I can find. In a way I get ideas from the old, and then try to come up with something new. Then I get back into it. Everything just starts coming together once I start making something. It just comes together in my mind."Allison is considered a success by all who are familiar with his work, but he has a different standard, set with his three sons in mind: "I think being successful is keeping everything balanced out between your family and your work. I think that's what being successful is, caring enough to spend time with your family, and not letting the work and the career overtake your life. I've seen a lot of people that have done that. I'm just glad that I've had people there to tell me the difference. Successful to me is just being happy and making sure my family is fed and clothed. That says it all, right there." Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Allison Snowhawk Lee (1958-2022) Navajo sterling ranger style concho belt. Absolutely amazing belt, every concho is solid sterling silver made by famous deceased Navajo silversmith Allison Lee. Measurements in pics. Belt fits a 30" - 33" waist with existing holes. 14 extremely well made conchos, all on a 3/4" belt 432 grams total weight. Allison Lee - Navajo Silversmith: Speaking of the silver and gold jewelry he hand crafts, Allison Lee‘s captivating voice is sincere when he says, "One time my uncle told me that everything we build comes from the earth, like the silver that comes from the earth, or the turquoise that comes from the earth. That is a lot of energy. You put it together and you put your heart and mind into a piece. Then sometimes a certain piece of jewelry- I believe- it is made for a certain person. I usually have a ring, or something, that stays with me for about two or three years, until the right person comes along. And then that person buys that piece. I believe that every piece of jewelry that I make is made for somebody out there- it‘s made for somebody special. Whoever might be having problems, or something like that. In essence, that energy helps that person get help, by wearing pieces that we make. That is the way I look at it." Born in the heart of the Navajo homeland, in the spring of 1958, Allison Snowhawk Lee attended boarding school until 8th grade. Lee is the last name given to him by the boarding school because they couldn‘t pronounce, spell, or translate his Navajo name; Snowhawk is his grandmother‘s name. Allison became involved in silversmithing in a high school art class, making his first simple jewelry pieces at age 12. When he was 14 years old his mother asked him to remove the last stone from an old turquoise brooch and make her a ring with it. Being able to combine old and new into something beautiful gave him a metaphysical sense of bridging generations, connecting him to his heritage and at the same time launching him into a viable vocation. During his high school summers he worked at silver shops in Gallup, New Mexico. His first job included sweeping floors, but as he worked he became acquainted with the top silversmith, and learned his techniques. Each summer thereafter he found a job in different shops, and studied under various masters. Now he is the master who owns a shop that employs high school age apprentices. When Allison graduated from high school in 1977 he won the "Most Artistic" award in his class of 160 students. That was just the beginning of his awards. Allison has won numerous honors in prestigious shows in seven different states. He is not only artistic, but very creative, and therein lies his greatest challenge. "A lot of people copy," he says, "and then pretty soon an original idea is being mass produced. I‘ve got to keep ahead of them." Allison makes many different kinds of jewelry: earrings, necklaces, rings, and bracelets; and is best known for his elaborate concho belts. "I really like making concho belts," he professes, "and coming up with different styles." Allison uses either silver or, occasionally, 14 karat gold, and sets it with coral, turquoise, or other semi-precious stones. Hand fabricated, his work may be either stamped or contain bezel set stones. His favorite piece was a squash blossom necklace he made using tools he created. Allison goes on the road two or three times a month, for two or three days at a time, to market his work or attend shows. He also does demonstrations and seminars at Grand Canyon and other places. When he is at work in his shop he may put in up to 16 hours a day. "I take breaks sometimes," he confesses, "Sometimes I get burned out. That‘s the time to just walk away from it. That‘s when it‘s time to go outdoors, just to kind of refresh my mind. "I go hunting, I go hiking. What I really love to do is go to old Indian ruins and just look around, see what I can find. In a way I get ideas from the old, and then try to come up with something new. Then I get back into it. Everything just starts coming together once I start making something. It just comes together in my mind." Allison is considered a success by all who are familiar with his work, but he has a different standard, set with his three sons in mind: "I think being successful is keeping everything balanced out between your family and your work. I think that‘s what being successful is, caring enough to spend time with your family, and not letting the work and the career overtake your life. I‘ve seen a lot of people that have done that. I‘m just glad that I‘ve had people there to tell me the difference. Successful to me is just being happy and making sure my family is fed and clothed. That says it all, right there." Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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Allison Snowhawk Lee Navajo sterling lavender jade pendant. No damage, weight and measurements in pics. I have not tested the stone, but it looks like Lavender Jadeite, my stone tester isn‘t accessible due to time/space limitations. This artist typically only used the best materials. Allison "Snowhawk" Lee (1958 - 2022) was an award-winning Navajo artist from Mexican Springs, New Mexico. He was the third oldest of eight (four brothers and three sisters). Allison lived in Albuquerque, New Mexico with his three sons, Wyatt, Kyle and Trent. He enjoyed spending time outdoors hunting, fishing, hiking, and camping with his family. When there was a boom in Native American jewelry in the early seventies, Allisons mother and uncle started making Squash Blossoms. At the young age of 14, Allison was asked by his mother to make a silver ring with a turquoise stone. He made the ring well and so began his interest in jewelry making. Allison graduated from Tohatchi High School, during the summers he worked at various silver shops in the Gallup area, where he perfected the methods of silversmithing from the top silversmiths in the shops. Allison began competing in juried art shows back in 1988 and continued this tradition of competition throughout his life. He received many top awards, such as: Best of Division at the Santa Fe Indian Market, the George C. West Memorial Award for Excellence in Silver Jewelry which he won three years in a row. Allison was asked to join in on making a piece for the millennium sampler concha belt along with twelve renowned Indian Market jewelers. He was very honored to be chosen to participate in this collaboration. The proceeds of this auction benefited the Southwestern Association for Indian Arts (SWAIA). Allison was a highly skilled and respected silversmith, loved throughout the field of Native American jewelry. Sadly, Allison passed away in June of 2022. He will be greatly missed, but his legacy lives on in his sons‘ beautiful jewelry.

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Alonzo Hustito Zuni (1910-1990) Silver Kachina Bolo and pendant/pin set Bolo hand signed, penant/pin stamped. Selling both.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Alvin & Lula Begay Navajo High grade cobblestone inlay 3pc belt buckle set. 228 grams total weight, the leather belt is very light. Very versatile belt that can be easily adjusted and can be worn as a 3 pc set or two. With the current leather belt this will fit up to a 48" waist, can be easily adjusted to as small as you like. In 1956, Alvin and Lula Begay were both born into artistic families in Winslow, Arizona. They have worked as a silversmithing team since 1991, each serving their own role; Alvin works on the overall composition and construction of the piece, while Lula works on the setting/cutting of the stones as well as the polishing and final touches. The dynamic pair is known to not use any pre-made findings, everything outside of earring posts are handcrafted. Alvin is especially known for using his techniques of double and triple overlay, reversible necklaces, shadowboxes, and engraving--often all on the same piece! While still very adept in the art of jewelry-making, Alvins first love is bareback riding in rodeos. He grew up in a traditional Navajo life style on the reservation and is a natural athlete and cowboy. He has competed for 10 years, winning championships in 1987 and 1989. Although Alvin is a very humble and unassuming individual, he is one on AIRCAs top award winners. Awards in jewelry-making are also no stranger to Alvin; among several awards, he has won first with a necklace in a competition in Dallas, Texas.

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Alvin and Lula Begay Navajo silver and coral earrings.In 1956, Alvin and Lula Begay were both born into artistic families in Winslow, Arizona. They have worked as a silversmithing team since 1991, each serving their own role; Alvin works on the overall composition and construction of the piece, while Lula works on the setting/cutting of the stones as well as the polishing and final touches. The dynamic pair is known to not use any pre-made findings, everything outside of earring posts are handcrafted. Alvin is especially known for using his techniques of double and triple overlay, reversible necklaces, shadowboxes, and engraving--often all on the same piece!<br><br>While still very adept in the art of jewelry-making, Alvin’s first love is bareback riding in rodeos. He grew up in a traditional Navajo life style on the reservation and is a natural athlete and cowboy. He has competed for 10 years, winning championships in 1987 and 1989. Although Alvin is a very humble and unassuming individual, he is one on AIRCA’s top award winners. Awards in jewelry-making are also no stranger to Alvin; among several awards, he has won first with a necklace in a competition in Dallas, Texas.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Alvin and Lula Begay Navajo silver, turquoise, and coral pendant<br><br>In 1956, Alvin and Lula Begay were both born into artistic families in Winslow, Arizona. They have worked as a silversmithing team since 1991, each serving their own role; Alvin works on the overall composition and construction of the piece, while Lula works on the setting/cutting of the stones as well as the polishing and final touches.<br><br>The dynamic pair is known to not use any pre-made findings, everything outside of earring posts are handcrafted. Alvin is especially known for using his techniques of double and triple overlay, reversible necklaces, shadowboxes, and engraving--often all on the same piece!<br><br>While still very adept in the art of jewelry-making, Alvin’s first love is bareback riding in rodeos. He grew up in a traditional Navajo life style on the reservation and is a natural athlete and cowboy. He has competed for 10 years, winning championships in 1987 and 1989. Although Alvin is a very humble and unassuming individual, he is one on AIRCA’s top award winners. Awards in jewelry-making are also no stranger to Alvin; among several awards, he has won first with a necklace in a competition in Dallas, Texas.<br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Alvin Monte Navajo 14k/sterling pendant. Solid 14k/sterling with no damage or significant wear. Navajo jewelry artist Alvin Monte works in both gold and silver, often making his own stamping tools to create one-of-a-kind designs. Born in Socorro, Monte grew up in Canoncito, New Mexico. Both his parents were well-known silversmiths but Monte didnt pick up the trade until he moved away from home. He is a self-taught silversmith. His inspirations often come from petroglyphs or pueblo designs although the execution of his designs is more symbolic than realistic. The result is a more modern verses traditional design that he likes to embellish with various stones including amethysts and garnets for a lustrous effect. Monte is now teaching his young son, who at age nine shows a talent for silver-smithing, thus elevating another generation of the Montes into the artist world.

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Alvin Tso Navajo Mediterranean Coral Modernist sterling silver bracelet, fits up<br>to a 6.75" wrist.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Alvin Yellowhorse Navajo sterling sugilite, turquoise cobblestone turtle pendant. No issues, weight and measurements in pics. Just a few miles west of Gallup, NM., nestled among the canyons & hills of the small town of Lupton, AZ., lies the quaint, cozy workshop of the young Navajo artist, Alvin Yellowhorse. Alvin learned the silversmithing trade at an early age from his father, Frank Yellowhorse, and later mastered the techniques of cutting the small turquoise & other colorful stones into precise little pieces in which he assembles into intricate designs inspired by his Anasazi ancestors. This technique is called “Channel Inlay. A style of inlay where all the stones are cut & assembled together first & then ground flush before being highly polished. Alvin is credited for originating another style of inlay called “Corn Row Wave Inlay in which the stones are individually cut & rounded over before setting them into a silver or gold bracelet, pendant, ring, or link bracelet. Corn Row Wave Inlay is much more time consuming as he has to completely finish each stone one at a time before placing them into the gold or silver setting. Alvin creates each piece one at a time . There are no mass production techniques or assembly lines. His designs, although very contemporary, are enriched by the Zuni, Hopi, & Anasazi influences along with his own Navajo heritage. Alvin also receives inspiration from the ancient petroglyphs found along the canyon walls near his workshop. Alvin is forever amazing the jewelry & art galleries with new designs & techniques. Aside from being featured in several high-end galleries, Alvin was recognized by the Smithsonian Magazine in their August 1999 issue, along with Art Book Arizona Magazine doing a profile on his life. Each year Alvin enters his jewelry into the Santa Fe Indian Market competition & has won several Blue Ribbons. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it‘s marked, most bracelets are photographed on a 6" wrist, rings<br>photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Amado Pena Signed and Numbered 1975 "la Boda" print The wedding 19/90 Black and<br>White 11.5" x 17.5" paper. No tears or significant issues. High quality print<br>from 1975 hand numbered by pena.<br>Tw80

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Amazing Marquetry Cigar Humidor Diamond Crown. Really amazing humidor, amazing marquetry work. Just a hair over 14" x 9" x 4" Very clean conditon with one line, really don't feel right calling it a crack in the lacquer finish, would only be a distraction to maybe 1% of the population., slightest wear to back left corner. These things are slight and inconsequential and only mentioned because it's an online sale and you can't see it in person. Included adjustable dividers/hygrometer needs batteries.

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Amazing Napier Sterling Mid Century Modern period and style bracelet. An amazing work of wearable art from the 40's or 50's. This piece rivals and of the high end silver from the period in both quality and design, the only difference is it's much rarer than say a Pineda, Spratling, or Jensen bracelet of the period as they were produced in larger quantities from my experience. This is entirely handmade, each piece is hand hammered on the sides, screams quality from every direction. 8" long x 1" wide x 59.3 grams, fully functional springed clasp, no damage or significant wear.The Napier Company got its start in North Attleboro, Massachusetts 1878, under the name of The E. A. Bliss Co., manufacturing gilt men's watch chains. In 1882, the company became incorporated as The E. A. Bliss Company with the word "The" as part of its legal name. The company relocated to Meriden, Connecticut in 1890, after the company sustained rapid growth in the previous decade. During World War I (and again in World War II), they ceased production of jewelry, and instead focused on producing war-related items, such as medallions and medals. James H. Napier became president of the company in 1920, and the company was renamed, The Napier-Bliss Co. In 1922, the company again changed its name to The Napier Co.Timeline The company was known for its ability to be on the forefront of fashion and design and had a history of sending its designers to Europe. In 1925, James Napier attended the World's Fair Exposition Internationale des Artes Decoratifs et Industriels Modernes in Paris, and brought back with him business ideas, including designs influenced by Parisian and European fashion. Mr. Napier himself, did not design jewelry. James Napier work for the company from 1914 to his death in 1960. From 1920 to 1960 he served as president. In 1999, the company was bought by Victoria & Company. The plant in Meriden, Connecticut was closed by Victoria & Company on October 15, 1999. However, under the umbrella of Jones Apparel Group, Napier jewelry is still being manufactured and distributed.Jewelry designs In the 1920s and 1930s, Napier designed necklaces, bracelets and earrings in a range of styles including, designs featuring Egyptian motifs, such as cobras, Victorian Revival designs and Deco-style motifs. The company produced very little jewelry during the 1930s, focusing on its giftware lines. In the 1940s, most of the jewelry produced was sterling silver tailored pieces. In the 1950s, it produced jewelry in a wide range of styles. Napier jewelry is notable for its simple, modern, geometric and floral designs. However, the company also produce boutique and high-end jewelry. Some of the metalwork bears resemblance to Mexican and Scandinavian designs. The fan jewelry collection was introduced as a 10-year fundraising commitment in 1955. In the 1950s, the Napier Company presented First Lady Mamie Eisenhower with a bracelet bearing an elephant design, which was reputedly one of her favorite pieces of jewelry, and which she wore often, and the Napier Company gifted the contestants of the 1955 Miss America Pageant with fashion jewelry.Historical silver designs Napier silver designs from the first half of the 20th century are in museum collections including the Brooklyn Museum, Newark Museum and a substantial collection at the Dallas Museum of Art. Over the years, Napier silver has been featured in museum exhibitions, including Modernism in American Silver: 20th Century Design at the Smithsonian in Washington, the Dallas Museum of Art, the Wolfsonian in Miami Beach, the Nevada Museum of Art in Reno, and the Dixon Gallery and Gardens in Memphis, TN (2005–07). Napier designs have also been included in two shows at the Brooklyn Museum, entitled 19th century Modern (2011–12; 2013–15). In November 2016-November 2017, the iconic Napier penguin cocktail shaker is the lead design of a Dallas Museum of Art exhibition Shaken, stirred, styled: The art of the cocktail.

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Amazing vintage Santo Domingo Coral lapis inlay fish pendant necklace JP. Weight and measurements in pics, no issues. Sterling silver fittings and reversible pendant. Signed what appears to be JP on both bottom of fish and tag near clasp. Amazing with no issues. 18" long necklace

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Measures 3.25" wide x 3" deep. Guaranteed right around 100-120 years old and wonderful. No cracks or chips, or wear to enamel, tight hinge, snaps shut tightly.

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AMC Native American Sterling, turquoise, Montana Jade beaded necklace. I'm not familiar with the artisan but I believe it is a Native American artisan. High quality necklace with nice materials, partially worn marking at the top identifying the beads as Montana Jade. 20" long 124 grams.Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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American Civil war Caneen Pair. 8.5" tall x 7.75" wide. Ond damaged as shown with pewter top marked CP on one side and P on other. Other with no holes or identifying marks. Both from same estate collection. Selling both for this price. TW205

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American Fostoria Ruby Bowl 10.25" x 4.5" c.1982-1986 MINT. No damage or wear whatsoever. Has an interesting Opalescent rim. tw84

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American Steuben MCM art glass Centerpiece. 10" wide x 4 5/8" wide with no<br>cracks, chips, or restorations. A few tiny non distractive scratches under close<br>examination and of course the expected shelf wear on base as this is an<br>old/heavy piece of glass.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is<br>in Steuben County, from which the company name was derived. Hawkes was the owner<br>of the largest cut glass firm then operating in Corning. Carder was an<br>Englishman (born September 18, 1863) who had many years' experience designing<br>glass for Stevens & Williams in England. Hawkes purchased the glass blanks for<br>his cutting shop from many sources and eventually wanted to start a factory to<br>make the blanks himself. Hawkes convinced Carder to come to Corning and manage<br>such a factory. Carder, who had been passed over for promotion at Stevens and<br>Williams, consented to do so. In 1918, Steuben was acquired by Corning Glass<br>Works and became the Steuben Division. In July 2008, Steuben was sold by Corning<br>Incorporated for an undisclosed price to Schottenstein Stores,[2] which also<br>owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and<br>formerly Value City Department Stores; Value City Furniture, which changed its<br>name to American Signature Furniture; 15% of American Eagle Outfitters, retail<br>liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing<br>its shoes, furniture and crystal. On September 15, 2011, Schottenstein announced<br>it was shutting down Steuben's Corning factory and Manhattan store, ending the<br>company's 108-year history. Soon after, Corning Incorporated repurchased the<br>Steuben brand. In early 2014, The Corning Museum of Glass announced that it<br>would work with independent contractors to reproduce Steuben using a new,<br>lead-free formula and their classic leaded crystal. Carder period<br>(1903-1932)[edit] Steuben Glass Works started operation in October 1903. Carder<br>produced blanks for Hawkes and also began producing cut glass himself. Carder's<br>great love was colored glass and had been instrumental in the reintroduction of<br>colored glass while at Stevens and Williams. When Steuben's success at producing<br>blanks for Hawkes became assured, Carder began to experiment with colored glass<br>and continued experiments that were started in England. He soon perfected Gold<br>Aurene which was similar to iridescent art glass that was being produced<br>by Tiffany and others. Gold Aurene was followed by a wide range of colored art<br>glass that eventually was produced in more than 7,000 shapes and 140 colors.<br>These are a pair of handblown Steuben gold Aurene glass candlesticks designed by<br>Frederick Carder for the Steuben Glass Works, ca. 1913. (From a private<br>collection in Manhattan, New York.)Steuben Glass Works continued to produce<br>glass of all sorts until World War I. At that time war time restrictions made it<br>impossible for Steuben to acquire the materials needed to continue manufacture.<br>The company was subsequently sold to Corning Glass Works and became the Steuben<br>Division. Carder continued as Division manager without any real change in the<br>company's operation except that he now had reporting responsibilities to Corning<br>Glass Works' management. Corning's management tried, mostly unsuccessfully, to<br>limit the articles that Steuben made to only the most popular. Production<br>continued until about 1932. In 1932, there was a major change in Steuben<br>management. The nationwide depression had limited the sale of Steuben and there<br>was a lessening of public interest in colored glass. In February 1932, John<br>MacKay was appointed to Carder's position. Carder became Art Director for<br>Corning Glass Works. Steuben then produced primarily colorless art glass.<br>Steuben still produced colored art glass, but mostly to fill special orders. A<br>few new colors were added after Carder transitioned into his new role with<br>Corning Glass Works, but the last known sale for colored art glass by Steuben<br>was in 1943. Houghton period (1933–2012) An example of Steuben Glass design<br>during the Houghton era is the Balustrade Candlestick set, which mimics a<br>classical balustrade. Of special note is the hallmark of the perfectly formed<br>tear drop air bubble suspended in the design.Corning Glass Works<br>appointed Arthur A. Houghton Jr. as President in 1933, and under his leadership<br>Steuben changed artistic direction toward more modern forms. Using a newly<br>formulated clear glass developed by Corning (referred to as 10M) which had a<br>very high refraction index, Steuben designers developed beautiful, fluid<br>designs. Pieces such as Gazelle Bowl, designed by Sidney Waugh incorporated Art<br>Deco and modernist themes into glass. The themes during this period included<br>"balustrade" designs for water goblets and candlesticks, footed bowls and<br>serving pieces. Decorative forms included wildlife pieces representing owls,<br>penguins and other birds in smooth stylistic forms. Some pieces, such as the<br>Ram's Head Candy Dish, playfully included clean lines crowned by an ornate<br>design (a ram's head, complete with a ruff) on the lid as an homage to its<br>classic earlier pieces. The company also entered into the field of larger show<br>and presentation pieces celebrating various scenes (such as its cut-away design<br>featuring an Eskimo ice fisherman above the ice, and the fish below, or the<br>Cathedral Window design) and elements that incorporated etchings. In some cases<br>sterling silver or gold plating were used on metal finish elements such as the<br>golden "fly" atop the nose of a rainbow trout. Each piece is signed simply with<br>"Steuben" on the underside of the object. Toward the 1990s, the company also<br>began production of small objects—"hand coolers"—in various animal shapes. Items<br>from this period were also noted for their careful and elegant packaging. Before<br>boxing, each Steuben piece was placed in a silver-gray flannel bag (stitched<br>with the Steuben name), and then placed in a presentation box.<br><br>tw5

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

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

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

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

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

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

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

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

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

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

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