c1860 Masons Chinese Vase Ironstone Chinoisiere Hand Painted Polychromed Transferware Wash bowl and pitcher set. No cracks, chips, restorations, or crazing, light wear to peach lustre on rim of pitcher and slight wear to hand painted polychrome decoration inside bowl from pitcher resting inside. bowl 14.25"dia., pitcher 13" Charles James Mason registered his Patent Ironstone China trademark in 1813. Mr. Mason was an astute entrepreneur who had already been involved in the early 18th century porcelain import trade from China by the East India Company. When bulk imports basically stopped in the late 18th century, Mr. Mason turned his skills to the manufacture of ceramics in the “Chinese style.” Ironstone, a dense opaque, earthenware, lent itself well to decoration in under-glaze blues as well as the over-glaze enamels. Mason’s wares were an instant success and have remained highly desirable with collectors for almost 200 years. Their decorative patterns, many in a primitive Chinoiserie style, remain unsurpassed for their charm and earthy beauty

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c1860 Moore & Co Wild Rose Blue Transferware Soup Bowl 9.25" wide with no<br>cracks, chips, stains, or glaze wear, they've hardly been used and are over 150<br>years old. minor crazing on back side.<br><br>The scene depicts Nuneham Courtenay, Oxfordshire, the seat of the Earl Harcourt,<br>set in grounds laid out by Capability Brown around 1780. Under various<br>partnerships, the Sewell family ran St Anthony's Pottery at Newcastle upon Tyne<br>from 1804 to 1878. The design is printed in a deepish blue on a clear white<br>body. There is an impressed backstamp.<br>b55

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c1860 Old Paris Apothecary Jars Eagle and Anchor for Mexican Market. These are<br>the most desirable motif on Old Paris apothecary jars that I know of. I've seen<br>them bring around 1k each on multiple occasions and have seen some marked on<br>underside "Drogueria Belga Mexico" verifying my statement. These are not stamped<br>like that. They are marked by the Manufacturer or retailer A. Collin Paris,<br>which seemed to be a retailer and/or manufacturer of Medical/pharmaceutical<br>equipment in the third quarter of the 19th century. These are 10.25" tall x 5<br>1/8" wide and they have no cracks, chips, or restorations. In fact they have the<br>cleanest gold I've ever seen on any mid 19th century French apothecary jars with<br>only minor wear to the gilding even on the lids which are always excessively<br>worn. Selling both jars shown.<br>issshelf

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c1860 Old Paris Apothecary Jars with fly or Bee motif, well decorated. A really nice pair of jars from the 3rd quarter of the 19th century. One with very small chip inside rim shown in bottom of pic right jar when they are laying down. No other chips, no cracks, no restorations. 5.25" wide lid x 10.5" tall. Wear to gilding as show. Selling both jars with uncommon decoration. isshelf

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c1860 Old Paris Porcelain Plaque. 8.75" tall x 6 7/8" wide. No cracks, chips, or restorations. 2 7/8" central plaque. My take on this piece is it's possibly like a mid 19th century version of a Photobooth picture. Perhaps this guy was traveling in Paris and there was a guy set up in a booth selling these frames and painting these plaques on the spot as portraits as the bottom appears to read "Love Fullman" Some wear to gilding and a few scratches on plaque.

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c1860 Scarifator blood letting device for surgeons box-type case with twelve blades, top cocking lever and side release button, original leather-covered boxCirca: Mid 19th century Condition: Excellent condition. Fully functional with no issues, extra pics showing it with blades out coming.

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c1860 Staffordshire cow and farmer spill vases. Each 8" tall x 9.5" wide with no<br>cracks, chips, or restorations.

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c1860 Staffordshire Figures Man and Woman Holding Flags Pair. 9" tall both clean with no cracks, loss or restorations. Expected crazing man with possible fracture to foot that didn't break off. tw193

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c1860 Staffordshire Prattware Teapot Stand and Plate with Cattle Farm Scene. 2 great pieces from mid to late 19th century. Teapot stand is 6.5" and plate is 8 5/8". Neither have any cracks, chips, or restorations. Both have the expected crazing of 150 year old earthenware. Selling both pieces shown. In the 19th century, the Pratt name was associated with the fine, usually multi-coloured, transfer printed engravings used to decorate the lids of earthenware pots used for food, pharmaceutical products and toiletries. The business also produced domestic earthenware including relief moulded earthenware (especially jugs) and tableware with underglaze, multi-coloured decoration (‘Prattware’). Terracotta and parian ware were other wares, and Godden (1988) notes that there are examples of mid-19th century porcelain printed with Pratt multi-colour underglaze prints, however, these may have been bought-in ware decorated by the company. Whilst Felix Pratt was the commercial driving force behind the business, the artist was a Jesse Austin who joined Pratt in the early-1840. He was an accomplished watercolour artist and engraver and over nearly 40 years, the business produced over 550 poly chrome prints used to decorate the now well known pot lids. Pratt’s first under-glaze, polychrome pot lid was made in 1847 and was a scene ‘Grace before Meals’. Austin’s subject included royalty, famous people, city scenes – there are eleven views of London – and this portrayal of the life and times of Victorian England is one of the reasons for the lid’s popularity today. Austin also made minature watercolour copies of famous paintings and these too appear on pot lids and Prattware. Although the pot lids have become well known, the engravings were also used on the containers themselves, on plates and on other domestic earthenware manufactured by the business and it is this good-quality domestic pottery that is termed ‘Prattware’. tw176

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c1860 Staffordshire Prattware Transferware Plates Sebastopol and 123 Cattle Scene. 2 great pieces from mid to late 19th century. They measure 8.25" and 8 7/8". Neither have any cracks, chips, or restorations. Large one has crazing on the back and none on the front, smaller one has no crazing. Selling both pieces shown. In the 19th century, the Pratt name was associated with the fine, usually multi-coloured, transfer printed engravings used to decorate the lids of earthenware pots used for food, pharmaceutical products and toiletries. The business also produced domestic earthenware including relief moulded earthenware (especially jugs) and tableware with underglaze, multi-coloured decoration (‘Prattware’). Terracotta and parian ware were other wares, and Godden (1988) notes that there are examples of mid-19th century porcelain printed with Pratt multi-colour underglaze prints, however, these may have been bought-in ware decorated by the company. Whilst Felix Pratt was the commercial driving force behind the business, the artist was a Jesse Austin who joined Pratt in the early-1840. He was an accomplished watercolour artist and engraver and over nearly 40 years, the business produced over 550 poly chrome prints used to decorate the now well known pot lids. Pratt’s first under-glaze, polychrome pot lid was made in 1847 and was a scene ‘Grace before Meals’. Austin’s subject included royalty, famous people, city scenes – there are eleven views of London – and this portrayal of the life and times of Victorian England is one of the reasons for the lid’s popularity today. Austin also made minature watercolour copies of famous paintings and these too appear on pot lids and Prattware. Although the pot lids have become well known, the engravings were also used on the containers themselves, on plates and on other domestic earthenware manufactured by the business and it is this good-quality domestic pottery that is termed ‘Prattware’. tw176

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c1860 Staffordshire Rabbitware Stick Spatter plate Rabbit Ware 9.25" . No cracks, chips, or restorations. Some expected wear. isshelf

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c1860 Staffordshire Tam O'Shanter & Souter Johnny Figure. 13.5" tall x 10" wide<br>with no cracks, chips, or restorations. Typical firing flaws and crazing, some<br>loss to paint. Marked on base Sampson Smith 1851 Longton.<br>SAMPSON SMITH<br>1851<br>LONGTON Mark was used from c.1851-90<br>rare mark (in relief) on some earthenware dogs, jugs and figures - most 19thC<br>ware was unmarked.<br>B34

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c1860 Stafforshire Whippet Inkwells and Figure group. Selling all three<br>Staffordshire figures from the third quarter of the 19th century. The two<br>Inkwell/pen Holders are 4.75" tall x 6.75" long. One has a very small chip on<br>the front base, no other cracks, chips, or restorations on the three figures.<br>The figure is 7 5/8" tall.

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c1860 Two relief molded jugs pewter mounted. Selling both jugs shown, tallest 9.5" to thumb lift. No damage to ceramics, blue one marked T booth on lid and Cork and Edge on base has some loss to the mounting but the lid is intact and functional unrestored condition. Tw274

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c1860‘s Saynor Stag Handled Fixed Blade Bowie Knife 13.5" with 8.5" blade. As found sharp estate fresh condition. Very well made later leather sheath included. Stag Horn Handle Bowie Fighting knife, by English maker, W. Saynor (Sheffield) LTD, circa mid to late 1800s, stamped hallmark SAYNOR on the ricasso. Originally designed and created by Rezin Bowie in 1830 for his brother James (Jim), the Bowie knife has a storied history. There are many versions of who the creator was. James Black created this pattern of fixed-blade fighting knife. Jim Bowie became famous for his use of a similar patterned large knife at a duel known as the Sandbar Fight. From Sheffield, England, the Saynor family had been active in the cutlery business starting no later than the 1740s. <br>knifedrawer

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Sheared Lip Ink bottle collection. Selling the collection shown, collected in the mid 20th century. Tallest is 4.75", all guaranteed mid to late 19th century. Examples of most of these have been found at Civil War excavations, these are from the estate where everything was collected in the 50's and 60's. The Lyons ink has a few stable fractures at the top 1" of the bottle, the ribbed short bottle has a very small chip on the base turned up in last pic, the larger Octagon bottle has a stable ding on base corner turned up in last pic. No other issues. TW249

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c1865 Child's Ironstone Coffee Pot 6 3/8" tall x 5.75" handle to spout. Really<br>cute miniature children's coffee pot guaranteed 19th century Staffordshire<br>porcelain. No cracks, chips, or restorations.

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c1867 Heavy Armorial Sterling spoon set in presentation box.  They have the<br>crest of Hardcastle of Bury St. Edmunds.  Amazing set that most likely<br>originally belonged to someone of extreme importance.  Total silver weight 416.2<br>grams without box, British hallmarks dating it to 1867. Gilt bowls and accents,<br>some wear to gold gilding on accents. Large spoons 6 7/8" long with 1 7/8" wide<br>bowls.<br>silverdrawer

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c1870 14K gold lid Cut overlay Glass Perfume bottle Corset form. The lid is hallmarked, it's shown in the second pic but I can't make it out. It tests over 14k gold but less than 18k. No cracks, or chips, slight wear to ruby flashing on palm tree cut. Extremely complex and over the top perfume bottle. 4" tall x 2.5" wide. perfumedrawer

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c1870 16" Antique Hand Engraved Brass Hindu Tray. Very Nice antique tray from the last half of the 19th century with no damage or significant wear. Very nice patina, really nice engraving. issshelf

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c1870 18" Japanese Imari Charger with nice Hand Painted Decoration Meiji Period. No cracks, chips, or restorations, expected wear to gilding on rim, minimal loss and scratches, very clean and attractive overall.

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Guaranteed 19th century. No cracks, chips, or restorations. c1870 19" Imari<br>Temple Floor Vase 10" wide Meiji Period Japanese Porcelain Palace Vase. Minor<br>wear to Gilding, mainly on ring below neck. It has been drilled long ago most<br>likely to make a lamp.

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c1870 Antique Chinese Famille Rose Opium Pillow. Nice 19th century antique chinese opium pillow. Some wear to the glaze and a few glaze flakes on the top rim as shown. No other chips, cracks, or restorations. tw72

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c1870 Antique French Bisque Children Figure group. Really special figure group about 150 years old. Chip to flour bouquet and one chip in the inside of the footrim. No other cracks, or chips, or restorations. TW80

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c1870 Antique French Bronze Crucifix. Nice antique French bronze Crucifix with wonderful natural patina. 7.5" tall x 6 1/8" wide Heavy well cast solid bronze. TW186

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c1870 Antique Japanese Imari Bowl 9 5/8" x 3 5/8" substantial piece with no<br>cracks, chips, or restorations.

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c1870 Antique Japanese Imari Lot 4pcs. Bowl is 6.75" wide with short hairline<br>that can't be seen from the inside. Cup is 2.75" tall x 3.25" wide. Rice bowl<br>with lid is 3" tall x 4.5" wide. They both have very small chips on footrim<br>shown in last pic. No restorations or other damage to any pieces. All pieces<br>guaranteed 100+ years old.

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c1870 Antique Japanese Plates Kutani & Imari 9.5" (2) No cracks, chips, or<br>restorations. The one with the blue underglaze decoration is signed. Booth good<br>quality with uncommon decoration.

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c1870 Antique Miniature Porcelain plaque. Hand painted, not examined outside of frame 4.25" tall x 3.5" wide with frame. tw125

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c1870 Antique Miniature Porcelain plaque. Impressed 22 on reverse side, no other markings. 4.5" x 3.75" framed. tw125

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c1870 Antique Miniature Porcelain plaque. Impressed 15 over an E on reverse side and a label that reads "Moritz Meyer Dresden" which was a cigar company I believe, so either an advertising/promotional item or retailed by them. Hand painted and great with no issues. 3 7/8" x 3 1/8" framed. tw125

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Antique Staffordshire Figure Highlander Couple with Clock c.1870 14" x 9" wide.<br>Slight firing flaw near base. No cracks, chips, or restorations other than a<br>tight old line at the front base which gives it character, glaze flake on her<br>nose.

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c1870 Antique Stoneware Bundt Cake Pan. 8.75" wide without handle x 4" deep. No<br>cracks, chips, or restorations. From a collection of Mostly Texas and NC<br>Stoneware/pottery so likely one or the other. Good antique piece from the last<br>half of the 19th century.<br>isshelf

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c1870 Ashworth Chinoisiere British Ironstone Chinese Style Dinner plates.<br>Selling the three dinner plates shown from the third quarter of the 19th century<br>with no chips, cracks, crazing, stains, or restorations. 10.25" wide, minor wear<br>from stacking for 150 years, they display very well. Ashworth made several other<br>Chinoiserie patterns similar to this one so while this is a very uncommon<br>patter, the patterns compliment each other well and would make an amazing<br>assembled set. Very nice hand painted polychrome accents.<br>TW106

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c1870 バカラ ジェル フレール バーバー ボトル ローズ ティエンテ 希少。高さ 9 インチ x 幅 5 インチ、内部に少量の鉱物堆積物があり、複雑な蓋機構の一部が欠けているように見えますが、どれかが存在しているのは驚くべきことです。サインのない19世紀のバカラ。地面のフットリムに小さな剥がれがあり、その他の欠け、亀裂、修復物はありません。TW214理髪店のボトルは理髪店の道具箱の一部でした。これらのユニークなボトルには、シャンプー、ヘアトニック、顔用スプレーが入っていました。理容師は、趣のある製品を大量に購入したり、独自のレシピを作成してボトルに詰め替えたりすることができました。これらのボトルにはさまざまなスタイルや形がありました。豊富な色、エナメルの花の装飾、ユニークなデザインにより、これらのボトルは棚に置いているときに非常に目を引くものになりました。有名なアーティスト、メアリー グレゴリーは、幼い子供の絵をエナメルで描いた作品で、今日コレクターの間で非常に人気があります。プレスガラスやカットガラスの例も、需要の高い不透明なパーソナライズされたボトルとともに入手可能でした。パーソナライズされたボトルには、理容師の名前や非常に優れた顧客の名前があり、何らかのデザインや絵が描かれています。貼られたラベルボトルもありました。これはラベルを覆う薄いガラスの層でした。初期のボトルの多くは、ポンティルベースと適用または剪断されたリップを備えた手吹きで作られていました。これらのボトルは米国で製造され、ヨーロッパから輸入されました。派手なスタイルのボトルのほとんどはエンボス加工されていませんが、いくつかの例外があります。マサチューセッツ州ボストンの T Noonan & Co. Barber Supplies の名前がボトルの底にエンボス加工されています。理容ボトルは 1880 年代から 1900 年代初頭にかけて高い需要がありました。 1906 年の純粋食品医薬品法により、ラベルのない詰め替え可能な容器でのアルコールベースの物質の使用が制限されました。これにより、これらのボトルは本来の目的で使用されなくなりました。需要は鈍化しましたが、1920 年代まで作られ続けました。

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Punch bowl is 8.5" tall x 9" wide, cups are 4" tall. No cracks, wear to Gilding<br>on rim, no large chips a few very tiny flakes on the rim of the Punch Bowl.

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c1870 Bohemian for Persian market Ruby cut to clear Hookah base. Great hookah base from the 19th century, Bohemain glass for persian market. No cracks, chips, or restorations. Some wear to gilding and hard water deposits in interior. 10.75" tall x 5" wide x 1 5/8" width of the inside of rim wall to wall. isshelf

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c1870 British Bodley Porcelain Hand painted plate with bird and butterfly. Great<br>piece from about the third quarter of the 19th century. Impressed Bodley in<br>center under glaze, chip on footrim. No other cracks, chips, or restorations.<br>TW260

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c1870 Bronze Mounted Hand Painted Porcelain Plaque. Not totally sure if it's<br>French or Bohemian, but I'm totally sure it's great and mid to late 19th century<br>with no damage or restorations. 10 7/8" wide, estate fresh 100% hand painted<br>with heavy bronze mount.<br>TW228

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c1870 Carved Wood bust. High quality hand carved bust plaque from the 19th century. 7.5" tall x 6.75" wide total x 4.25" deep.

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c1870 Chinese Famille Rose Bat Shaped Condiment Bowl. 7.75" x 4.25" x 2" deep.<br>One tiny flake on top rim, no other cracks, chips, or restorations.<br>B36

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c1870 Early Hand Painted Cauldron T.C. Brown Westhead and Moore cabinet plate. Unmarked. No damage or restorations, fine overall crazing. 9 3/16" wide, no detectable markings. isshelf

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c1870 European porcelain Covered dish with baby in crib. Unusual dish, loss to<br>element in babies hand, old restorations to bows, chip on exterior of base and<br>chip inside rim of base, no cracks. 8" long, fantastic, whimsical, and ready to<br>be filled up with stuff.<br>isshelf

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c1870 French Antique Miniature painting. Frame 4" x 3.25", comes with holder.<br>Frame has been repaired, no issues with painting.<br><br>tw125

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c1870 French Antique Miniature painting in carved wood frame. 4.5" x 4" framed 2 3/16" sight, no issues. Both the painting and frame are amazing. tw125

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c1870 French Bronze Censer/Candlesticks pair. Selling the pair shown each with a<br>central stash spot/censer/whatever you desire it to be for. Both extremely heavy<br>for their size solid bronze with no issues. Each 8" wide x 7.5" tall, my hand<br>holding mouse in two pics for scale.<br><br>These are symetrical, they are threaded together and were loose in the pics, I<br>didn't think to line them up for the pics, they line up just fine and are tight<br>when tightened with no issues. I'm just always in a hurry...they are great.<br><br>isshefl

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c1870 French Old Paris Porcelain Vase with hand painted portrait. Wear to<br>gilding shown, no cracks, chips, or restorations. 12.5" tall.

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c1870 French Sevres Style Hand Painted Porcelain cabinet plate. Nicely painted plate with no cracks, chips, restorations, or significant wear. 9.25" tw198

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c1870 Japanese Cloisonne Over Blue/White Porcelain Covered Box 6.25" wide x 4.5"<br>tall.<br>Guaranteed mid to late 19th century. No cracks, chips, or restorations. Rare,<br>possibly one of a kind piece that required a great amount of effort to produce.

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c1870 日本の七宝焼き青/白磁器花瓶ペア 8.5 インチ。1 つは 8 5/8 インチです。完全なペアではありませんが、おそらく 140 年間一緒にいたので、今さら分離するのは嫌です。外観的には特別な作品。19 世紀半ばから後半にかけて保証されます。ひび割れ、欠け、修復物はありません。生産するのに多大な労力を必要とした、おそらく唯一無二の作品。

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c1870 Japanese Hand Painted Imari Collection. Selling everything in the pictures<br>with no cracks, chips, or restorations. All from the last half of the 19th<br>century. Vase 5 1/8" tall, Wasabi dish 3", Cup 2 1/4" tall, saucer 5 1/8" wide,<br>Plates 7.25" wide and 8.5".<br>isshelf

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1870年頃 明治時代の九谷焼銘板。 8 3/8 インチ、驚くべき品質の塗装。金メッキと全体的な摩耗が多少あります。亀裂、欠け、修復はありません。b50

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c1870 Japanese Meiji Period Kutani Teapot Signed. Magnificent quality hand<br>painting, hand potted.. Guaranteed 19th century with no cracks, chips, or<br>restorations. 8" tall x 8.5" handle to spout.

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C1870 Louisville KY Belknap Sterling silver/Steel with Celluloid Handles Cutlery Set Fish Serving Set. Rare and unusual set by American Hardware store/tool/knife Maker Belknap. Most of the stuff they made was more utilitarian rather than fancy like this set. Also a strange combination of Sterling silver and The earliest form of Plastic. All are in good condition, tight in handles. The bands are marked sterling. The forks don't stick to a magnet, tested sterling, and show no wear to any possible plating so I believe they are solid silver other than the handles. The Knives are obviously Steel. Some of the marks are difficult to read on the knives. Knives are 9.75" long, forks are 7.75" long. TW94

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c1870 Masons Chinoisiere British Ironstone Chinese Style Dinner Plate and Rimmed soup bowl. Selling both pieces shown both 10.5" wide, a shallow soup and dinner plate from the third quarter of the 19th century with lots of hand painted decoration. No cracks, chips, or restorations, some crazing. TW106

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c1870 Masons Flying Bird Chinoisiere Hand Painted Polychromed Transferware Slop Pail. This really big piece is part of the nicest, cleanest wash set I've ever came across. It's been in a 3 million dollar Doctor's home for the past 40 years and looks as if it never saw any use the 110+ years before that. The only reason I'm splitting it up is it's so big it's difficult to accurately present as a set. The piece has the original slotted lid, original wicker handle. 11.5" tall and wide without handle. No cracks, chips, restorations, or stains, no significant loss, overall expected crazing you'll find on 150+ year old earthenware.

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c1870 Masons Flying Bird Chinoisiere Hand Painted Polychromed Transferware Soap Dish and Toothbrush Holder. These pieces are part of the nicest, cleanest wash set I've ever came across. It's been in a 3 million dollar Doctor's home for the past 40 years and looks as if it never saw any use the 110+ years before that. The only reason I'm splitting it up is it's so big it's difficult to accurately present as a set. Toothbrush is 5.5" tall x 2 7/8" wide at rim, soap dish is 8" wide x 3" tall. No cracks, chips, restorations, or stains, no significant loss, overall expected crazing you'll find on 150+ year old earthenware. Selling both pieces shown, well all three really.

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c1870 メイソンズ フライング バード シノワジエール 手描きの多色トランスファーウェア ウォッシュ ピッチャーとボウルのセット。これら 2 つのアイテムは、私が今まで出会った中で最も素晴らしく、最も清潔な洗濯セットの一部です。過去 40 年間、300 万ドルのドクターの家に置かれていましたが、その前の 110 年以上はまったく使われていないかのように見えます。分割している唯一の理由は、非常に大きいため、セットとして正確に提示するのが難しいからです。ボウルの幅は16.25インチ、ピッチャーの高さは11.5インチです。ひび割れ、欠け、修復物、汚れはなく、エナメル質の重大な損失はなく、150 年以上前の陶器に見られるような全体的なひび割れはありません。

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c1870 Meiji Period Japanese Blue Hand Painted Charger. One tiny flake on rim, surface wear on front. No other chips, no cracks, no restorations. tw78

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c1870 Meiji Period Japanese Kutani Bowl. 7" x 2.75" with no cracks, chips, or<br>restorations.

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c1870 Meiji Period Japanese Plate Collection. Largest is 9.75", smallest 8.25" 2 are signed as shown, One has a small chip on the front at the bottom shown in pics. No other cracks, chips, or restorations. TW81

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

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c1870 Native American Silver Plains Indians rocker engraved hair piece. Amazing<br>piece of Native American hand worked silver from the c1870's-80's. 86.8 grams,<br>tested silver guaranteed at least 90% (coin silver) Just over 5.5" wide, an<br>amazing museum quality piece from a long time collection with the most awesome<br>natural patina. There's a hallmark shown in the bottom of the reverse side pic,<br>appears to be a T R in a rectangle. I'm thinking likely this was made from<br>another silver piece that was traded to the Native Americans, as I don't believe<br>they were mining silver. They were getting it by trade. I'll be listing another<br>piece from the same collection.

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c1870 Old Paris Hand Painted Soup Tureen with Lid. Impressed G D on base 130-150 years old guaranteed, French. No cracks, chips, or restorations, some wear to gilding. It's 12.5" handle to handle x 9.5" tall x 7.25" deep. B47

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c1870 Old Paris Porcelain Apothecary Jars Pair. Great pair of mid to late 19th century French porcelain apothecary jars. lids and bases have some writing and numbers underneath but nothing legible to me. These have no chips, cracks, or restorations, and only minor wear to gilding, likes like the finials had some touch up to the gold gilding with paint long ago but they are not restored, meaning the porcelain was not damaged, guaranteed. 11" tall x 5 3/8" wide. Selling both. tw188

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c1870 Old Paris Porcelain Bronze mounted Urn/ Oil lamp base. Great piece of mid to late 19th century french porcelain. The last three pics I show it fully assembled how it came into my life. I feel like some time in the 20th century they changed it, perhaps it was an oil lamp base, not really sure. I've reassembled it so you can decide which version of this suits your life the most, it comes apart easily. If I'm in a pinch when packing I may disassemble it. Fully assembled it is 18" tall x 9.25" handle to handle, It's about 14" tall without the base or top. All hand painted with no chips, cracks, or restorations. Some wear to gilding as shown.

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c1870 Old Paris Porcelain Decanter with Stopper Store Pharmacy Bottle. Nice early unusaly piece about 150 years old. One small chip on tip of stopper, no other cracks, chips, or restorations. TW73

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Very unusual above average toast rack, unmarked measuring 8.5" x 4.25" x 5"<br>tall. Gold finding is worn on rim and top of handle. No cracks, chips, or<br>restorations.

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c1870 Old Paris Porcelain Snuff Box/Powder Jar. No cracks, chips, or restorations, some wear to gilding. 3 5/8" wide x 1.25" tall. tw201

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c1870 Pewter Relief Plaque Signed crawford. 7 3/8" square 4.5" sight with no damage. Much better in person as it's difficult to photograph behind the glass. TW148

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c1870 Porcelain Plaque in Gilt Bronze Frame. Frame measures 6.5" tall, Hand Painted plaque is 2 5/8" minor wear to paint on rim of plaque on both sides and top. No damage.

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c1870 Powell Bishop Staffordshire ABC Plate. No cracks, chips, or restorations, some stains as shown. 6 1/8"TW252

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c1870 Staffordshire Romantic Group in Large Size 13 5/8" tall x 9" wide with no cracks, chips, or restorations. TW6

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c1870's Saloon Back Bar Liquor Bottles with Etched Gilt Advertising San<br>Francisco Nestor Maryland Rye Gibson's Whiskey Pennsylvania<br>The Nestor Maryland Rye bottle was actually from a distillery named KOPPEL &<br>DWAN that operated in San Francisco, CA 1877-1878, it's extremely rare blown<br>bottle, it's not etched just gold gilding. They're both rare. Largest is 9 1/8",<br>other is 6.75". The Gibson's bottle is engraved with gilding in the engraving.<br>The facets are polished and it has a ground pontil. Originally, Gibson was a<br>producer of American, not Canadian, rye. John Gibson was a western Pennsylvania<br>distiller who started up in the 1830s, and by 1856, according to Canadian whisky<br>guru Davin de Kergommeaux, his operation spanned 40 acres alongside the<br>Monongahela. Once Prohibition rolled around, though, the distillery shut down<br>and was demolished. A New York company called Schenley Industries bought the<br>rights to the Gibson’s name and held onto them until 1972, when Schenley started<br>using it for Canadian whisky produced at a distillery it owned in Valleyfield,<br>Quebec.<br>No cracks or chips, or excessive wear to the bottles. They both have minor<br>mineral deposits in the bottom that I didn't attempt to clean.<br>I May split these up if you care to make a reasonable offer.<br>B22

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c1870's Stevengraph Pure Silk Woven Picture of Royal Mail coach to/from the Black swan. Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1870's Stevengraph Pure Silk Woven Picture of Steam Fire Engine and Firemen "For Life or Death". 9.75" x 7" total including frame. Overall good condition for 140-150 years old with minor stains and some wear to frame as shown. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1870's Stevengraph Pure Silk Woven Picture of Steam Locomotive "The first train ran on Sept 27th 1825 from Stockton to Darlington" Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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

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c1877 Engraved Snuff Box with inscription. Hand engraved Silver plate<br>snuff/tobacco box 3 1/8" x 2" x 1". I believe this is silver plated nickel as<br>silver prices were crazy in the 1870's, they were basically the same price as<br>they were in the 1970's.<br>isshelf

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c1880 13.5 インチ 明治時代の日本の伊万里充電器。100 年以上前の素晴らしいアンティーク充電器。欠けや修復物はありません。2 つのしっかりとしたヘアラインは、よく調べないと目立ちません。最後の写真に示されています。TW184

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c1880 15 5/8" Japanese Imari Charger with nice Hand Painted decoration. No cracks, chips, restorations, or crazing. Nicely painted typical wear to gilding on rim. tw194

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Meiji Period Japanese c1880 2 Japanese Blue/white Porcelain Chargers Hand Painted 10.75" & 11.25". No damage or restorations to either one.

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c1880 3 Cut Glass Perfume Bottles 2 with Sterling lids, one large flask. Selling the three in great condition. The one on the left is 4 1/8" tall with some roughness on the top rim but no other chips or cracks, one in center is 6.25" tall with no chips or cracks, I believe it's the only one I would trust to hold liquid without evaporation or spillage. The lid is not sterling on the center one but is on the other two. The one on the right has two small insignificant chips, no cracks, 3.75" tall, the threads on the lid don't quite match the base, looks great but the lid won't be tight. tw190

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c1880 A. Jacobi Baltimore Sterling Repousse Chatelaine purse. Very nice functional bag about 135 years old. Very high quality functional hinge and closure. Thick heavy sterling with no issues. 6" wide at top of frame x 8.25" tall without the chain. 194.3 grams total weight with 98% of that being the silver top.A.JACOBI & CO JACOBI & JENKINS JENKINS & JENKINS - Baltimore, MD founded in 1879 as A.Jacobi. Succeeded by A.Jacobi & Co (1890), Jacobi & Jenkins (1894) and Jenkins & Jenkins (1908). Sold to the Heer-Schofield Company (Schofield Company Inc) in 1915 tw187

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c1880 American Sterling Silver Fish Serving set by R Harris & Co Washington D.C<br>Estabished in 1876 as manufacturing jeweler and silversmith. The firm offered a<br>variety of solid silver novelty items and gold jewelry. All hand engraved heavy<br>Victorian sterling silver set with no bends or deep scratches. I'm not good at<br>photographing silver, especially large pieces such as these. 215 grams, the<br>serving knife is 12 3/8" long and fork is 7.75" long.<br>tw167

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c1880 Antique Back Bar Bottle Apricot Cordial Mold Blown Tooled lip. 12" tall x<br>3.25" wide at base with no damage, Mold blown bottle with hand tooled lip and<br>hand enameled "Apricot Cordial".<br>isshelf

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Nice antique rose medallion teapot. Less common fluted design with original<br>fluted lid. There is an underglaze pre firing chip on the spout that was there<br>when it was made, another light glaze skip under the spout that I also believe<br>to be original to the manufacture of the piece. 7.25" tall and 7.25" handle to<br>spout.<br>TW57

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c1880 Antique Chinese Famille Rose Wine Pot or Teapot. Guaranteed Chinese from<br>the last half of the 19th century, unmarked. Amazingly has the original lid (<br>The lid has some restoration on the rim and a missing piece that goes down in<br>the pot. No cracks, chips, or restorations on the base. 7" tall, rare piece of<br>Chinese export porcelain.<br>TW251

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c1880 Antique Chinese Opium Scales. Very cool set with an incredible patina. Case measures 13.75" long x 3.5" wide no issues or damage. Difficult to find with the counterweight and leather that keeps it together intact. Lots of writing Front, back, and inside brass plate, nicely carved also.isshelf

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