c1880 Antique Chinese Opium Scales in poppy form case. Very cool set with an<br>incredible patina. Case measures 6" long x 3.75" wide. No issues or damage,<br>strings still intact, very well preserved.<br><br>b7

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c1880 Antique Miniature Hand Painted porcelain plaque brooch 1 7/8" tall x 2.25" wide, plaque in good condition with minor wear to plaque.

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c1880 アンティーク モーザー ポートレート骨壷ペア。ボヘミアンな骨壷、19 世紀、手描き、おそらくモーザーの両方を販売します。 1 つは上部と下部が交わる場所に中括弧があり、もう 1 つは中括弧がありません。これが元々の製造方法であるかどうかを知る方法はありません。支柱のないものは丈夫でガタがなく安定しています。支柱付きのものにはわずかな遊びがあり、2つのピースが接する部分に小さな欠けがいくつかあります。どちらも素晴らしく、非常によく表示され、安定していますが、梱包や取り扱いには特別な注意が必要であり、私はそうしていますし、今後もそうするつもりです。高さ14インチ x 幅5.5インチのマイナーウェアから金メッキまで、主に示されているベースの両方を販売します。記載されている以外に欠け、ひび、修復物はありません。

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c1880 Antique Pietra Dura Bronze Mounted Double Locket Picture frame on Easel.<br>13.5" tall x 6 5/8" high total with Easel, The sight area inside the picture<br>frames is 5 3/8' x 3 3/8" The pietra dura plaque without the easel is 8" x 5"<br>counting the bronze ormula on top. This is a really special and over the top<br>piece that required immense skill to make. The bronze frame is heavy so when it<br>is opened it will tip easily when the back leg is fully extended so it will need<br>to be on a not so slick surface if you intent to display it open with the photos<br>showing rather than with the incredible Pietra Dura plaque showing. No<br>detectable issues, some expected wear to the gold gilding on the bronze.<br>TW126<br><br><br>Pietra dura (Italian: [ˈpjɛːtra ˈduːra]) or pietre dure [ˈpjɛːtre ˈduːre] (see<br>below), called parchin kari or parchinkari (Persian: پرچین کاری‎) in the Indian<br>Subcontinent, is a term for the inlay technique of using cut and fitted, highly<br>polished colored stones to create images. It is considered a decorative art. The<br>stonework, after the work is assembled loosely, is glued stone-by-stone to a<br>substrate after having previously been "sliced and cut in different shape<br>sections; and then assembled together so precisely that the contact between each<br>section was practically invisible". Stability was achieved by grooving the<br>undersides of the stones so that they interlocked, rather like a jigsaw puzzle,<br>with everything held tautly in place by an encircling 'frame'. Many different<br>colored stones, particularly marbles, were used, along with semiprecious, and<br>even precious stones. It first appeared in Rome in the 16th century, reaching<br>its full maturity in Florence. Pietra dura items are generally crafted on green,<br>white or black marble base stones. Typically, the resulting panel is completely<br>flat, but some examples where the image is in low relief were made, taking the<br>work more into the area of hardstone carving.

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c1880 Austrian Hand Painted and Gilt multicolor Pitcher. Unusual decoration on<br>this piece. No cracks, chips, or restorations. Very minor wear in a few spots to<br>painting and some wear to gilding as shown.<br>Tw117

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c1880 Austro-Hungarian 800 Niello Silver Cheroot Case Snuff box. 4" x 2 3/8" x 1" x 131 grams. Heavy solid box with no dents or bends, functional hinge and claps, snaps shut and stays sealed until button is pressed. Functions as intended 140 years ago. Hallmarks on interior of Lid and base. TW255

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c1880 Bohemian black glass Hand Enameled Butterflies Electrified Oil lamp with<br>original frosted glass shade, on circular foot, approx 25"h, 6"diam, 6lbs.<br>Incredible lamp, three pieces with no chips, cracks, or restorations, tiny<br>flakes on base of shade that goes in fitter as expected. Lamp is in working<br>condition with functional in cord switch.

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c1880 Brass/Bronze Reticulated compote with Cherub Heads. Great piece guaranteed mid to late 19th century. The alloy seems a little more bronze than brass. Whatever it is, it's a fine piece. 10.25" wide x 4.5" tall.

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c1880 コバルトフラッシュカットでインク壺を透明にします。オリジナルのドームが付いた素敵な珍しいコバルトカットのオーバーレイガラスインク壺。ドームの底に小さな傷があり、簡単に削れてしまう可能性がありますが、非常に小さいです。その他の亀裂、欠け、修復物はありません。高さ 3 インチ x 幅 2.25 インチ。TW156

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c1880 Cranberry Enameled Oil Lamp Base. 11" tall x 5.5" wide with no cracks,<br>chips, or restorations. The hole in the base is an open pontil from<br>manufacturing it hasn't been drilled. The top part was blown separately and has<br>no hole, it will hold oil if you wish to put a burner on it and use it as an oil<br>lamp. I probably have a burner if that's an issue to help make the sale so feel<br>free to ask. When I got it the old burner was disentigrated and broken so I<br>discarded it.<br>TW124

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c1880 Crown Derby Kings Imari Cranberry bowl/Open sugar. 4 7/8" wide x 2 13/16" tall. Seems more the size or a waste or cranberry bowl to me than an open sugar. Tough to tell as measurements and shapes changed over time. Very clean with no cracks, chips, restorations, or crazing, and very clean gold. TW217

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c1880 Dresden Figure Group Children with Lamb and Birdcage. 6.5" wide x 5" tall. One tiny flake off the green leaves to the flowers in his upper hand, pin head sized. No other chips, cracks, or restorations. TW75

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c1880 Dresden Porcelain Bird on Nest Potpourri Box with applied flowers 7" tall x 7.5" wide. Chip to top of Bird Beak and scattered difficult to notice losses to flowers/petals. Displays very well, no restorations, no cracks. Likely Schierholz. TW189

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c1880 Dresden/Bohemian Chinoisiere Plate Set Hand Painted 8.5". Selling the set of 4 wonderful plates all hand decorated from the last quarter of the 19th century. Some wear to gilding on rim, two white ones, one red, one blue. The red one has a very small chip on the back shown in the last pic left center. TW193

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c1880 English Majolica Covered Birds on Nest Game Dish. 8.5" x 6.5" x 6" tall. Very good condition with no restorations, one tight hairline on base that doesn't go through to exterior shown in top center of last pic about 1" long. Some very small chips on open eggs. This is an extremely rare piece of Majolica 130-150 years old with very little wear for it's age. The only other one of these I've ever seen for sale was heavily restored(Missing one egg and other eggs restored) and $1200. In different periods of time and in different countries the word majolica has been used for two distinct types of pottery. Firstly, from mid-15th century onwards there was maiolica, a type of pottery reaching Italy from Spain, Majorca[1] and beyond. This was made by a tin-glaze process (dip, dry, paint, fire), resulting in an opaque white glazed surface decorated with brush-painting in metal oxide enamel colour(s). During the 17th century, the English added the letter j to their alphabet.[2] Maiolica was commonly anglicized to majolica thereafter. Secondly, there is the Victorian mid to late 19th century type of pottery also known as majolica made by a more simple process (paint, fire) whereby coloured lead glazes were applied direct to an unfired clay mould, typically relief-moulded, resulting in brightly coloured, hard-wearing, inexpensive wares both useful and decorative, typically in naturalistic style. This type of majolica was introduced to the public at the 1851 Great Exhibition in London, later widely copied and mass-produced. Minton & Co., who developed the coloured lead glazes product, also developed and exhibited at the 1851 Exhibition a tin-glazed product in imitation of Italian maiolica which they called also majolica. tw237

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c1880 Ferdinand Barbedienne, French, 1810-1892 Bronze Plaque Mother and Child. Nice antique bronze plaque guaranteed late 19th century. 14" wide, 8 pounds. Ferdinand Barbedienne (Jan 10, 1810 – Mar 21,1892) was a French metalworker and manufacturer, he was well known as a bronze founder. Born the son of a small farmer from Calvados, Barbedienne started his career as a dealer in wallpaper in Paris. In 1838 he went into partnership with Achille Collas (1795-1859), who had just invented a machine to create miniature bronze replicas of statues. Together they started a business selling miniature antique statues from museums all over Europe, thus democratising art and making it more accessible to households. From 1843 they extended their scope by reproducing the work of living artists and also diversified by making enamelled household objects. The F. Barbedienne foundry was started in Paris in 1838 by Ferdinand Barbedienne and his partner, Achille Collas, who was the inventor of a machine that would mechanically reduce statues. At first they produced bronze reductions of antique sculptures of Greek and Roman origin. Their first contract to produce bronzes modeled by a living artist was made in 1843 when they arranged to produce the works of Francois Rude. They barely survived the revolution and financial collapse of 1848 which caused many artists and foundries to declare bankruptcy. Barbedienne actively pursued contracts with the many sculptors of Paris contracting with David D'Angers, Jean-Baptiste Clesinger, and even producing some casts for Antoine Louis Barye, as well as others. Achille Collas died in 1859 leaving Ferdinand Barbedienne as the sole owner of the foundry which by that time had grown to employ over 300 workers at their workshop in Paris. Barbedienne became President of the Reunion of Bronze Makers in 1865,a post he held until 1885. The outbreak of the Franco-Prussian war in 1870 and the shortage of raw metals caused him to have to stop making sculptures but he did receive a contract from the French government for the production of cannons which kept his foundry open. After the war he resumed his casting of sculptures and put even more effort into signing contracts with various sculptors. Barbedienne purchased 125 casting models from the late Antoine Louis Barye's sale in 1876. He set about casting and selling editions of these sculptures which was very successful, devoting an entire catalogue to these works. Ferdinand Barbedienne died on March 21, 1891 and was mourned by many in the world of sculpture. It was said that he strove to the highest quality in his castings Albert Susse said of him that he was the "pride of the nation" and that that he "carried the splendor of our industry so loftily to all international competitions". The running of the foundry was taken over by Gustave Leblanc, a nephew, and continued the high standards set by Barbedienne. The foundry set up agencies in Germany, Britain, and the United States to market their production. Leblanc actively purchased models and production rights form sculptors including Auguste Rodin and the estates of sculptures including Emmanuel Fremiet. The foundry continued under the stewardship of M. Leblanc until 1952. tw138

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c1880 Fischer & Mieg Pirkenhammer Imari Style Plate Czechoslovakian Porcelain.<br>Really nice plate mid to late 19th century with no damage or restorations.<br>tw82

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c1880 French Art Glass Crystal Dresser Jar with Gold Enameling. No cracks,<br>chips, or restorations. Snaps shut and good hinge. 3.75" wide x 3.5" tall.

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c1880 French Baccarat pressed glass pineapple compote. Unusual piece with holes I suppose for short prisms to hang, I'm sure it's an antique piece and though I don't have time to research it I feel it's Baccarat as I've had a fair amount of Baccarat pressed glass. Unmarked 7" wide x 2 5/8" tall. tw270

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c1880 French Bronze Champleve & Agate Pill Trinket Box. Rare and fantastic item. 2" x 1 5/8" x 13/16" tall. Very clean, well over 100 years old with minimal wear. TW74

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c1880 French Bronze Dore Guilloche Enamel Opera Glasses. 4" wide x 2.75" tall fully extended. They don't get much better 100% hand painted, original case. Fully functional and display very well, there are some missing jewels and slight cracks to enamel shown in last pic, leather handle to case is damaged. tw217

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c1880 French Bronze Mounted Green Marble candelabra. 10 1/8" tall x 8.75" wide, a nice antique diminutive candelabra with no issues. isshelf

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C1880 French Gilt Bronze relief on onyx Holy Water Font Jesus Plaque Signed J<br>Doisy. 7.75" tall x 5.25" wide, no damage.<br><br>b60

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

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c1880 French Pressed Glass Bowl With Rooster Fish Butterfly Ducks Birds Possibly Baccarat. I'm not totally sure of maker but I'm positive it's antique from the late 19th century and believe it's french. I couldn't find a marking. There are a few chips on the footrim but no other chips or cracks. 10.25" wide x 2 5/8" deep. TW81

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c1880 French Sevres Style Hand Painted Porcelain cup and saucer. Great cup and saucer from about the mid 19th century with no cracks, chips, or restorations. Minor wear to gilding shown. Very deep saucer 5 7/8" x 1.5" tall Cup 3" tall x 2.75" wide without handle.

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c1880 French Sterling Silver Chamberstick made by George Boin. Very heavy for<br>it's size, solid silver with minerva head hallmark indicating the purity shown<br>in last pic. 8.5" long with handle x 4.5" wide. 228.4 grams. Exceptional<br>functional handmade work of art by a silvermith that has had some of his later<br>art deco pieces sell in the 20-40k range.<br><br>Established in Paris 1873 by George Boin and Emile Taburet, the highly regarded<br>Mâison Boin-Taburet produced high quality silver and metalwork pieces for the<br>high-end retail market supplying pieces for Royalty and affluent customers<br>around the world. They exhibited at the 1889 Exposition Universelle in Paris<br>where they were awarded a gold medal. The firm continued until 1900 when they<br>were renamed Boin & Henry silversmiths.<br><br>Born in 1849, Boin came from a family of antique dealers and jewellers. For many<br>years his grandfather and father managed the upscale shop, L’escalier de<br>Cristal. The Boin-Taburet partnership was formed in Paris at 3 rue Pasquier in<br>about 1873. Boin was Émile Taburet’s son-in-law, and was a great collector of<br>18th C French silver in the Rococo style. The firm won numerous prizes at the<br>Espositions Universelles of 1878 and 1889 for high quality Rococo style silver,<br>inspired by pieces in Boin’s personal collection of antiques.<br>tw217

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c1880 Glass Bottomed Pewter Tankard Half Pint by James Dixon. Exceptional patina, holds liquid. Some expected wear that has been naturally patinized over time. 4" tall. TW94

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c1880 Japanese Arita Charger 12 1/8" no cracks, chips, or restorations. Some<br>wear to Gilding.

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c1880 Japanese Graduated Miniature Kutani bud vases. No chips, cracks, or restorations. Tallest 5", shortest 3.25", all three great quality but tallest is really great. Selling all three. japandrawer

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c1880 Japanese Imari Bowl 8.5" x 3 1/8" No cracks, chips, or restorations. Nice decoration with minor wear to gilding and enamel. imshelf

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c1880 Japanese Imari Group. Selling the pieces shown, bowl with matching lid or underplate measuring 3.5" tall with lid on x 4.25" wide and bowl that doesn't match but is from about the same era 6 1/8" wide. Both hand painted with precision well over 100 years ago, likely about 150 years ago in Japan with no cracks, chips, or restorations. tw219

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c1880 Kutani Japanese Meiji Period Porcelian Statue of Drummer Boy. Nice piece from the last half of the 19th century, Japanese. Large figure 8.5" tall x 8" wide x 8" deep. No cracks, chips, or restorations, small area of glaze loss shown in the last pic. B42

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c1880 La Delivrande French Art Glass Bronze mounted Jewelry Casket. Great antique from late 19th century. 3" wide x 2.25" deep x 2.25" tall with no cracks, or chips, strong hinge. some wear to interior. B3

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c1880 Lovatt Langley Syrup pitcher with floating pewter lid No damage, lid stays<br>in place when used normally. No restorations, no crazing, no chips, no cracks. 5<br>7/8" tall. Hand painted, nice, unusual.<br><br>Langley Mill Pottery was located in Langley Mill, Derbyshire on the Derbyshire –<br>Nottinghamshire border. From its establishment in 1865 to its final closure in<br>1982, the pottery went through five distinct periods of ownership, producing a<br>wide range of stoneware ranging from salt glazed ink bottles, utilitarian items<br>and tableware to high quality and original art pottery.<br>TW9

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c1880 Mauchline Ware Bank Collection American Mission to lepers Texas Steer, Rockefeller for Governor. Selling the lot shown The Mauchline ware one is 4.25" tall for reference. It has an opening in the back that may not be original, it's over 120 year old for sure. The lepers mission one is plastic but very old circa 1930's or 40's. The newest bank here is 1959 Rockefeller bank. All very clean. TW1

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C1880 Meerschaum Jesus Christ plaque in Convex Glass Frame. No damage. 6.75" wide with frame. B7

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c1880 Meiji Imari Bowl 9". Nice fluted Japanese Imari bowl from the last half of the 19th century with no cracks, chips, or restorations, 9" wide x 3.5" deep. TW251

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c1880 Meiji Period French Bronze mounted Japanese Satsuma vase 11.5" tall with no cracks, chips, or restorations. Late 19th century Japanese vase with French bronze mountings of the same period. tw211

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c1880 Meiji Period Japanese Bronze Vase with Relief Birds flowers and serpent handles. Large and very heavy piece 19th century solid bronze, well thought out work of art. No significant issues, minor wear to patina, no bends or dents, solid piece. 16" tall x 6.75" handle to handle.

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c1880 Meiji Period Japanese Imari Charger Pair 12.25". Selling the closest thing<br>you'll find to a matching pair of Hand painted late 19th century Japanese Imari<br>chargers. No cracks, chips, restorations, or other issues. Selling both for one<br>price.<br>Imshlf

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c1880 Meiji Period Japanese Satsuma Vase. 6" tall with no cracks, chips, or<br>restorations. Signed on back.

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c1880 Meiji Period Noh Actor Japanese Bronze Okimono. Heavy solid patinated<br>bronze figure guaranteed over 100 years old, unmarked. 10 5/8" tall x 9.25"<br>wide" wide lacking fan from one hand and tassles from one sleeve.

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c1880 Mineapolis Minnesota C.A. Hoffman Bronze Dore french Opera glasses. I'm thinking Hoffman was the retailer or optometrist, maybe he bought the cases and customized the lenses in the late 19th century and these were made in France. Very well made, fully functional with no issues, no breaks. 3 3/8" wide x 3.75" wide on other side. 2.5" from center to center of lenses on side you look through, no scratches on lenses, missing handle from case. These are more ornate than the average pair and better condition. TW201

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c1880 Miniature Japanese Meiji Cloisonne Vase with Egret 3.5" tall with no<br>damage, loss, or scratches. Nice over 100 year old piece in an unusual size.<br>TW251

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c1880 Moser Decanter with Applied Enamel Hawk. 12 7/8" tall with no cracks,<br>chips, or restorations, minor cloudiness in interior that could possibly be<br>removed or will disappear when filled with liquid.<br>tw217

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c1880 Mt Washington Burmese Creamer. 3.75" tall x 3.5" wide with no cracks, chips, or restorations. Guaranteed late 19th century Mt Washington Burmese glass. TW126

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c1880 Mt Washington Burmese Glossy Footed Creamer. 4.25" tall x 3.5" wide with handle with no cracks, chips, or restorations. Nice rare piece guaranteed to be what iI say it is with providence. Frederick Rindge was high up in the Mt Washington Glass Collectors Society and I believe others in the Nineties, he was very well respected in the art glass community and shared his expertise in many glass publications. I remember reading his articles in the 1990's when one could only dream of having the opportunity to own an authentic rare piece of American 19th century art glass like this. TW126

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c1880 Mt Washington Burmese Glossy Footed milk pitcher. 5.75" tall x 4" wide<br>with handle with no damage or issues.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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c1880 Mt Washington Uranium Glass Burmese pitcher 7.5" tall 5.5" handle to<br>spout, no damage or issues.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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c1880 Mt Washington Uranium Glass Burmese pitcher and tumbler. Both guaranteed<br>authentic c1880's Mt washington no damage or issues. Pitcher 4.25" tall, tumbler<br>3.75" tall and wide. Selling both for one price.<br><br>Designed by Frederick Shirley and made by the Mount Washington Glass Company,<br>this single layer glass achieved a delicate coloration of pink or salmon shading<br>to yellow by the addition of uranium oxide and gold to the original glass batch.<br>This created a yellow opaque glass which on reheating turned to a salmon color<br>shading into the yellow. Further reheating turned the salmon color back to<br>yellow. The uranium in the glass causes the vase to fluoresce brightly when<br>exposed to black light. Burmese glass is highly collected and is also included<br>in all major American Art Glass collections. This glass is rare today as it was<br>very expensive to manufacture and was only made for a short period of time.

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c1880 Nautical Set Folding with Hand painted Porcelain Inserts Cigar Cutter,<br>Match Holder. Extremely rare item Traveling Ships Pocket sized set from the late<br>19th century. Ships wheel cigar cutter, very nice hand painted porcelain plaques<br>likely bohemian.4 7/8" tall open x 4.25" wide closed x 2.5" tall closed. It<br>would create quite a bulge in a pocket but fit in most. Cigars were really small<br>back when this was made.

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c1880 New England Glossy Peachblow Art Glass Vase. Nice piece with no damage<br>originally from the famous Frederick Rindge Collection. 6.25" tall x 4" wide.<br>Rindge was high up in the Mt Washington Glass Collectors Society and I believe<br>others in the Nineties, he was very well respected in the art glass community<br>and shared his expertise in many glass publications. I remember reading his<br>articles in the 1990's when one could only dream of having the opportunity to<br>own an authentic rare piece of American 19th century art glass like this.<br>B25

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c1880 Pre-Nippon Moriage Vase with Hand Painted Roses. Nice piece circa late<br>19th century, Japanese unmarked. Likely made just before the Nippon mark was<br>required in 1891. No cracks, chips, or restorations. Very minor loss to the<br>Moriage decoration all sides are shown in the pics. 7.5" tall x 7.75" handle to<br>handle.<br>tw140

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c1880 Robbins Clark & Biddle 14k gold retractable pendant physician's pencil,<br>just over 3.5" closed with jump ring, 4 7/8" fully extended with jump ring.<br>Fully functional with no issues. Unmarked but acid tested by me in multiple<br>places by me to be 14k gold with no signs or evidence of it being plated.<br>Retailer's Name on one side and engraved Doctor's name on the other. 18.6 grams.<br>Without damaging this I cannot be 100% sure that it is not gold filled but as I<br>stated there is no evidence that it's plated, no wear, and it tests strong for<br>14k in multiple places but fades at 18k, typically gold filled items were more<br>often 12k so wouldn't test at 14k so I believe it's solid gold. Some of the<br>inner mechanisms will be another metal as they are durable than gold. I have<br>disassembled different models of these from the same era before and they are<br>typically 50-75% gold with a small amount of steel or brass items for the<br>mechanism. As shown in the last pic, the inner shaft that holds the pencil is<br>brass.<br><br>Robbins, Clark & Biddle of 1124 Chestnut Street in Philadelphia. It was a<br>jewelry store that also sold sterling and plated wares, imported items, clocks,<br>watches, bronzes, "fancy goods in gilt, leather wood and crystal", which<br>included jardiniers, ink stands, vases, jewel cases, work boxes and baskets,<br>thermometers and barometers, vinaigrettes and card cases.<br><br>Samuel Biddle is the Biddle of Bailey, Banks & Biddle. He apprenticed with<br>Thomas C. Garrett 1857, took over his business at some point after 1860 as Clark<br>& Biddle. That became Robbins, Clark & Biddle (at least by 1876; they're in the<br>catalog for the Centennial exhibition) and then in 1878 the Bailey, Banks &<br>Biddle we know today. I've seen items by other makers (including Krider)<br>retailed by Clark & Biddle, but it seems likely they also made some items, at<br>least early on.

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c1880 Samson French Armorial Plate Set . Selling the four, late 19th century. The first one has the tiniest flake on the left side just below the center, last one shown has a large crowsfoot in the back. No damage to the other two, some minor wear as shown. 9" wide. B46

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c1880 Sevres Style Hand Painted Bronze Mounted Garniture. No damage or restorations, no top as shown.

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c1880 Silverplate cane/umbrella Stand. Unusual item 15" tall x 10" wide. A few small dents in liner, no other issues. Tw49

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c1880 St Jerome Hand Painted Porcelain Plaque 4 1/8" x 3.75" framed with no cracks, chips, restorations, and very clean frame. It's never been out of the frame. TW237

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c1880 Staffordshire Flow blue Transferware Knife Rest Set of 4. Selling the rare and unusual set of 4 with no cracks, chips, restorations, or stains. They all have fine crazing as 120+ year old earthenware typically will. 4.25" x 2.75" x 2" tall. TW172

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c1880 Wax Head doll in Christening Dress. Really great doll, the eyes do open<br>and close but they tend to stick and take a few minutes to adjust when sat up or<br>down. 24.5" long with dress, 16" long from head to feet, head is 2 5/8" from top<br>of head to chin. Stable crack to the right of the shoulder covered by dress that<br>doesn't go to the bottom of the wax part, shouldn't be an issue but worth<br>mentioning. The dress is incredible, silk I believe. It is a little frail and<br>has a few inconspicuous holes overall very presentable.<br>TW252

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c1880 White/Cobalt cut to clear scent bottles. One with sterling top, one with original stand. Neither retaining inside stopper, the brass hinge is good, sterling hinge is broken. Chip inside rim of cobalt bottle under sterling liner, no other chips, no cracks. Selling both bottles, tallest 4" perfumedrawer

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c1880's 6" Antique Kugel Christmas ornament Mercury glass ball. Very thick<br>antique glass guaranteed authentic. Good condition with no chips, cracks, or<br>dings, very clean 140 or so year old mirroring.<br><br>Holiday trees in 1840 were adorned with apples, gilded and natural fruits and<br>nuts, cookies, popcorn and cranberries, as well as homemade paper items,<br>candles, cornucopias, and presents. It was during this decade that the first<br>commercially produced Christmas decorations appeared. In 1848, the first glass<br>ornament, a kugel, appeared in Germany. The kugel was a large hollow ball<br>ranging in size from 1 inch to 18 inches. Smaller ones were used for tree<br>decorations. The blown, molded, figural glass ornaments that we are familiar<br>with today evolved from the tradition of blowing kugels. These ornaments were<br>not sold in America until 1880.<br><br>Kugel is a German word that means "ball" and can be used to describe any type of<br>ball-like object. Collectors used this term to describe any early thick glass<br>ornament with a decorative cap. Early Kugels were too heavy to hang on tree<br>branches; instead they were suspended from the ceiling. Soon after their<br>invention, the Germans decided small Kugels should adorn tree boughs in shapes<br>such as grapes, berry clusters, apples and pears. F. W. Woolworth is given<br>credit for bringing Kugels to America in the 1880s. His initial investment of<br>$25 turned into sales of at least $25 million worth of Kugels over the next<br>several years.<br>isshelf

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c1880's 7" Antique Kugel Christmas ornament Mercury glass ball. Very thick antique glass guaranteed authentic. Good condition with no chips, cracks, or dings, slight loss to 140 or so year old mirroring.Holiday trees in 1840 were adorned with apples, gilded and natural fruits and nuts, cookies, popcorn and cranberries, as well as homemade paper items, candles, cornucopias, and presents. It was during this decade that the first commercially produced Christmas decorations appeared. In 1848, the first glass ornament, a kugel, appeared in Germany. The kugel was a large hollow ball ranging in size from 1 inch to 18 inches. Smaller ones were used for tree decorations. The blown, molded, figural glass ornaments that we are familiar with today evolved from the tradition of blowing kugels. These ornaments were not sold in America until 1880.Kugel is a German word that means "ball" and can be used to describe any type of ball-like object. Collectors used this term to describe any early thick glass ornament with a decorative cap. Early Kugels were too heavy to hang on tree branches; instead they were suspended from the ceiling. Soon after their invention, the Germans decided small Kugels should adorn tree boughs in shapes such as grapes, berry clusters, apples and pears. F. W. Woolworth is given credit for bringing Kugels to America in the 1880s. His initial investment of $25 turned into sales of at least $25 million worth of Kugels over the next several years. tw198

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c1880's 7.5" Antique Kugel Christmas ornament Mercury glass ball. Very thick antique glass guaranteed authentic. Good condition with no chips, cracks, or dings, slight loss to 140 or so year old mirroring.Holiday trees in 1840 were adorned with apples, gilded and natural fruits and nuts, cookies, popcorn and cranberries, as well as homemade paper items, candles, cornucopias, and presents. It was during this decade that the first commercially produced Christmas decorations appeared. In 1848, the first glass ornament, a kugel, appeared in Germany. The kugel was a large hollow ball ranging in size from 1 inch to 18 inches. Smaller ones were used for tree decorations. The blown, molded, figural glass ornaments that we are familiar with today evolved from the tradition of blowing kugels. These ornaments were not sold in America until 1880.Kugel is a German word that means "ball" and can be used to describe any type of ball-like object. Collectors used this term to describe any early thick glass ornament with a decorative cap. Early Kugels were too heavy to hang on tree branches; instead they were suspended from the ceiling. Soon after their invention, the Germans decided small Kugels should adorn tree boughs in shapes such as grapes, berry clusters, apples and pears. F. W. Woolworth is given credit for bringing Kugels to America in the 1880s. His initial investment of $25 turned into sales of at least $25 million worth of Kugels over the next several years. tw198

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

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c1880's Austin Fire Department Washington 1 Sterling Pin badge. Extremely rare<br>small pin badge from the last quarter of the 19th century to the very early 20th<br>century at the latest. As stated below the Washington 1 Station closed in 1916.<br>The Washington 1 was the first fire station in Austin as quoted below. This was<br>recovered by me in Austin in a bag including the letter I'm also including. I<br>purchased a large percentage of this estate from a family I know has been in the<br>same home since the 1920's. The Volunteer firefighter who wore this was a man<br>named John F Westlund (1858-1945) or there's a smaller chance it could have been<br>Lee Wesley Westlund (1891–1970) at a very young age. There's an Austin Fire<br>museum which I have not yet made it to that could likely confirm one of these.<br>Measures approx 1.25 x 5/8", marked sterling on reverse side. It has enamel<br>lettering with overall wear but is extremely rare and important.<br><br>The Central Station No. 1 wasn’t the first fire station in downtown Austin. In<br>1868 Washington Fire Company #1 was established on 6th Street. The first fire<br>engine, pulled by hand, was replaced by a steamer, which in turn was abandoned<br>when the water company changed to the Holly system in the early 1880s. The<br>engine company then was converted to a hose company.<br><br>Austin Fire Department: Volunteers to Professional Fire Fighters<br>Austin Fire Department began in the 1870´s with a very formal volunteer program.<br>The success of the volunteer organization actually delayed the need for a career<br>department until 1916. It was Austin’s businessmen and merchants who mainly<br>comprised the volunteer rosters. Many devoted their lives to the fire<br>department. In the spring of 1916, the citizens of Austin voted in support of<br>the creation of a paid, municipal fire department. Overnight, the department<br>went from more than 200 volunteers to 27 paid firefighters, working six 24 hour<br>shifts per week.<br><br>The first paid Fire Chief appointed by Austin city administrators was C.F.<br>Millett. Under Millett’s direction strict fire ordinances were passed and they<br>were effectively enforced by the dedicated volunteers. By 1874 the city council<br>establishing a fire department with a chief, assistant chief, recorder, fire<br>commissioners, and fire police. By 1880s Austin Fire Department included both<br>volunteer and paid firemen.<br><br>In June 1916, Clarence Woodward was appointed Fire Chief. The volunteer fire<br>companies disbanded and the fire department renumbered its fire stations and<br>renamed its apparatus which is still in effect today.<br><br>Washington #1 closed its station<br>Austin Hook and Ladder #1 became Truck Co. 1, Engine 1<br>Colorado #2 became Hose 1 at Central Fire Station 1<br>Protection #3 became Engine 2 at Station 2, and Truck 2 was created<br>East Austin #4 became Engine 5 at Station 5<br>South Austin #5 became Engine 6 at Station 6<br>North Austin #6 became Engine 3 at Station 3<br>West Austin #7 became Engine 4 at Station 4<br>Tenth Ward #8 became Engine 7 at Station 7<br>And Rescue #9 became Engine 8 at Station 8

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c1880's Gorham Fontainebleau Master butter knife F Monogram. Slight wear at tip<br>of knife 7.75" long.

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c1880's Gorham Fontainebleau Sugar spoon F monogram. 6 1/8" long 1.5" wide bowl<br>with no damage, some expected wear.<br>silverdrawer

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c1880's Huge EAPG Priscilla by Dalzell, Gillmore and Leighton Glass Centerpiece<br>compote. Uncommon/difficult to find in the large size. 12.25" wide x 8" tall<br>with no cracks, chips, restorations, or detectable wear.<br>isshelf

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c1880's J.E. Caldwell Sterling Silver Server. 8.75" long x 3.75" wide 81 grams.<br>sterlingdrawer

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c1880's Lockhart Texas Fire Department Badge Hose Co 2. 2.25" tall x 1.75" wide<br>rocker engraved part of screw post missing from back.

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c1880's Meridian Bee With Fans with Birds Chinoisiere Victorian Silverplate Napkin Ring. Some worn plating, but no dents or bends 3.25" tall. TW134

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

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c1884 ロイヤル ドルトン ボタニカル デザート サービス 8 個。 9インチのプレート6枚と10.5インチの楕円形の足付きサービングボウル1つ、10 3/8インチのハート型の皿1つ。すべての作品は未使用に近い状態で、亀裂、欠け、傷、ひび割れ、金メッキの摩耗はありません。これらは手作業で作られています。転写の上にペイントしています。このパターンには追加のピースもありますので、別途出品しています。Tw46

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c1884 Royal Doulton Botanical Desert Serving pieces 2 pc one 10.5" oval footed<br>serving bowl, one 10 3/8" heart shaped dish. All pieces in near mint appearing<br>unused condition with no cracks, chips, scratches, crazing, or wear to gilding.<br>They're hand painted over transfer. I have additional pieces in this pattern I'm<br>listing separately.<br>Tw46

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c1890 Douverdrey & Bloquel French Carriage clock in Travel case. Great clock in attractive wood case. Case has some expected wear, Interior chip to bottom right of glass on front, exterior chip in same place on back. Insignificant issues in my opinon. It's running right now and keeping good time. When you get it, if you set it turning the hands clockwise it should start ticking if you wound it first and don't overwind it of course. 4.25" tall without handle or case. Case is just over 5" tall. key included Great clock. isshelf

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c1890 St Malo Terracotta Tobacco Jar Scottish Man. 6" tall with no cracks, chips, or restorations. Guaranteed late 19th to early 20th century. TW162

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

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C1890 10.25" RS Prussia Bowl. No damage of any type or restorations, wear to rim gilding. tw271

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c1890 3.25" fitter Vaseline Opalescent glass lamp shade. 7.5" tall x 5.5" wide with no damage whatsoever, it is a litghter color of vaseline with a smaller amount of Uranium than some but does glow under uv light as shown. tw105

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c1890 8 Dresden Demitasse Espresso Cups and Saucers Turkish Coffee. These are small demitasse cups and saucers typically used today for strong coffee in various countries, they're great. All hand painted 4.75" wide saucers, 2.25" tall and wide cups. One cup matches on one side but not the other, it was made by the same company but looks to have been decorated by another. One saucer has a small chip and associated hairline, it's on top right of group pic. NO other chips cracks, restorations, or other issues. Very rare to find a set of these. Selling the exact 8 cups and saucers shown. The term "Dresden porcelain" refers more to an artistic movement than a particular line of figurines or dinnerware. Several decorating studios emerged in this Saxony capital in response to the rise of "Romanticism" during the 19th century. Dresden was an important center of this artistic, cultural and intellectual movement, which attracted painters, sculptors, poets, philosophers and porcelain decorators alike. In 1883, in response to the exciting developments happening all around them, four prominent ceramic decorators registered the famous blue crown Dresden mark, and the widely popular "Dresden style" was born. TW233

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c1890 Theodore B Starr New York Pair of Hand Painted Fish Plates with ruffled rims by George Jones England. 8 7/8" wide with no cracks, chips, or restorations, minor wear to gilding and a few scratches, overall wonderful. Theodore B. Starr was a company of silversmiths founded in New York in 1862 by Theodore Starr.[1] In 1864, he was joined by Herman Marcus, and the company became known as Starr and Marcus.[1] Marcus left to join Tiffany's in 1877, and Starr bought back control of the company, with the name of the company becoming Theodore B. Starr.[1] The company was incorporated in 1907 by Starr's son, before being bought in 1918 by Reed and Barton, a silver firm, and finally closing in 1923. TW184

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c1890 Amber Apothecary Bottle Set some Labels Under Glass ground stoppers. Selling all the bottles shown all from one estate, I was told their family owned a drugstore in the late 19th-early 20th century south of Austin but unfortunately didn't get more details. These bottles are really clean all late 19th to early 20th century. No chips, cracks, not all scratched up, no dinged up or stained. The large bottles have labels under glass 9.75" tall marked W.T. Co USA. Mid sized are high quality art glass with ground pontils indicating they were hand blown by a top factory 7" tall and the labels appear to be enameled glass, these are the highest quality pharmaceutical bottles I've ever seen. The smallest ones are 6 1/8" tall and have paper labels, the bases are embosses 200 x 2, and the 2's look a little Frenchy. Selling all the bottles shown all very clean with no significant issues. tw246

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c1890 Amberina Art Glass Cream pitcher with Embossed Daisy and Fern Pattern. Very unusual piece of late 19th century American art glass guaranteed. 5" tall x 4.75" wide, ground pontil, nice piece. No cracks, chips, or restorations. tw126

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c1890 Amberina Art Glass Diminuative pitcher5" tall x 4.5" wide, larger than what most would consider a creamer. No cracks, chips, or restorations. TW192

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c1890 Amberina Art Glass Footed vase. 5" tall x 3" wide with no cracks, chips, or restorations. Fine quality piece. tw126

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